Posts Tagged ‘Rejected Score’


October 3, 2012 Leave a comment


Original Review by Craig Lysy

Director Michael Wadleigh chose to adapt Whitley Strieber’s novel Wolfen to film, as he believed it afforded him an opportunity to infuse depth and intelligence into the horror genre. The story is a mytho-historical tale that reveals the existence of a hidden intelligent species called Wolfen that have co-existed with humans for centuries. After a city cop (Albert Finney) is assigned to solve a horrific set of violent murders, he gradually unravels the mystery that are the Wolfen who will now do anything to ensure their anonymity. Replete with Indian legend and folklore about wolf spirits, the story was heralded for its sophistication and effort to elevate the horror genre. Regretfully, the film ran seriously over budget and Wadleigh was fired and never allowed to complete his vision. The film was not a commercial success, however critics acknowledged it as an unusual and ambitious effort. Read more…


May 15, 2004 5 comments

troyyaredOriginal Review by Jonathan Broxton

Gabriel Yared began work on Wolfgang Petersen’s Troy during the first phases of production, in early 2003. He was certainly an unexpected choice to score a film of this type, having spent much of his Hollywood career scoring sentimental romantic dramas such as The English Patient, City of Angels, Message in a Bottle, Possession and Cold Mountain, and scoring them well. Nevertheless, Yared threw himself into the project, exploring ancient and modern musical techniques, integrating Bulgarian choirs and Macedonian soloists into his work, and much more besides. For over a year, Yared immersed himself in the music of Trojans and Spartans and Greeks, having been afforded the luxury of time, something not often given to film music composers these days. The score was recorded in February 2004, and everyone, from Wolfgang Petersen to the studio execs at Warner Brothers, loved Yared’s work. Then, the film was screened for a test audience in Sacramento, California, and everything changed. The focus group at the test decided Yared’s music was “overpowering and too big, old fashioned and dated the film” and, sensing potential trouble, Warner Brothers unceremoniously threw out Yared’s work. Overnight, a year’s worth of research and planning was discarded by a group of studio executives who believed that the Sacramento focus group had better taste in film music than a director of Petersen’s caliber, and a composer of Yared’s standing. Read more…