I just learned Howard Shore's score for Peter Jackson's upcoming King Kong has been rejected; James Newton Howard is to re-score the film.
Says Jackson: "Howard and I came to realize that we had differing creative aspirations for the score of 'King Kong.' Rather than waste time arguing with a friend and trying to unify our points of view, we decided amicably to let another composer score the film."
This doesn't bode well for the film (which frankly didn't look great in the trailer) -- score replacements are often a last-ditch effort to salvage a "troubled production".
You can read more about it at:
http://www.soundtrack.net/news/article/?id=670
Paul
Howard Shore is OFF King Kong
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Paul MacLean
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AndyDursin
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This is stunning news -- and potentially not a good sign whatsoever about KING KONG. On the other hand, though, maybe this means Jackson simply isn't getting what he wants out of Shore's music.
Let's face it: Shore's obvious approach to this score would be to reprise the thunderous portions of TWO TOWERS. If he went that predictable route, I can see why Jackson would want to ditch his music. Shore's approach is often academic and dense -- like how Intrada described his music for "A History of Violence" as being worthy of "further study" or something like that -- but a score like KING KONG needs some lyricism, a touch of Barry even. It is, after all, a monster movie in the best sense of the word, but one that's also a love story (or was, in previous versions of the film). That latter aspect is what I'm guessing Shore didn't bring to the project....but we shall see.
Either way, this is a MAJOR surprise!
Let's face it: Shore's obvious approach to this score would be to reprise the thunderous portions of TWO TOWERS. If he went that predictable route, I can see why Jackson would want to ditch his music. Shore's approach is often academic and dense -- like how Intrada described his music for "A History of Violence" as being worthy of "further study" or something like that -- but a score like KING KONG needs some lyricism, a touch of Barry even. It is, after all, a monster movie in the best sense of the word, but one that's also a love story (or was, in previous versions of the film). That latter aspect is what I'm guessing Shore didn't bring to the project....but we shall see.
Either way, this is a MAJOR surprise!
im absolutely shocked! but I guess what happened is that a) the movie has been recut, because obivously they had finsihed score recording some weeks ago though the mnovie hasn't been finished at all, so the music doesn't fit anymore and Shore doesn't want to or doesn't have the time to redo it or b) as Andy said the score is just simply too much like LOTR... which it already sounded like in the kongsiking-excerpts form the rec sessions.
JNH is a great choice though... but what great love themes has he written? but his action music will be ear splitting! he knows how to make the orchestra so loud it will cut through the SFX.
Wow.. the chase for a cd of the rejected score is now on!
anyhow, I agree that this in the end is not a good sign for the movie... nothing so far makes me really excited about it. After all, it is a giant ape falling in a love with a blonde screamqueen... who seriously thinks this is an intersting story? Im really curious how good this movie will fare at the BO.. after so many unexpected bombs this year, the producers are probably already scared like hell.
JNH is a great choice though... but what great love themes has he written? but his action music will be ear splitting! he knows how to make the orchestra so loud it will cut through the SFX.
Wow.. the chase for a cd of the rejected score is now on!
anyhow, I agree that this in the end is not a good sign for the movie... nothing so far makes me really excited about it. After all, it is a giant ape falling in a love with a blonde screamqueen... who seriously thinks this is an intersting story? Im really curious how good this movie will fare at the BO.. after so many unexpected bombs this year, the producers are probably already scared like hell.
I'm disappointed. I thought that Shore did a great job on his score for THE AVIATOR. It had a real "old school" feel to it, like it had actually been written in the '30's or '40's. This was the type of score I had envisioned him doing for KING KONG. Perhaps "they" decided that type of music that wouldn't work for modern audiences.
You may continue sharpening your knives now....
Mark
You may continue sharpening your knives now....
Mark
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AndyDursin
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I'm not sharpening my knife, Mark, because I'll be there on opening day regardless of how the film turns out. Still, it is a VERY surprising development!
We all know that tossing out scores is generally a sign of desperation. On the other hand, I actually thought TROY still worked effectively enough, and Horner's replacement score was quite good. Yared's music is terrific on its own but it's very melodramatic (even more so than Horner's) and seemed to me like it would have been out of place in the context of a modern film.
With KING KONG, though, you do have to wonder about the film. The trailers were highly disappointing from the get-go. If you go on AICN you can see that they've recently re-adjusted Kong's physical look in the ad campaigns -- which seems a bit late in the game to be performing major changes like that. Add in the elimination of a score by a guy at the top of his game right now and these are valid questions to ask. I mean, it's almost like John Williams winning the Oscar for E.T. and then having his score for INDIANA JONES thrown out!
I admit, like Paul, that I am not a fan of Howard Shore's music in general, but I'm still curious in hearing what he and Jackson disagreed about so much. From the sounds of it, this WASN'T merely a case of the film being re-cut and Shore not wanting to re-do his work -- it sounds like they had some major disagreements about the tenor of the music.
JNH does have a penchant for writing some lyrical and diverse scores if need be (PRINCE OF TIDES did have a nice love theme, Roman), so I'm interesting in hearing what he'll come up with....just as I would what Shore wrote before he was axed.
We all know that tossing out scores is generally a sign of desperation. On the other hand, I actually thought TROY still worked effectively enough, and Horner's replacement score was quite good. Yared's music is terrific on its own but it's very melodramatic (even more so than Horner's) and seemed to me like it would have been out of place in the context of a modern film.
With KING KONG, though, you do have to wonder about the film. The trailers were highly disappointing from the get-go. If you go on AICN you can see that they've recently re-adjusted Kong's physical look in the ad campaigns -- which seems a bit late in the game to be performing major changes like that. Add in the elimination of a score by a guy at the top of his game right now and these are valid questions to ask. I mean, it's almost like John Williams winning the Oscar for E.T. and then having his score for INDIANA JONES thrown out!
I admit, like Paul, that I am not a fan of Howard Shore's music in general, but I'm still curious in hearing what he and Jackson disagreed about so much. From the sounds of it, this WASN'T merely a case of the film being re-cut and Shore not wanting to re-do his work -- it sounds like they had some major disagreements about the tenor of the music.
JNH does have a penchant for writing some lyrical and diverse scores if need be (PRINCE OF TIDES did have a nice love theme, Roman), so I'm interesting in hearing what he'll come up with....just as I would what Shore wrote before he was axed.
it#s just too bad and amazing (again and again) that they let somebody work on a movie for a whole year and then they realize that thath is not the music they want. how can something like that happen.. even more so after the rec sessions took place???
well, now they are stuck with a JNH score, whether they like it or not.
Im sure it will be decent, but pretty generic... waterworld, outbreak, atlantis... probably some MV hacks help out with the drums and John Frizzell and John Debney wirte some additional stuff.
Well, but still great that it isn't a MV patchwork... Christopher Young would have been nice maybe... but I love JNH action stuff, so I don't complain about that idea.
well, now they are stuck with a JNH score, whether they like it or not.
Im sure it will be decent, but pretty generic... waterworld, outbreak, atlantis... probably some MV hacks help out with the drums and John Frizzell and John Debney wirte some additional stuff.
Well, but still great that it isn't a MV patchwork... Christopher Young would have been nice maybe... but I love JNH action stuff, so I don't complain about that idea.
Sorry about the "knives" comment, Andy. It was out of place here. I probably had a lot of the comments from the FSM board fresh in my mind when I posted. You guys have been reasonable in your responses here.
You are right; past history tells us that this is probably not a good development.
Again, I was really looking forward to something along the lines of THE AVIATOR. That score (at least as presented on the CD) felt genuinely epic with a real sense of adventure.
This wouldn't be the first time a truly talented director has stumbled when allowed to do his dream project. Think of Polanski's PIRATES or Levinson's TOYS. Sometimes those scripts at the bottom of the drawer should remain there. Of course, Universal will be the one to pay if it does flop, but for some reason that doesn't bother me much.
Having said that, I really want to see Jackson knock this one out of the park -- but it is getting harder and harder to stay optimistic.
Mark
You are right; past history tells us that this is probably not a good development.
Again, I was really looking forward to something along the lines of THE AVIATOR. That score (at least as presented on the CD) felt genuinely epic with a real sense of adventure.
This wouldn't be the first time a truly talented director has stumbled when allowed to do his dream project. Think of Polanski's PIRATES or Levinson's TOYS. Sometimes those scripts at the bottom of the drawer should remain there. Of course, Universal will be the one to pay if it does flop, but for some reason that doesn't bother me much.
Having said that, I really want to see Jackson knock this one out of the park -- but it is getting harder and harder to stay optimistic.
Mark
PRINCE OF TIDES never got me... and I can't really think of a particular emotional theme by Howard in the way you meant, Andy. He had great themes, but more for epic stuff... his emotional scores however left me cold... I never made it through SNOW FALLING ON CEDARS to the unbelievably great choral piece and was really surprised that when I was looking for the choral music from t he MATRIX 2 trailer that it was from that score.. so I blew off the dust on it and popped it in. Still, it remains the only cue I play from that CD.
Howard Shore provided many emotional and love-themes for the LOTR trilogy, so I doubt that was one of the reasons.
I just think the brooding, slow action music was wrong for a speedy T-Rex and an ape throwing trains through the street of NYC.
JNH's score will be goood, but autopilot...
Howard Shore provided many emotional and love-themes for the LOTR trilogy, so I doubt that was one of the reasons.
I just think the brooding, slow action music was wrong for a speedy T-Rex and an ape throwing trains through the street of NYC.
JNH's score will be goood, but autopilot...
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AndyDursin
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It's true. JNH will give you a very solid dramatic score, but whether or not it will translate beyond the movie is anyone's guess.
For me Horner is still the most competent, dependable dramatic composer (outside of Williams) working right now. I know people love bashing his "influences" but by this point I'm so used to them they no longer bother me. His dramatic scoring sense is, pretty much, bar none among his generation and among younger composers, IMHO, and at least he can write lyrical themes -- something most newer composers, sadly, have a great deal of trouble with
For me Horner is still the most competent, dependable dramatic composer (outside of Williams) working right now. I know people love bashing his "influences" but by this point I'm so used to them they no longer bother me. His dramatic scoring sense is, pretty much, bar none among his generation and among younger composers, IMHO, and at least he can write lyrical themes -- something most newer composers, sadly, have a great deal of trouble with
I still don't like Horner. I was thinking the other day that I haven't even seen a Horner scored movie since STAR TREK III- then I remembered I saw TITANIC....I haven't even seen BRAVEHEART yet! I don't think it's a conscious thing, but I avoid movies that have his name attached to it. You make good points Andy- a lot of this junk coming out now is just that- junk. Unimaginative junk. And it is sad.AndyDursin wrote:It's true. JNH will give you a very solid dramatic score, but whether or not it will translate beyond the movie is anyone's guess.
For me Horner is still the most competent, dependable dramatic composer (outside of Williams) working right now. I know people love bashing his "influences" but by this point I'm so used to them they no longer bother me. His dramatic scoring sense is, pretty much, bar none among his generation and among younger composers, IMHO, and at least he can write lyrical themes -- something most newer composers, sadly, have a great deal of trouble with
It will be interesting to see what JNH does with this film. I hope to hear what Shore did as I love his music.