It's ironic to me how so many people who are obsessed with film music, yet refuse to accept the practical realities of profession -- whose time pressures and other demands can (and sometimes do) require a composer to call on help...AndyDursin wrote: ↑Wed Apr 10, 2019 12:06 pm Giacchino's carefully worded statement, as Ed wrote, is PR speak for "yes I did work on it", and the fact he admitted it at all means there's very likely a lot of truth in the news story IMO.
Billy May arranged the big band cues in Cocoon because James Horner was not experienced in that kind of music.
A number of Jerry Fielding's scores were finished by Lennie Niehaus and Grieg McRitchie because Fielding was a slow writer.
One of Jerry Goldsmith's scores -- Morituri I believe -- contains a cue whose final couple of bars are unfinished, with a note that says "Fix it Arthur".
Fred Steiner of course provided several cues for Star Trek: The Motion Picture.
Randy Newman provided one cue for Hook.
David Spear ghosted a couple cues in Bernstein's Heavy Metal.
Johnnie Spence arranged all of Elizabeth Taylor in London because John Barry didn't have time (that score doesn't even sound like Barry!).
Ken Thorne scored around half of Murphy's War because Barry didn't have time.
Dana Kaproff scored around half of The Golden Seal because Barry didn't have time.
And these were scores by the top people in the profession -- yet they asked for help when necessary.
Scores are often re-written to appease the whims of the filmmakers (especially these days). Even a composer of John Corigliano's stature had to do so on Altered States. And of course scores which are deemed unsatisfactory are thrown-out entirely.
Yet people can't seem to accept Toprak's score was in any way altered or amended -- and to suggest otherwise is heresy (or worse, sexist)!