# A message from Harry Gregson-Williams



## Christof (Jan 12, 2015)

I read this on Facebook and thought it is worth to share:

Dear all,

I would like it to be known for what it’s worth that the ‘score’ for Blackhat maybe credited to me, but contains almost none of my compositions. I attended the premiere of the movie at the end of last week and discovered, to my horror, music that shocked and surprised me…quasi emotional (synth) string pieces that I’d never heard in my life before. I knew of at least one other composer, a good one at that(!), that had put in months of work on this movie just as I had, but this appeared to me to be in addition to both our contributions. To be honest, I’m not sure, as I’m having a hard time understanding what I heard and why it was there and I can say nothing for certain except that I was not the author of most of what is now in the movie. I feel like I want to point this out for anyone who like me cares about these things, as my name is right there listed as the lead composer and one would expect that credit to mean something, but it doesn’t. And I do care about that.

I therefore reluctantly join the long list of composers who have had their scores either sliced and diced mercilessly or ignored completely by Michael Mann. This is his film and these are his decisions and I do respect that, but see no reason to have people mistake this score for one that I composed, or in any way approved of musically. The 90 minutes of score that I did write and deliver is, as I’ve said, mostly unused.

I would still encourage you to check out his movie, as you may enjoy it.

Harry


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## José Herring (Jan 12, 2015)

Damn. Michael Mann is cold.

He was doing a tv show once about 10 or so years ago and somehow I got requested to pitch. I was told by his "people" that I was one of the ones being seriously considered. Weeks went by and I heard nothing from him. Not even a peep after repeated calls and letters just trying to get a yeah or no. I thought that was cruel. This is just another level of cruel. I couldn't imagine that happening.


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## Christof (Jan 12, 2015)

I love the last quote.What an open minded, fair person he must be.


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## Uncle Peter (Jan 12, 2015)

*Re: A message from Harry Greyson Williams*



Christof @ Mon Jan 12 said:


> I read this on Facebook and thought it is worth to share:
> 
> Dear all,
> 
> ...



Harry's Englishness oozes out of him. That's the most polite 'Michael Mann is a complete tosser' letter he could have written. Bravo.


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## José Herring (Jan 12, 2015)

Harry comes off as incredibly gracious. That much is abundantly clear.


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## EastWest Lurker (Jan 12, 2015)

josejherring @ Mon Jan 12 said:


> Harry comes off as incredibly gracious. That much is abundantly clear.



He also comes across as a guy who knows it is not smart to burn bridges


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## The Darris (Jan 12, 2015)

EastWest Lurker @ Mon Jan 12 said:


> josejherring @ Mon Jan 12 said:
> 
> 
> > Harry comes off as incredibly gracious. That much is abundantly clear.
> ...



Yep.


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## Ned Bouhalassa (Jan 12, 2015)

Please correct the composer's name: Gregson-Williams.


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## RiffWraith (Jan 12, 2015)

*Re: A message from Harry Greyson Williams*

It happens. I think it was JG that said something along the lines of, "you can't consider yourself a real composer until you have been fired off of a feature film".

Composers get fired, and their music mutilated all the time. Sometimes I think it's b/c the composer doesn't know how to properly arrange the music (you'd think that an A-list composer _would_...), but sometimes I think that either a) it's the _director_ who doesn't know how to properly arrange the music, or b) the dir. has to have the final say, and can't let anyone else make decisions.

I think what we are reading from Harry is not exactly what has been through his mind. If we could get his thoughts verbatim, I don't think they would be so tactful and gracious. He doesn't want to come off as someone who will trash a director if changes to the score are made; many directors would then shy away from working with him. Remember - being a film composer is not all about the music - it's about relationships.

Secondly, there are legal considerations. When you post like this, you have to be very careful with not only what you say, but how you say it. You are aloud to speak the truth, and put forth facts, but say the wrong thing the wrong way, and you could be facing litigation. I would not be shocked if his lawyer either looked at that first, or even wrote it for him.

That said, I hope that someday soon, we somehow get to see the movie with Harry's score. I personally, think he is an exceptional film composer, and would love to see what he did.

Cheers.


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## Marius Masalar (Jan 12, 2015)

To me, the shittiest part of this is that the score seems to have been mostly rejected/replaced...yet no one bothered to tell Harry so he had to find out at the premiere! And now his name is incorrectly attached to some music that he obviously doesn't feel is particularly good. 

Dick move, no matter how you look at it. It's one thing to have your score rejected, but this is...something different.


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## Guy Rowland (Jan 12, 2015)

*Re: A message from Harry Greyson Williams*

Doesn't this kind of post make people question everything? Harry is supposed to be the end game for aspiring composers. Working with one of the most lauded directors working in Hollywood who makes films of integrity not robot-smashing crap. And he doesn't even get a phone call to say "sorry we changed it all", he apparently turns up at the premiere and finds out by watching it.

And that's as good as it gets? Sheesh.

I loves working in kids tv.


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## The Darris (Jan 12, 2015)

Marius Masalar @ Mon Jan 12 said:


> To me, the shittiest part of this is that the score seems to have been mostly rejected/replaced...yet no one bothered to tell Harry so he had to find out at the premiere! And now his name is incorrectly attached to some music that he obviously doesn't feel is particularly good.
> 
> Dick move, no matter how you look at it. It's one thing to have your score rejected, but this is...something different.



The same thing happened to Alex North with Kubrick's 2001 A Space Odyssey. It really is a shitty situation but I am assuming there might be some legal reason why.


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## PMortise (Jan 12, 2015)

The Darris @ Mon Jan 12 said:


> ...It really is a shitty situation but I am assuming there might be some legal reason why.


I'd love to hear that reason.


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## jsmithsebasto (Jan 12, 2015)

*Re: A message from Harry Greyson Williams*

Having just met Harry a few months back for the first time while at Berklee, I would agree with the general notion that he is an incredibly kind-hearted and genuine person, but also brilliantly sharp with a keen sense for business! All around amazing individual.


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## givemenoughrope (Jan 12, 2015)

HGW’s and Jose’s stories are both pretty disheartening. I have a lot of admiration for Michael Mann as a filmmaker. He has made some bold and interesting music choices but this is really a different issue altogether. And yes, if the one of the top A player guys finds out at the premier then what hope do the rest of us have? Or maybe that isn’t necessarily the case.

It’s not just directors who are slippery and careless. Last year i did some work for a composer on a big film. We mapped a workflow and I did orchestrations and mockups for the purposes of demo approval. He liked everything i did but then one day I never heard back. I didn’t think that was the way of an A-lister. He recently won some big award. Good for him I guess. My skin is much tougher now though. The year prior I assisted another composer who got the music sup. gig on a big film. Worked part-time for him for years for low pay as his only help programming and mixing. He was very excited about the film and then i didn’t hear from him for a couple months. The film comes out in a rush and his new assistant get a credit. Nice one 

Maybe the moral is: at any level, f$%k ‘em. You’re on your own.


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## marclawsonmusic (Jan 12, 2015)

PMortise @ Mon Jan 12 said:


> The Darris @ Mon Jan 12 said:
> 
> 
> > ...It really is a shitty situation but I am assuming there might be some legal reason why.
> ...


The director is not obligated to use your music. It's that simple. It's their picture and they have final say.


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## José Herring (Jan 12, 2015)

givemenoughrope @ Mon Jan 12 said:


> HGW’s and Jose’s stories are both pretty disheartening. I have a lot of admiration for Michael Mann as a filmmaker. He has made some bold and interesting music choices but this is really a different issue altogether. And yes, if the one of the top A player guys finds out at the premier then what hope do the rest of us have? Or maybe that isn’t necessarily the case.
> 
> It’s not just directors who are slippery and careless. Last year i did some work for a composer on a big film. We mapped a workflow and I did orchestrations and mockups for the purposes of demo approval. He liked everything i did but then one day I never heard back. I didn’t think that was the way of an A-lister. He recently won some big award. Good for him I guess. My skin is much tougher now though. The year prior I assisted another composer who got the music sup. gig on a big film. Worked part-time for him for years for low pay as his only help programming and mixing. He was very excited about the film and then i didn’t hear from him for a couple months. The film comes out in a rush and his new assistant get a credit. Nice one
> 
> Maybe the moral is: at any level, f$%k ‘em. You’re on your own.



Me I understood. It wasn't my time, and I probably would have failed even if I had gotten. I got a little comfort in the reality that the show got cancelled within a week of it's release. 

But, HGW? C'mon on Mr. Mann. Harry's actually a good composer. I'm sure that he would have made any changes requested had he actually been given the opportunity. That's just mean and rude. And, it's such a shame that such disregard for the well being of others has to be in a person that otherwise is a really gifted filmmaker. I guess being a dick and being the best might go hand in hand.

As for your situation, I offer the following. Once I was complaining that I was fired by a composer that had hired me to ghost. I was telling this too another very well respected composer and he gave me the following bit of advice, " if you get fired by another composer, it doesn't count". :lol: Funny bit but true. In the end, it isn't going to hurt your career one bit.


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## givemenoughrope (Jan 12, 2015)

*Re: A message from Harry Greyson Williams*

I mean...I totally agree. My 'career' is still fairly...subterranean, I dunno. 

I guess I was more raw regarding to just my faith in people, fellow composers, etc. Seems silly now though. 

But your post actually does make me feel a bit better about it all. Thanks.


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## gsilbers (Jan 12, 2015)

josejherring @ Mon Jan 12 said:


> givemenoughrope @ Mon Jan 12 said:
> 
> 
> > HGW’s and Jose’s stories are both pretty disheartening. I have a lot of admiration for Michael Mann as a filmmaker. He has made some bold and interesting music choices but this is really a different issue altogether. And yes, if the one of the top A player guys finds out at the premier then what hope do the rest of us have? Or maybe that isn’t necessarily the case.
> ...




at that level, if hgw himself said the score was unrecognizable, if Mann would of told him to redo most of it, would of that involve more money or is it still part of the contract?


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## José Herring (Jan 12, 2015)

gsilbers @ Mon Jan 12 said:


> josejherring @ Mon Jan 12 said:
> 
> 
> > givemenoughrope @ Mon Jan 12 said:
> ...



I think it goes both ways. I've heard of both depending on who's at fault. If the composer hasn't come up with anything the director likes then it's on the composer to keep working until he does. If it's a package deal then perhaps he could ask for more money. On a studio film though if the composer is working on a fee basis, then I think he should just keep working and the studio will pick up the extra production cost. Anyway the agent would be the one to ask and the composer should just keep out of the money end of it and just keep working.

On the other hand, even at my level, I did a score it was accepted and then the filmmaker recut the entire film and came back to me for changes. It wasn't minor little tweaks it was practically an whole new film. I had to charge him. I couldn't just do over and then spend the next 2 months working for free.


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## RiffWraith (Jan 12, 2015)

gsilbers @ Tue Jan 13 said:


> at that level, if hgw himself said the score was unrecognizable, if Mann would of told him to redo most of it, would of that involve more money or is it still part of the contract?



Usually, it's part of the contract to keep going until the director says you are done. You keep working and redoing as many cues as asked. You aren't getting paid per cue.

But I have heard that some of the top composers have built in to their contracts that they will only do x-number of rewrites, until they start charging more money. I don't know if that's true or not; it's just what I have heard.

Cheers.


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## EastWest Lurker (Jan 12, 2015)

If ou think that great directors are necessarily great people, you have not been in this business long. I will tell you all a working with Stanley Donen experience I had someday


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## givemenoughrope (Jan 12, 2015)

I know some bad directors and they aren't much better.


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## shapeshifter00 (Jan 12, 2015)

*Re: A message from Harry Gregson Williams*

That is sad to hear. Harry is my favorite composer since his Metal Gear Solid theme and the amazing Narnia soundtrack. I personally feel it is very disrespectful and it remind me of a school project I did and the same happened, of course in a way smaller less meaningful scale but when some random music pops up and you smack yourself in the forehead and feel sad and embarassed it is a horrible feeling. Hopefully this is a rare case and that we may hear his 90 minute soundtrack one day.


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## PMortise (Jan 12, 2015)

marclawsonmusic @ Mon Jan 12 said:


> PMortise @ Mon Jan 12 said:
> 
> 
> > The Darris @ Mon Jan 12 said:
> ...



I know that. I meant the part about no one bothering to tell Harry and him having to find out at the premiere with his name incorrectly attached to some music that he obviously doesn't feel is particularly good. That's just downright unprofessional, and if there's a legal reason for _that_ I'd love to hear it.


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## José Herring (Jan 12, 2015)

PMortise @ Mon Jan 12 said:


> marclawsonmusic @ Mon Jan 12 said:
> 
> 
> > PMortise @ Mon Jan 12 said:
> ...



No legal reason. Just a coward's way of going about it.


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## Tatu (Jan 12, 2015)

I wonder what that message would be like, if this would've happened to Horner...


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## jleckie (Jan 12, 2015)

EastWest Lurker @ Mon Jan 12 said:


> He also comes across as a guy who knows it is not smart to burn bridges





EastWest Lurker @ Mon Jan 12 said:


> I will tell you all a working with Stanley Donen experience I had someday



:lol:


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## bluejay (Jan 12, 2015)

I'm surprised so many people are surprised about this happening to an A lister. What about the way Ridley Scott tore apart Jerry Goldsmith's score to Alien? I mean sure this is thankfully rare but it definitely has happened before and arguably to a bigger name than HGW.


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## Christof (Jan 12, 2015)

At least the director should inform the composer in a objective way.Everything else is despising.

It doesn't hurt and only takes some minutes to make a phone call saying "look, we are very sorry, we decided to replace most of your score, thank you anyway for your efforts and professional work."

This is not about rejection, it's about not informing the composer at all.This is very surprising to most of us.


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## bluejay (Jan 12, 2015)

Coincidentally this weekend I got a copy of a movie I scored two years ago only to discover that despite getting both composer and music supervisor credit hardly any of my music has been used and it has been hacked up and moved all over the place.

Yeah not telling Harry was bad form but Mann has that rep. After all halfway through Last of the Mohicans he hired a second composer to finish the picture.


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## José Herring (Jan 12, 2015)

At some point though Mann has to realize that it's not the composer he fires, it's him being stuck on 80's synth pop ala Jan Hammer style.


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## markwind (Jan 13, 2015)

What I don't get.. is how come so much gets cut up.. Couldn't Mann request Harry to make some changes on the score during postproduction? 

Is there no constant back and forth dialogue happening during scoring? To make sure Harry makes what Mann's looking for? 

My inexperience might betray me here, but I truly wonder and would love clarification.


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## José Herring (Jan 13, 2015)

Micheal Mann according to a music editor that use to work for him is notorious for making non stop changes in direction and then not tell anybody what he was going for.


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## Tatu (Jan 13, 2015)

Genius and talent is not bundled with social code. That's how it often is.


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## Bernard Duc (Jan 13, 2015)

*Re: A message from Harry Greyson Williams*



jsmithsebasto @ 12th January 2015 said:


> Having just met Harry a few months back for the first time while at Berklee, I would agree with the general notion that he is an incredibly kind-hearted and genuine person, but also brilliantly sharp with a keen sense for business! All around amazing individual.



Yep, he was able to smile on all the selfies... And there were many of them! He is one of the few big-names that are not afraid to tell what they think and I really appreciate that.

Last september, in an interview to filmmusicmag.com he said that he worked during six months on this movie, that the film was excellent etc. But he also said "I wrote 80 minutes of music for a film I liked a lot, and I am looking forward to seeing how much of that will be used in the final version. I have no idea, but I’m hopeful…"
He knew that it was likely to happen but I understand his frustration.


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## Christof (Jan 13, 2015)

Along with Hans Zimmer and John Powell.Absolutely down to earth these people.


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## Ian Dorsch (Jan 13, 2015)

Funny, I just saw this piece on Blackhat in Wired this morning, and thought, gosh, that's a lot of composers: http://www.wired.com/2015/01/michael-ma ... =social_fb



> I worked with a number of composers on this one because I wanted different things from different people. It’s like casting actors. The film is an adventure of a narrative, and the story changes radically about three times, so there are very different conditions emotionally. That changes the music. So Atticus Ross does one thing, Harry Gregson-Williams does another thing, Ryan Amon does another thing, and then Mike Dean does something else. Mike Dean is Kanye West’s keyboardist and producer—a very talented guy.


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## Guy Rowland (Jan 13, 2015)

Ian Dorsch @ Tue Jan 13 said:


> Funny, I just saw this piece on Blackhat in Wired this morning, and thought, gosh, that's a lot of composers: http://www.wired.com/2015/01/michael-ma ... =social_fb
> 
> 
> 
> > I worked with a number of composers on this one because I wanted different things from different people. It’s like casting actors. The film is an adventure of a narrative, and the story changes radically about three times, so there are very different conditions emotionally. That changes the music. So Atticus Ross does one thing, Harry Gregson-Williams does another thing, Ryan Amon does another thing, and then Mike Dean does something else. Mike Dean is Kanye West’s keyboardist and producer—a very talented guy.



Nice of him to talk to Wired and not to Harry, isn't it?


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## Ian Dorsch (Jan 13, 2015)

Guy Rowland @ Tue Jan 13 said:


> Nice of him to talk to Wired and not to Harry, isn't it?



Yeah. Classy.


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## tokatila (Jan 13, 2015)

Wikipedia's definition of irony: HGW winning the Oscar from Blackhat.


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## bimberl (Jan 13, 2015)

That's right, Michael Mann, Harry can only do one thing.
Boo.


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## José Herring (Jan 13, 2015)

tokatila @ Tue Jan 13 said:


> Wikipedia definition's of irony: HGW winning the Oscar from Blackhat.



He doesn't even strike me as the kind of guy that would even accept it if this did happen. 

I admire his integrity. There are so many big names that would have just taken the credit and not said anything.


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## Ian Dorsch (Jan 13, 2015)

josejherring @ Tue Jan 13 said:


> He doesn't even strike me as the kind of guy that would even accept it if this did happen.
> 
> I admire his integrity. There are so many big names that would have just taken the credit and not said anything.



Agreed, but it seems in this case that he may not actually want the credit.


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## Lex (Jan 13, 2015)

Wow, really looking forward to c what kind of movie needs 3 composers and one Freaky Dean to get the score done.


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## AR (Jan 13, 2015)

Sad to hear that. That's at least the fifth michael mann movie I know about music replacement. Shame on him. No respect for a composers effort.


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## Soundhound (Jan 13, 2015)

I know several people who quit Michael Mann projects after being treated terribly. Directors are known for being self involved and spoiled, but Mann is said to be in a league of his own.


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## José Herring (Jan 13, 2015)

Harry being the professional stuck it out to the end, only to get slapped in the face. 

For those who are saying that scores get thrown out "what's the big deal?", I say, yes they get thrown out but at least the people involved say something to the composer. Not invite them to the screening only to show him/her a film that has none of his work in it.


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## choc0thrax (Jan 13, 2015)

I guess he took it down? http://deadline.com/2015/01/blackhat-co ... 201349102/


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## jeffc (Jan 13, 2015)

Man, it's really crazy to see how the press sensationalizes everything. I don't think HGW's post 'slammed' anything. If anything it was very restrained and honest. How could he not be just a little upset and frustrated. I am good friends with the composer on another of MM's recent films and the situation was just as bad. I was shocked at the time to hear some of the things that went on at such a high level.

And of course nobody likes confrontation, but it seems that some people let ego absolve themselves from treating people with common decency, just because it is Hollywood. Now a phone call to HGW apprising him of the situation wouldn't have been easy, but it sure would have gone a long way and probably saved him a whole lot of undeserved stress. 

What's most disheartening, is that all of us, no matter what level we are at, look up to people like HGW and other A-listers and think that at a certain point in their careers, they would be treated with a certain modicum of respect and dignity, and this only makes it all to clear that it just isn't the case sometimes, no matter how big you are.


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## José Herring (Jan 13, 2015)

jeffc @ Tue Jan 13 said:


> What's most disheartening, is that all of us, no matter what level we are at, look up to people like HGW and other A-listers and think that at a certain point in their careers, they would be treated with a certain modicum of respect and dignity, and this only makes it all to clear that it just isn't the case sometimes, no matter how big you are.



Yep. That's why I'm coming to the conclusion that if you're going to be treated like crap no matter what, might as well save the aggravation for something really worth the effort.


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## EastWest Lurker (Jan 13, 2015)

jeffc @ Tue Jan 13 said:


> Man, it's really crazy to see how the press sensationalizes everything. I don't think HGW's post 'slammed' anything. If anything it was very restrained and honest. How could he not be just a little upset and frustrated. I am good friends with the composer on another of MM's recent films and the situation was just as bad. I was shocked at the time to hear some of the things that went on at such a high level.
> 
> And of course nobody likes confrontation, but it seems that some people let ego absolve themselves from treating people with common decency, just because it is Hollywood. Now a phone call to HGW apprising him of the situation wouldn't have been easy, but it sure would have gone a long way and probably saved him a whole lot of undeserved stress.
> 
> What's most disheartening, is that all of us, no matter what level we are at, look up to people like HGW and other A-listers and think that at a certain point in their careers, they would be treated with a certain modicum of respect and dignity, and this only makes it all to clear that it just isn't the case sometimes, no matter how big you are.



True. Somebody whose name I will not drop was present when Spielberg had John Williams practically in tears while browbeating him.


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## MikeH (Jan 13, 2015)

I was _just_ going to mention something about that, Jay! I'm sure JW has more than his fair share of battle scars.


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## givemenoughrope (Jan 13, 2015)

So there's, 
HGW
AR
RA
Kanye dude
Haxan Cloak

MM thinks that each of these have their own thing and there is no overlap but that's not really the case.


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## handz (Jan 13, 2015)

Wow, you do this to your composer of choice and not even bother to tell him, so he must find out on a premiere? 

Sorry, try to excuse this as you want (happened before...) but this is totally not cool. Really I have a hard time believing this can happen nowdays to A class composer. Now when you probably hear mockups of everything, have a chance to get the idea how it will work with picture etc (not possible in Kubrick times)... Really a bit sad to me


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## AR (Jan 13, 2015)

givemenoughrope @ Tue Jan 13 said:


> So there's,
> HGW
> AR
> RA
> ...



Don't forget Leopold and Atticuss Ross...


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## passenger57 (Jan 13, 2015)

This reminds me of Alex North. He was the original composer of 2001 A Space Odyssey. He went to the premiere of expecting to hear his original score and was surprised to find that Stanley Kubrick kept the temp track of all classical and modern music.

http://en.wikipedia.org/wiki/2001:_A_Sp ... 28score%29


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## Lex (Jan 14, 2015)

passenger57 @ Wed Jan 14 said:


> Stanley Kubrick kept the temp track of all classical and modern music.
> 
> http://en.wikipedia.org/wiki/2001:_A_Sp ... 28score%29



I , for one, am so happy that he did.

alex


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## AR (Jan 14, 2015)

passenger57 @ Wed Jan 14 said:


> This reminds me of Alex North. He was the original composer of 2001 A Space Odyssey. He went to the premiere of expecting to hear his original score and was surprised to find that Stanley Kubrick kept the temp track of all classical and modern music.
> 
> http://en.wikipedia.org/wiki/2001:_A_Sp ... 28score%29



Well, North was replaced by "not original" music, whereas HGW was replaced by Ryan Amon, atticuss Ross, etc....

Michael Mann is known therefor. Trevor Jones great score for Last of the Mohicans was partly replaced by Randy Edelmann...

james newton howard was credited for Collateral. Though Antonio Pinto scored the key scene of the movie (train scene-ending) , which is most present score part in the movie.

E. Goldenthal scored Public Enemies, but also the most present score part (gunshot aftermath) is by Gustavo Santaollala. 

John Murphy was credited for Miami Vice, though again the most present scene with a score (airplane flight) was scored by Klaus Badelt.

I could go along. I think what HGW was trying to say is "c'mon you credit me for a movie but THE major key scenes with music aren't mine. What are you crediting me thenfor?"


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## Lex (Jan 14, 2015)

AR @ Wed Jan 14 said:


> Well, North was replaced by "not original" music, whereas HGW was replaced by Ryan Amon, atticuss Ross, etc....



I get the impression that nobody got replaced in usual sort of way, sounds like all these people worked on the movie at the same time but without knowing all the details of who is involved in score in what capacity.

Only guessing, but I have a hard time imagining neither HGW nor Atticus Ross accepting: "...well you do the score, but I have 3-4 more guys working on it in the same time, and when the movie opens you can see what of your work did I pick to put in the movie...if any of it...maybe..."


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## Ned Bouhalassa (Jan 14, 2015)

Haxan Cloak is pretty dope. Nice guy too.


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## dgburns (Jan 14, 2015)

You know,I just had a flash-

Imagine what this score could have been if in fact all these great composers were given chance to collaborate with each other from the very start.


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## AC986 (Jan 14, 2015)

dgburns @ Wed Jan 14 said:


> You know,I just had a flash-
> 
> Imagine what this score could have been if in fact all these great composers were given chance to collaborate with each other from the very start.



A pile of shit?


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## dgburns (Jan 14, 2015)

adriancook @ Wed Jan 14 said:


> dgburns @ Wed Jan 14 said:
> 
> 
> > You know,I just had a flash-
> ...



what I mean to say is that they would have a chance to work together rather than having someone hobble together an edit of them all.

be nice


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## AC986 (Jan 14, 2015)

dgburns @ Wed Jan 14 said:


> adriancook @ Wed Jan 14 said:
> 
> 
> > dgburns @ Wed Jan 14 said:
> ...



it may well be on paper, but I don't think Sir William Walton and Ron Goodwin would agree.


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## milesito (Jan 14, 2015)

I have a ton of respect and admiration for hgw and his work. Frankly it sucks that he found out at the premier that his music was not used or hacked up. 

Do you guys think it would have been worse if they had removed his name completely and he found out at the premier? Do you think Mann could have felt he was doing hgw a favor by keeping his name in?


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## AR (Jan 14, 2015)

milesito @ Wed Jan 14 said:


> I have a ton of respect and admiration for hgw and his work. Frankly it sucks that he found out at the premier that his music was not used or hacked up.
> 
> Do you guys think it would have been worse if they had removed his name completely and he found out at the premier? Do you think Mann could have felt he was doing hgw a favor by keeping his name in?




hmmmm, Mann's gotta credit someone, doesn't he?


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## milesito (Jan 14, 2015)

Good point. So it was all hgw material but just hacked up...not cues from other composers...

Even so I agree it is pretty messed up...


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## AR (Jan 14, 2015)

what a pitty. great composer. I love his recent score for Equalizer. Reminds me of his Man on Fire score, but nevertheless a beautiful theme


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## BubbaMc (Jan 15, 2015)

He's also listed as the composer for Metal Gear Solid Ground Zeroes, but his work is nowhere to be found in that game.

Very unfortunate.


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