Comments on: Corigliano speaks out on ‘Darkness’ rejection

By: Mike

Mike — Wed, 03 Feb 2010 04:11:00 +0000

The King Kong case is interesting because Howard Shore also plays the conductor in the theatre towards the end of the film. I guess he’s now conducting James Newtown Howard’s music…

By: Dom

Dom — Tue, 02 Feb 2010 22:30:36 +0000

Don’t bust on Corigliano for focusing on his fee. Composers make money through BMI or ASCAP residuals when the movie is shown on TV, and this is often taken into account when accepting the gig. Some producers will ask composers to take a smaller fee when budgets are tight, with the idea that they will get their money on the back end.

Because the score wasn’t used, he won’t see any of this. All he’s saying is that he’s satisfied that he was well-paid upfront, so the loss of residuals is not an issue.

“if I do another film, it will also have to come with a fee that compensates for the fact that the company may not actually use the music”

By: James Phillips

James Phillips — Sat, 16 Jan 2010 05:55:39 +0000

Since Corigliano’s score was recorded, there is a chance that it would be released as a cd, or used, as he has done in the past, adapted as concert works like he did with ALTERED STATES, REVOLUTION, and THE RED VIOLIN. Either way, we will eventually hear this score in one form or another.

By: Tigger

Tigger — Wed, 09 Dec 2009 21:21:15 +0000

I think Bill Conti said it best…
“You haven’t made it until you have had a score thrown out”

Corigliano joins the ranks of other ‘rejected’ composers like

Randy Newman
Danny Elfman
Bill Conti
Alex North

and many other amazing film composers. I think demand may ultimately bring his score to light as a limited release.

By: Kevin

Kevin — Wed, 09 Dec 2009 17:58:51 +0000

I think JC reacted rather well considering how enormously disappointed anyone would feel in his position. And yes the amount of money he was paid probably DOES heal the wounds. To whose idealized careers do these small-minded fools refer when they equate artistry with starvation?!?!

By: Joe

Joe — Sat, 14 Nov 2009 14:19:23 +0000

Scott> Indeed! And does well off mean you should be paid less?

Where does this perception come from that composers make lots of money?
Although it sounds like Mr. Corigliano is quite well off, writing scores like this take a significant effort, and usually under a lot of pressure. And whoever said that art is only art when one has to suffer for it? People like to get paid for what they do, whether it is writing a score, working at a bank or fixing the plumbing.
A recent survey published in Variety (from the Society of Composers and Lyricists I believe) showed that composers these days are off much worse than they were 20-30 years ago.
Scoring jobs are less well paid, the composers are often expected to handle the entire production themselves (either composing ‘in the box’ or getting a one off fee that includes session organisation and musician’s hire) and have to score a feature in less time.

Anyhoo, a rejected score usually means the film is in trouble, and hasn’t tested well. Seems a real shame, as by the sounds of it his score would have elevated the film to another level; instead the studio seems to have gone for the typical action fare.

Would love to hear it though, Altered States is on of my all-time favourite scores…

By: Scott

Scott — Tue, 03 Nov 2009 15:32:58 +0000

Does him being openly gay mean he can’t/doesn’t have a family?

By: Harmodio

Harmodio — Sun, 01 Nov 2009 12:06:49 +0000

“He needs to feed his family?” That’s funny. Corigliano is openly gay, and I don’t think he is short of money at all, as he is teaching at Lehman and Julliard, among other things. Anyway, I find his description of the score very interesting, and I hope it will be released on CD some day.

By: David Gaines

David Gaines — Fri, 30 Oct 2009 14:08:25 +0000

Insisting on not being taken advantage of and not being exploited hardly qualifies as being solely “after money after all.” Even serious classical composers need to have their heads screwed on straight when it comes to making a living and dealing with the worst of the worst in terms of brutal, bottom line-oriented, global capitalism. Note also that he pointed out several times that he would simply refuse an offer to score a movie with which he feels artistically incompatible, with the size of the fee presumably being irrelevant.

As one of said serious classical composers, I can relate to John’s position, although I certainly can’t relate to his exponentially (and richly deserved) greater income and standing in the music world!

By: johnbijl

johnbijl — Fri, 30 Oct 2009 10:33:11 +0000

There’s on big difference with King Kong. Shore’s score was rejected because he had disagrements with Jackson. This time – not the first time – it’s not the artists who wanted a different approach.

Again, studio-mingling will damage an original idea. I hope there’s something left to enjoy on Egde of Darkness, but certainly hope John’s score will see the light of day on cd.