David Arnold comments about "Cutthroat Island"
FordaT
to speak with David Arnold on the subject of "Cutthroat Island"
Peter Kelly has given me permission to report his comments on this matter
Ford A. Thaxton (For...@aol.com)
Date: Wed, Dec 6, 1995 1:10 PM EST
From: MovieToons
Subj: Re: Cutthroat Island/David Arnold
To: FordaT
I talked with David on the subject very briefly. There certainly was meat
to the matter, but all he could say on the record was something to the
tune of "creative differences."
No score was recorded by an orchestra at all, however I am sure David had
a theme written down somewhere. The creative differences came into play
when discussions took place about how the music was to be used, rather
than the style of the music. You should find Debney's work for Cutthroat
very similar to Arnold's style. That's the style the film requires. Some
say Debney's music for Cutthroat not only sounds like Arnold's, but like
Williams' or Korngold's. Not surprising, as that's exactly from where
Arnold and his orchestrator draw their inspiration (and, of course, from
the film). Debney simply agreed with whomever wanted specific use of the
music in the film. If David feels he cannot entirely collaborate within
the filmmaking process, he will not do the job. He likes to do more than
just write the music. In a sense, he wants his music to have the same
presence the actors/actresses have on the screen. Sure it's more
difficult - not only does he have to know what music is needed, he must
deeply understand every motive in the film: character's histories, plot
development - in order to do this, he likes to talk to everyone involved
with the film - actors, actresses, producers, etc - throughout the entire
filmmaking process. This is NOT to say John Debney doesn't get involved
in the films he scores. I am positively certain Mr. Debney does get
involved. It shows in his music. I am a big fan.
Basically, David wants to work on really good films. He wants a
challenge. Otherwise, he would be bored. He tells me he would rather do
one good film a year than six John Doe films (nothing against Capra).
Once he's completed a project, he needs time for the film to wear off his
psyche. So, he goes to his home in London and makes records until he is
ready to score a film again.
And that's David Arnold.
MovieToons
P.S. Please forward to whomever. Find an interview with David Arnold at
www.filmmusic.com
MovieToons
movie...@aol.com wrote:
"You should find Debney's work for Cutthroat very similar to Arnold's
style."
micst...@aol.com reacted:
>I seriously doubt that the two are even remotely related.
>The two composers mentioned in this thread were not in any
>communication with each other, nor was any temp dub produced
>with any music of Arnold's.
Two very different sentences here. First of all, several people on this
list have momentarily paused, wondering why David Arnold's score was not
used for Cutthroat - Debney's work turned out to be what people expected
of Arnold's. If I recall correctly, the question was "why fire one style
and rehire it again?"
___
"Some say Debney's music for Cutthroat not only sounds like
Arnold's, but like Williams' or Korngold's."
>I would challenge anyone who maintains a scrap of evidence
>linking Mr. Debney's work with any of Mr. Arnold's work. In the
>credits for the "Cutthroat..." soundtrack, Debney acknowledges
>the inspiration of Korngold, Rozsa, and Steiner. These composers
>defined the genre of the pirate movie score. In this particular
>score, the influence of John Williams is not evident.
Challenge not really accepted. Sign any name you want to it, but expect
the score to be like a Korngold score (or a Williams score, which is close
to the same thing). What I mean to say is these two composers are not
linked in anyway with one another. The point is, composers are linked to
the film. Inspiration for music is drawn from the movies for which they
are written.
___
"Debney simply agreed with whomever wanted specific use of
the music in the film."
>Was the author of this outlandish statement privy to the
>discussions that occurred between Debney and the film's
>director? This statement again has no basis in fact.
If style is not the case for discussion, what's left? Obviously, HOW the
music is to work within the film. Let's leave it at that.
___
>As for the rest of this interview excerpt, the process described is
>not radically different for any composer. How many composers want
>to work on a bad film?
Just because David really REALLY likes to score GOOD films, this does not
mean everyone else is left with the bad films. I am sure many composers
(in fact, all composers, sans Michael Perelstein) want to score good
films. I would imagine most composers today simply just work for a living
and aren't very picky.
___
"all he could say on the record was something to the tune of "creative
differences."
>Mr. Arnold was paid quite handsomely for a score that
>wasn't produced. Either the KXLU interview was badly edited
>with statements taken out of context, or he has a major case
>of sour grapes.
Who is "he"?
>I prefer to stand in what will prove to be good company with
>the opinion that the score that John Debney composed for "Cutthroat
>Island" is truly amazing.
I am with you 100%. Did you see the part of the post that mentioned my
fascination with Debney's work? I really think he has talent. So much
so, I have invited him to be on SilverScore next month. You should
listen!
Thanks for understanding,
MovieToons
Micster007
style."
composers mentioned in this thread were not in any communication with each
other, nor was any temp dub produced with any music of Arnold's.
like
Williams' or Korngold's."
Debney's work with any of Mr. Arnold's work. In the credits for the
"Cutthroat..." soundtrack, Debney acknowledges the inspiration of
Korngold, Rozsa, and Steiner. These composers defined the genre of the
pirate movie score. In this particular score, the influence of John
Williams is not evident.
the film."
occurred between Debney and the film's director? This statement again has
no basis in fact.
not radically different for any composer. How many composers want to work
on a bad film?
differences."
Either the KXLU interview was badly edited with statements taken out of
context, or he has a major case of sour grapes.
Micster007
>Who is "he"?
The "He" that I meant in reference to sour grapes was David Arnold.
>If I recall correctly, the question was "why fire one style
>and rehire it again?
You've answered this question in your first posting:
>The creative differences came into play when discussions took place
>about how the music was to be used...
If Arnold did not agree with Renny Harlin about the role of the score, and
couldn't convince Harlin of his position, then their really isn't much
more for them to discuss.
Incidentally, Arnold was the second composer dropped from the film.
I look forward with anticipation to your interview of John Debney.
Cheers,
Mick Stern