Labrinth Clarifies He Left ‘Euphoria’ Because He Won’t “Let People Treat Me Like Sh*t”

I mean James Patterson is the Thomas Kinkade of novels so yeah. They’re all shit people who slap their name on the work of other people to make as much mass market c*** as possible. Hell, why not throw Thomas Eddison in there to covere the inventors because he also slapped his name on anything made by anyone in his employ! There’s at least one in pretty much every field.

If you study the history of film and television scoring you'll find a lot of assistants and collaborators. Same thing with classical and even postmodern music. John Williams has arrangers and orchestrators and copyists. Mike Post had Pete Carpenter as a collaborator for a long time, and there was a team behind them writing cues based on themes and sketches. There was a time when TV was largely scored both collaboratively and anonymously, tracking library music in as needed. This happened in film as well (the 1931 *Dracula* used needle drop classical music, for one) but usually low-budget releases. Sure, there's lots of examples of composers being mainly solo. Bernard Herrmann was a cranky b****** and people often disliked working with him. Them in the late 1970s John Carpenter kicked off synthesizer underscore with *Halloween*, though he eventually moved to collaboration with Alan Howarth. A lot of that stuff was one guy working a seventy hour week *states in Jan Hammer* until Danny Elfman combined that with the team approach.

I'm not sure where you are getting your information, but as a composer working in the industry, that is factually just not correct. There are \*some\* composers that more or less work alone, but that number is very very small, especially in this day and age. Hans is definitely more of a prolific team guy, and a much larger outfit than the others - taking on way more projects and in a different sort of industry that we're in now vs some of those older guys .... but there are a ton of composers out there who are far more offensive as far as ghostwriting goes. At least Hans tends to be quite decent with credits, I can name a few other composers that actually have their scores ghostwritten without giving additional writer credits, and some of the names would surprise you. A lot of the legacy composers all had other composers write additional music, orchestrate, and all sorts in between, and yes, including many of the names you listed. One quick example that I can talk about because its now widely known- Harry Potter 2. William Ross wrote most of the actual score, with Williams providing some thematic material, in the same way that HZ provided themes for POTC and handed it over to an army w/ Klaus Badelt. But there are plenty of other examples with all sorts of composers, Horner, Goldsmith etc all included.

Under that standard the LOTR 2 and 3 ost would very likely be ineligible for an Oscar. Establishing musical themes in the first movie and carrying them on into the 2nd and 3rd is textbook when writing an ost for a trilogy, it ties specific themes to specific characters or places or ideas and make them stick in the brain of the audience, look up what a leitmotif is. It isnt lazy it's a very effective composition technique that predates film as a medium.

Is that you, Aaron Ferret?