The facts of the story are this: Kamen came directly from Fox and was not who Singer originally wanted (we all know who that was); If Singer did NOT like the music there was nothing he could do as Fox had a set release date. If the score sucked, there wasn't time for a replacement...it would have to stick...so I doubt there was ANY kind of a rejected score whatsoever...there just wasn't enough time to write anything other than what was presented.

Granted, Kamen didn't have all the time in the world to write a score, but others have done MUCH better with just as little time...just my opinion there folks...

In any event, the rumors of a rejected score or Singer wanting only background filler music are unfounded and just an excuse to make Kamen's music appear as if it is what someone ELSE wanted as opposed to what Kamen simply created.

ot a horrible score, but as was suggested, a score that did NOTHING but serve, as PeterK stated so eloquently, as background noise in a film that deserved SO MUCH MORE.

Joe

NP - nothing...going to lunch...

I also have an acquaintance who seemed to be in (the know) on the production of the score, and mentioned finishings going on up to the last minute. Prints of X-MEN were supposedly struck only last Monday.

X-MEN was indeed on a very tight schedule, supporting the notion that there was no rejected score (mind you, it's only evidence, not proof, submitted for your approval).

As to the music in the film itself - it's PERFECT! It was EXACTLY what this movie needed. This film did not need forefronted, hummable themes, comic book movie or no. It's a character driven story, like Singer's previous two films. It's about Wolverine, and to a lesser degree Rogue, discovering these X-MEN, this very foreign society. It's about how he sees them, and the music is about how he feels about them, his environment, etc. It conveys that masterfully, similarly in my mind to how the Blade Runner score worked. I think, in general, film music is doing its best job when it conveys such things as on-screen emotions, how the characters are feeling, rather than when it tells ME how to feel about a given moment. This is not always true, but it usually is in character driven films like X-MEN.

I love new hero-themes, or hero-like themes (Jurassic Park and Stargate come to mind) and this movie's making seemed like a good excuse for a new one, but what the film actually is not only doesn't call for such a thing, it virtually resists it.

Bravo to Singer and Kamen alike for the choices they made.

I appreciate your thoughts about Bryan Singer, his choice of music, perceived facts, etc, etc. But what I am asking for is some sleuthing... if someone can, please get to Singer himself and ask him directly if he's pleased with the score that was written by Kamen. Perhaps the Fox suits had a bit more say about the score than Singer did? After all, the suits DID bring Kamen in... but, this is all speculation. I'd like to know between Kamen and Singer if they are honestly very pleased with their work on the X-Men score and achieved what they together initially set out to achieve once it was clear who was assigned.

That's all. I'd do my own sleuthing, but I am in the middle of getting this online store in shape.

One thing I did notice though, was that Kamen borrowed a few short part from his Robin Hood Prince of Thieves score.

See if you can pick it!

I don't think it's upto Kamen's usual standards, but still, it's worth a listen.

Some parts reminded me of David Arnold's Bond scores as well as Chris Franke's Babylon 5 scores, with the mixture of electronic and orchestral sounds.

I probably wouldn't rush out and buy this score, but I do like it.