Harvey Weinstein and his unhappy composers

The Hollywood producer had a rough way with some musicians.

He allegedly threatened violence against Elliot Goldenthal, according to Peter Biskind’s documentary.

Maurice Jarre had a score amputated.

Others claimed he ripped them off.

Any further evidence?


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  • Let the piling on begin! Just a few years ago his awful behavior towards females was ignored and his money gratefully accepted; now, he is a pariah and every journo is rushing to create a different narrative.

    • A search of news articles about Weinstein prior to this scandal will get you quite a few unflattering ones.

      Why wasn’t it national news? Because show business people angry at show business people doesn’t rank in most people’s universe.

  • There’s a huge difference between artistic differences, including distortion of work, and sexual harassment to the point that settlements are made, apologies ensue and firing is necessary. A little sensitivity might be in order.

    • I don’t think anyone is comparing sexual harassment and how he treated composers. It’s two issues. Why can’t both be topics of conversation about a controversial figure?

  • I fully agree that sexual harassment is abhorrent and it is right that Weinstein be outed and punished. Let’s not forget, though, that he smashed through quite a few barriers and produced some very fine movies. It was known in the business that he is a hugely hands-on producer and he annoyed/angered a lot of creative people, especially in the editing process. Ultimately, though, that is where the power lies in the movie business. Those who find the cash make the rules. I have no doubt that composers just as much as some directors who have already spoken out loathed this. On the other hand, many of his movies became hits precisely because he knew what he wanted and made sure he got it.

    • Weinstein didn’t actually threaten Goldenthal in relation to any film scoring. He did so after threatening Goldenthal’s wife, director Julie Taymor.

      I can’t even find a film for which Weinstein was a producer that Goldenthal wrote the music for. So a bit of clarity would be de rigueure as far as any claims made by NL.

      • Frida was made by Miramax, Weinstein’s company, which is why he came to blows with Julie Taymor (Harvey wanted to cut 10 mins out of the film). The story is well documented in a number of books and articles. Goldenthal won an Oscar for his music to Frida.

        • I stand corrected.
          I searched for correlation between Goldenthal and Weinstein, but IMDb did not list Weinstein as a producer on Frida.

          Remains that the dust-up between Weinstein and Goldenthal was not related to the soundtrack nor Weinstein’s treatment of composers as NL’s article implies.

  • Don’t pretend that Weinstein’s predatory behaviour does not happen in opera. It does, and young female singers feel that if they speak out, that is the end of them (with some justification).

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