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I got a call in the early 90s from the head of A&R at Warner Music who would later dislike me forever after I wrote a critical article about what a maroon he was (but that’s another story for another day…..but he really was a maroon). That day however he called about Johnny Mnemonic. The producers were trying to reach me and didn’t have my number, they tried my record company. He said they wanted to find out if I might be into composing for this film and by the way it paid oh, about $100,000. I got their telephone #s and responded that I definitely could fit their project into my schedule.<\/p>\n
Apparently they required a Canadian composer to honour some legal aspects of their funding blahdidy blah blah. They said I was at the top of the list of cool composers. But before we ever met in person the director changed his mind about using a Canadian in favour of his buddy in Manhattan. I enjoyed hearing I was at the top of the cool list. I even thought I was hot shit for a little bit but since then I’ve come to imagine they called at least 30 musicians and left them a message like\u00a0 “By the way you’re at the very top of our list of who’s a cool composer in Canada<\/strong>.”<\/p>\n What blew mind was realizing people in Hollywood make that kind of money for scoring a film. Later when the film came out I went to see it and I sat there the whole time thinking I could have made music SO MUCH BETTER. Music that would have made your film something to remember tomorrow. I bet there were at least 29 other people with the same thought.<\/p>\n","protected":false},"excerpt":{"rendered":"