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Originally Posted by DontRunMeOver
Well, it does have a long back-catalogue to continually (apart from the music for Troy, possibly the most ill-suited music I've ever heard, did anybody else notice that?)
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Initially Gabriel Yared was hired to do the job, and he worked on a score for around a year. Wolfgang Petersen (director) actually loved his work but after one of the test screenings, the focus group at the preview absolutely hated the music and thought it was "overpowering, too big, old fashioned and it dated the film." So Yared's score was completely rejected by Peterson abruptly. The strangest idiosyncrasy about it was that the score was yet to be completed and Yared wasn't even given a second chance to fix anything up. The production crew and Peterson then decided seemingly on a whim that the score was non-fixable so they hired James Horner who only had a month and a half to write an entire score!
The result? Like you say it was very poor (in regards to appurtenance) and surprise, surprise, Horner uses his trade-mark three-note motif. But he doesn't have stop there, oh no, Horner overuses his motif to a state of hilarity - I know I couldn't stop laughing at it. If you don't know what I'm talking about, go and watch almost any movie where Horner is the composer, like "The Land Before Time," “Braveheart,” or “Glory,” etc. But if you've seen “Troy” then you should know what I'm talking about as he uses the motif in that film almost non-stop, as I mentioned earlier.
I must admit, Horner is one of my favourite film composers despite his perceptible flaws (all great film composers have theirs). Moreover, I believe he did a good job under on “Troy” for the time he was given. I think the ultra-quick composing is the fastest film score ever written.