Only days before the January 16 opening of Michael Mann’s new cyber-thriller “Blackhat,” one of the film’s credited composers, Harry Gregson-Williams, took to Facebook to voice his displeasure with how his work was – or wasn’t – used in the film, asserting that the film “contains almost none of my compositions. … I was not the author of most of what is now in the movie.”
He subsequently removed the posting, but not before a new Hollywood controversy was born.
“Harry’s a talented composer whose music needed editing and remixing to fit the very contemporary subject and ambitions of my picture,” said Mann. “He was one of (several) composers who contributed to the score — along with Atticus and Leo Ross, Ryan Amon and Mike Dean. It would have been preferable to me, too, if the delivered music could have been used as it was.”
To further underscore the importance of the collaborative nature of the composer-director relationship, a spokesperson for Mann also added, “Michael Mann is responsible for some of the most influential use of music in cinema and TV from ‘Last of the Mohicans,’ ‘Miami Vice,’ ‘Thief,’ ‘Insider,’ ‘Heat,’ ‘Collateral’ and ‘Public Enemies.’ Many times he uses multiple sources and commissions individual themes. ‘Manhunter’ and ‘Collateral’ are examples. He doesn’t plan to change his methodology.”