> This is the best analogy. It's common knowledge that all composers use
> ghostwriters - it's an absolute necessity when things come down to a time
> crunch. There are times when it's just physically impossible for a single
> composer to write however many minutes of music are needed in the time
> required by the film's post-production schedule, and orchestrate it
> properly, especially when the film is being re-edited at the same time.
> EVERY composer has needed to do it at some point in their career. EVERY
> SINGLE ONE. No exceptions.

> What usually tends to happen is that the lead composer - be it Beltrami or
> whoever else - will be the one to decide on the tone and orchestration of
> the piece, the lead composer will decide on the spotting for the length of
> the cue, the lead composer will be the link between the director/producer
> and the music team, and the lead composer will sometimes come up with a
> suite of themes which are to be used throughout the score (as Zimmer
> does). But, depending on the time crunch, it's very common for other
> composers to actually WRITE the cues, using those criteria as a framework.
> I was physically in the room with Dominic Lewis when he was writing some
> music for Kung Fu Panda 2.

> So, for Beltrami, you can still focus your positive or negative energy on
> him about the score, because he was still the one who decided on the TONE
> and APPROACH for the score, even if Trumpp or Roberts or whoever wrote the
> actual NOTES.

This reminds me when Desplat had 2 weeks to write some of his scores.do you know if he also uses ghostwriters/uncredited additional composers in some of his scores?