I don't know specific details, but Herrmann either had no interest or didn't care about getting along with the right people in Hollywood. He made more enemies than he made friends.
Of course, his music speaks for itself. He was easily one of the greats during the golden age of film music, roughly 1933 through 1968. His peers during those years, namely Miklos Rozsa, Alfred Newman, Franz Waxman, Dimitri Tiomkin, and Max Steiner, were all more affable, friendly, and diplomatic. As a result, Rozsa had 3 Oscars and 17 noms; Newman received 9 Oscars and 45 noms; Waxman collected 2 Oscars and 12 noms; Tiomkin garnered 4 Oscars and 23 noms; and Steiner picked up 3 Oscars and 24 noms.
If the Academy had judged Bernard Herrmann solely on his music rather than his personality, his Oscar and nomination totals would have been comparable to those of the other 5 golden age greats.
Nevertheless, history and the recording industry have been very kind to Herrmann's music and legacy. Virtually every one of his greatest scores have been preserved with either original soundtracks or modern re-recordings and frequently both. Still lacking complete recordings are his scores for The Devil and Daniel Webster and The Man Who Knew Too Much. although both may eventually get complete re-recordings within the next few years. Fingers crossed. |
