Can a film composer sell out?

Or, If John Williams falls in the woods, is it underscored with strings?

Rolfe Kent's work first wormed its way into my aurality with About Schmidt (a superb score that sticks in the mental playlist to this day). But when I saw Wedding Crashers in August, I started to get suspicious. Seems Kent -- an Alexander Paynester, Brit, maverick composer and blogger -- maintains a duplicitous lifestyle, recycling the scores for his indie films into themes for fluffterpieces like Just Like Heaven and the Legally Blondes. But I gave him the benefit of the doubt. Everyone needs a paycheck.

Then I saw his name attached to Failure to Launch. A vanity project for SJP and McConaugheyheyhey? Co-starring Terry Bradshaw? Surely, I thought, Kent doesn't need the money that badly. Surely he has sunk to a career low (while perhaps attaining a career high, with the yet-to-be-heard Thank You for Smoking). But let's not judge the score by its film. Launch may not be a sellout for any of the filmmakers, given that it's being proclaimed "Wilderean," "one of the best American films in months and the best comedy since I don't know when." I mean, if this is anywhere near accurate, then the peon who composed the vacuous trailer should be sacked, and promptly.

That said, I'm waiting for the day when Jon Brion scores Bringing Down the House 2: Straight Trippin' Back in the 'Hood and Carter Burwell scores I've Grown Accustomed to This Weight, a My Fair Lady update focused on the bulimia plague affecting today's vulnerable stars, featuring Ashton Kutcher and The Lohan.