Rejected Scores INFO
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2001:  A Space Odyssey
Composers: Frank Cordell, Alex North, both R.I.P.
Score Details (for North):
Recorded at:  Anvil Denham, England.
Score Recordist:  Eric Tomlinson.
North: "About 110 players, with two organs and 8 percussion."

Score Details (for Cordell):
Recorded at:  Anvil Denham, England.
Score Recordist:  Eric Tomlinson.

Interview Excerpt with Stanley Kubrick:
"... When I had completed the editing of 2001: A Space Odyssey, I had laid in temporary music tracks for almost all of the music which was eventually used in the film. Then, in the normal way, I engaged the services of a distinguished film composer to write the score. Although he and I went over the picture very carefully, andhe listened to these temporary tracks (Strauss, Ligeti, Khatchaturian) and agreed that they worked fine and would serve as a guide to the musical objectives of each sequence he, nevertheless, wrote and recorded a score which could not have been more alien to the music we had listened to, and much more serious than that, a score which, in my opinion, was completely inadequate for the film. With the premiere looming up, I had no time left even to think about another score being written, and had I not been able to use the music I had already selected for the temporary tracks I don't know what I would have done. The composer's agent phoned Robert O'Brien, the then head of MGM, to warn him that if I didn't use his client's score the film would not make its premiere date. But in that instance, as in all others, O'Brien trusted my judgment. He is a wonderful man, and one of the very few film bosses able to inspire genuine loyalty and affection from his film-makers."

(I assume he was talking about North)
Last Updated: November 6, 2006

2010:  The Year We Make contact
Composer: Tony Banks
Score Details:

Various Interview Excerpts:
"Most recently, Tony was asked by director Peter Hyams ("Outland", "Capricorn One") to score "2010", the sequel to Arthur C. Clarke's "2001: A Space Odyssey". At the time of the interview below, Tony had not started work on the picture. However, he did tell us that he was looking forward to doing a heavily synthesized score utilizing digital sampling supplied by the E-mu Emulator to generate many new unheard and unrecognizable sounds. Shortly before we started work on this issue, however, "Variety" reported that Banks had been fired from the picture. Tony explains, "Peter Hyams really didn't like what I gave him from the word 'go.' I thought it strange since he was the one who contacted me, based on having heard what I had done on "The Shout". The first tape I sent him included something that I thought was great, but he came back and said he thought it was really bad. So I thought, 'This is crazy. Here I consider these to be the most appropriate things and he doesn't like them.' I don't know why he got a hold of me. Anyway, I thought, 'We'll fight on.' So I did a couple of other tapes, and we managed to end up with something he seemed fairly enthusiastic about.

When it came to thinking about final ideas, he said he didn't like it. I think he wanted something a lot more conventional than he orginally thought he did. The closer I got to writing a Hollywood kind of score, the happier he looked. That was disappointing to me. It was a blow to the confidence.

Banks had worked on the music for a long time, generating a lot of material. However, he still owns it, and may decide to do something with it at some future date. "I'm trying to get into some more ambitious instrumental pieces. Film is an obvious place to do that," he says. "I'm frightened at the idea of putting out an album of instrumentals without it being tied to a film. I'd have trouble finding someone to release it."

"He was approached to prepare the score for 2010, the follow up to 2001: A Space Odyssey, a high profile film, perfectly suited to his talents and an excellent vehicle to promote his name among the film moguls. Initially things went well but then internal politics and Hollywood's notorious capriciousness crept in and music that had initially excited the movie men suddenly wasn't what they wanted. Tony's eventual departure from the film was a source of intense frustration as he had invested so much time and excellent music into it and had turned down other film offers in its favour. (excerpt from 'Genesis: A Biography' by Dave Bowler and Bryan Dray) Note - some of Tony's unused material for 2010 was later revamped for Lorca And The Outlaws ("Starship")."

Moving on to the Soundtracks album, there was a lot of talk at this time that you had been involved with the 2010 soundtrack and that didn't eventually happen.

I was given the sack, there's no two ways about it. The guy chose me because he really loved the theme from The Shout, he could sing it! (laughter). I couldn't believe that as it was difficult to sing anyhow, it hasn't got much of a melody. I thought that I was on to a winner here as that was like stuff I could write in my sleep. I met him and things went well and then I went home and made a demo of about five or six pieces. He rang me up and said that he didn't like any of them! He was very definite about it as well. I thought this was the big moment as well, I'd seen it as the next step up in the film writing world. Anyhow, I tried again by sending another tape out which he didn't like, so I finally decided to go out there and see him. I wrote a piece almost in front of him and I found the chord changes that he liked. He said that the piece I did there and then was great and then he asked for something that could be a song. Then I went home and began demoing some actual pieces for the film on the themes that we'd agreed on but he said that it wasn't working and that was that. The whole thing wasted about six months and it really was a set-back forme. There were quite a few film offers coming in.
Last Updated: October 15, 2010

30 Minutes or Less
Composer: Nathan Barr
Score Details:

Score Producer:  Joel J. Richard.
Last Updated: May 3, 2011

47 Ronin
Composer: Javier Navarette
Score Details (for Navarette):
Midi Programmer:  Luc Suarez.
Music Editor (supervising):  Andrew Silver.
Music Programmer:  Jody Jenkins.
Recorded at:  Abbey Road (Spring 2013) (also where Eshkeri's replacement score was recorded).
Last Updated: June 18, 2013

A River Runs Through It
Composer: Elmer Bernstein, R.I.P.
Score Details:

Arranger:  Christopher Palmer, R.I.P..
Music Editor:  Kathy Durning.
Orchestrator:  Emillie A. Bernstein.
Recorded At:  Wind Mill.

Flute:  Louise DiTullio.
Uilleannn pipes:  Liam O'Flynn.
Last Updated: May 31, 2010

A Time For Killing
Composer: Van Alexander
Score Details:

Interview Excerpt:
"...They had a Western film with Glenn Ford and Inger Stevens. They had changed directors in the middle of it, as well as writers. The picture was really in trouble. Following those four or five independent projects for Columbia, they said, "Why don't we give Van a chance? Maybe he can save the picture." They gave me a very good price and I had plenty of time to do it. I was given an office at the studio. I did the score in about six or seven weeks. I had a big orchestra and they were all there at the scoring session (Mike Frankovich and the head of the music department, Joni Taps). They raved about the music and said, "My God. You've saved the picture!" I was on cloud nine. So now they had what they called a "preview" of the picture. This is where they show it to the public and try to get some feedback. With my wife and two daughters, we all went to a theatre out here in the San Fernando Valley for the showing. Well, it was a disaster. People were laughing in the serious parts and were hissing the villain. I wanted to crawl under the table. I thought that I had written a pretty good score and everyone at the scoring stage had approved. And now the Columbia brass sees the result in the theatre! Two days later, Mike Frankovitch calls and tells me that he doesn't think that the music is right for the picture! I asked him if they wanted to change anything and he said, "No, I think that we're going to throw it all out and re-score it with 10 guitars and make it a real Western." So they hired Mundell Lowe who is a great guitar player. He brought in 10 guitars, but that didn't help the picture either. It never played in a theatre, but was on television about three weeks later. That made me feel a little better, but I felt as if I'd never do another picture!  But I remember what film composer David Raksin once said: "You're not a full-fledged screen composer until you've had a score thrown out of a picture. ..."
Last Updated: August 12, 2006

The Abyss
Composer: ?????
Score Crew:

Bassoon:  John Steinmetz.
Last Updated: December 12, 2007

Composer: Howard Blake
Score Details:
Interview excerpt:
"I nearly got murdered because of this. I did a film called Agatha, I was Musical Director on it. David Puttnam was the producer and he said, "It should be like a big Max Steiner score. It's 1923. Period film. Huge orchestra. You can do it. The actual script is a little bit iffy, a little bit weak, so we shall have to rely on the score a lot, so give it all you've got Howard." So I wrote a big score for it but David backed out of the film and we got another producer in who hadn't the same idea. We had a preview at BAFTA in Piccadilly [in central London] and everybody was saying, "What a wonderful score." Everyone had questionnaires and everybody put "fantastic music". What do you think of the script? Lousy. What do you think of the acting? It's OK. This producer grabbed me by the throat, and he said, "What are you trying to do? We're not asking people to buy your bloody music. We want them to buy the film. We're going to junk the whole lot". And he did. Junked the entire score. About one hour of fully scored, symphonic music, gone, like that. That's happened on a number of things. So it's a high risk job.."
Last Updated: February 14, 2007

Akeelah and the Bee
Composer: Terrance Blanchard
Score Crew:
Arranger:  Howard Drossin.
Orchestrator:  Howard Drossin.
Recorded at:  Los Angeles.
Last Updated: October 29, 2010

Air Force One
Composer: Randy Newman
Score Crew:
Conductor:  Randy Newman.
Recorded (and mixed) by:  Frank Wolf.
Orchestrator:  Don Davis.
Orchestrator:  Johnathan Sacks.
Music Editor:  Bob Badami.
Music Editor (assistant):  Angie Rubin.
Assistant (capacity unknown):  Bruno Coon.

Bassoon:  John Steinmetz.
Cello:  Matthew Cooker.
Cello:  Roger Lebow.
Cello:  David Low.
Flute:  Jim Walker.
French Horn (solos):  James Thatcher.
French Horn:  Rick Todd.
French Horn:  Phil Yao.
Trombone:  Bill Reichenbach.
Trumpet:  Rick Baptist.
Trumpet (solos):  Malcolm McNab.
Viola:  Simon Oswell.
Violin:  Michat el Ferril.
Violin:  rrrrrrRobin (yeah, that's what he likes being called; Robin Olson).

Last Updated: July 6, 2010

Composer: Chuck Cirino
Score Details:
Cirino e-mails this guy to make sure his review lets it be known he didn't do it:
"The movie was shot in about 5 days. I also scored it in about 5 days. (Director) Fred (Olen Ray) and producer Jeff (Hogue) were very happy with the score when it was done. Later, Fred was the one who told me the distributors were replacing it but he didn't seem to know the reason. My score was melodically unique but electronic in its execution and style -- yet I have reused cues in one of my own productions: So it couldn't have been that bad.

This was an ultra-low budget production from square one. I surmise that because I retained ownership of the complete soundtrack (writer's share and publisher's share), the only sane reason to replace an okay score with a bad one would be to own the music outright (and collect the royalties worldwide -- something I would still be doing if they had kept my score intact).

I do not know who they hired to re-score it.  All I know is what is evident: The new composer must have had three hours to redo the whole thing. The distributors didn't even have the decency to change the opening title credits - that would have cost them more money. Fred told me he would have been happier with the original score - but it was not his choice. If anyone would like to take the credit for scoring this film, please step forward and claim your right. For God's sake, you deserve it."
Last Updated: February 14, 2007

Alien Nation
Composer: Jerry Goldsmith, R.I.P.
Score Details:
Recorded at:  The Record Planet, Los Angeles, CA (May, 1988)
Last Updated: February 14, 2007

All the Pretty Horses
Composer: Daniel Lanois
Score Details:
Except from an IGN interview with Billy bob Thornton:

Q: There has been some talk of their being an original cut of All the Pretty Horses that is quite different. Do you think that will eventually make its way to DVD?

THORNTON:  We were offered the opportunity to put All the Pretty Horses out on DVD and I turned the offer down, and the reason is if I put out the Director's Cut on DVD, I would want it to be exactly what we made, and what we made had Daniel Lanois' score in it, and while I like Marty Stuartt's score, I mean, I'm the one who hired him when Miramax said, you know, 'We don't want Daniel's music in the movie.' They thought it was too sparse. In other words, you know when you're making a big movie, it's like people vote for movies that have big music and thousands of extras I guess, or something, so they want bigger music. So they need an orchestra. Well Daniel did this amazing score to the movie. It's beautiful and perfect for the movie, so when they said we could do the DVD I called Daniel and said, 'Look, they wanna put out a Director's Cut, isn't that swell?' And Daniel said, 'Well, it's not so swell because they didn't want my music in the movie in the theaters. I don't know that I want to give it to them for a DVD, because that's my music and I can use it.' Because he retained the rights to it, so he can use it for other things and maybe he will have it in a big movie in a theater some day and I said, 'I'm on your side. You're my friend. I agree with you. I wouldn't give them the music either.' So as a result, because I'm on Daniel Lanois' side, I don't want to put the movie out because I would want his music in it. So that's a long winded explanation for, 'No. There's not gonna be.'
Last Updated: July 3, 2007

Alphas: "Pilot"
Composer: Stephen Endelman

Score Details:
Music Editor:  Christopher Kennedy.
Last Updated: February 22, 2013

An Unfinished Life
Composer: Christopher Young
Score Details:
Additional Orchestrator:  Vincent Gillioz.
Additional score:  Wael Binali.
Arrangers:  Kristian Wilkinson, Larry Paxton (and orchestration).
Assistant to composer (Young):  Samantha Baker.
Assistant to Young:  William V. Malpede.
Assitant Score Engineers:  Andrew Dudman, Kirek Stiles, Sam O'Kell.
Conductor:  Allan Wilson.
Music Contractor:  Paul Talkington.
Music Editor:  Thomas Milano.
Music Preperation:  Dakota Music.
Score Preperation:  Scott Glasgow.
Music Supervision:  G. Marq Roswell.
Orchestrator:  Tom Calderaro.
Recorded at:  Abbey Road Studios.
Score Coordinators:  Dave Giuli, Williams Malpede, Wael Binali, Sujin Nam, Scott Glasgow.
Synth Designer (synthesist):  Johnathan Price.
Score Producer:  Flavio Motalla.
Score Recordist (and mixing):  Robert Fernandez.

Lead & Melody Guitars:  Larry Paxton.
Acoustic & Electric Bass:  Steve McManus.
Ethnic Flute:  Robert White.
Last Updated: January 23, 2008

And Starring Pancho Villa As Himself
Composer: Stephen Endelman
Score Details:
Orchestrator (and arranger):  Tim Starnes
Orchestra:  Prague Philharmonic Orchestra.
Recorded at:  The Rudolfinum.
Score Recordist:  Gary Chester.

2006 Longford Lyell Lecture:
To Mexico and back
"I had a score done for a film I did for HBO called And "Starring Pancho Villa as Himself", and when I left Los Angeles they dropped my score and replaced it with another! Pancho Villa, the Mexican revolutionary, had the idea during the Mexican revolution (around 1915) that he wanted a movie made of his exploits, so he contacted DW Griffith. Griffith had more sense than to go down to Mexico and get caught up in a revolution but he sentdown a young American producer called Frank Thayer, and Thayer actually made a filmabout Pancho Villa -- a silent movie starring Pancho Villa as himself. This movie doesn't exist anymore but Paolo [Cherchi Usai, NFSA Director] is looking everywhere for it -- worldwide. It starred Raoul Walsh (who later became a famous director), and it's quite well documented. A lot of the people who went down there wrote books about their experiences. I said to my composer Stephen Endelman I wanted a score that summed up the relationship between Frank Thayer and Villa. Because Frank Thayer was only 22 when he went to Mexico he saw Pancho Villa as a romantic revolutionary. He worshipped his idealism and his patriotism. I wanted the music to reflect this. Later, as he learns more about Pancho Villa, he starts to question a lot about him. The themes can then be varied to express Thayer's disillusionment."

The studio factor

"In the end Endelman's score for Pancho Villa was ditched and I don't think the replacement captured the spirit of the film at all. A surprising number of film scores, even those by celebrated composers, are replaced by the studio executives. I suppose they're right some of the time, but mostly I suspect they're making a mistake."
Last Updated: November 27, 2007

Apocolypse Now
Composer: David Shire
Score Details:
Recorded at:  Parasound Studio (LA, 1979).
Synthesist:  Bernie Krause.
Last Updated: October 8, 2010

Aren't You Even Gonna Kiss Me Goodnight? (AKA: A Night In the Life Of Jimmy Reardon)
Composer: Elmer Bernstein, R.I.P.
Score Details:
Music Editor:  Kathy Durning.
Orchestra:  The London Philharmonic.
Last Updated: June 11, 2008

Composer: Michael Kamen, R.I.P.
Score Details:
Orchestra:  The London Philharmonic.

Found at's "Trivia for" page of the movie:

     I found this on's Trivia page for the movie:

     "Michael Kamen originally composed the score for this film.  His score was rejected by director Richard Donner.  Donner felt Kamen's score was heavy, dreary and made the film feel slow.  Donner felt the film needed a fast, slick sounding score.  Donner didn't want to let go of Kamen as the two were close friends and had worked together on many films. Donner even tried to give Kamen a chance to recompose the score, but Kamen had already began work on Die Hard: With a Vengeance (1995) for director John McTiernan.  Donner then went to composer Mark Mancina, who provided him with the fast, slick score he wanted for the film.  Due to time constraint Mancina couldn't come up with a main theme for the film as he only had 5 weeks to produce the score for final approval. The time constraint was caused by the film's original June '95 release date which was later pushed back to October 1995. "
Last Updated: August 20, 2006

Composer: Craig Armstrong
Score Details:
Music Editor:  Richard Bernstein.
Cheif Sound Engineer:  Geoff Foster.
Sound Engineer:  Nick Wollage.
Recorded In:  2004.
Orchestrator:  Paul Leonard-Morgan.
Arranger:  Paul Leonard-Morgan.
Conductor:  Paul Leonard-Morgan.
Orchestra:  The Irish Film Orchestra.

Do overseas, like the U.K., DVD's feature his score?
Last Updated: October 6, 2008

Aurthur Christmas
Composers: Michael Giacchino & Adam Cohen
Score Details:
Music Editor:  Lodge Worster.
Last Updated: June 26, 2014

The Avengers
Composer: Michael Kamen, R.I.P.
Score Details:
Additional Score:  Michael Columbier, R.I.P..
Chief Sound Engineer:  Geoff Foster.

     Here is an excerpt of a Michael Kamen interview published in a French movie mag (called "Starfix") in September 1998.  The interviewer:  Didier Lepr?Ye.  (roughly translated from French by MightyMcT):

Interviewer:  "- What happened exactly on THE AVENGERS?"

Kamen:  "It's a long story!  First, Jeremiah chose me after having seen 101 DALMATIANS (the live version).  He wanted the same tongue-in-cheek tone for his movie.  We talked a lot, about the project, the actors, the music, etc.  I then started to work on the project around September/October 1997.  I had lots of ideas.  In December, we did a demo with the very first cut.  Everything was fine."

Interviewer:  "Did you re-use the Laurie Johnson theme?"

Kamen:  "At first, I didn't want to.  But the people from Decca made me change my mind.  So I created a main theme mockingly inspired by Laurie Johnson's work.  His theme was there, but with a twist, some more crazyness, especially in the percussions."

Interviewer:  "And how did you get fired?"

Kamen:  "The sneak previews, always the sneak previews!  First, in the States, the producers showed some dailies to a targeted audience: it went wrong, the movie was not working.  There was maybe one hour worth of footage, with the broad lines of my score played by an american orchestra.  That's when the producers freaked out and decided to come to England to do the real test.  It occured in mid-March, in London.  There, the previews went even worst: they were disastrous!

"Interviewer:  "So what happened next?"

Kamen:  "From that point, all things were rushed.  I had to cancel all the concerts I had scheduled mid-March at the Carnegie Hall in New York to re-score the picture.  Jeremiah now wanted a closer identification to the original Laurie Johnson's music, and to the TV series, but I was not particularly interested in doing that.  THE AVENGERS score ... turned into a James Bond movie score, see?  In the Bond movies, I was always able to predict when the Monty Norman theme would play, because the musical and scriptwriting approach was so obvious.  On LICENCE TO KILL, I tried to play that tongue-in-cheek, but, again, they did not like it and made me change it.  On THE AVENGERS, what they wanted was: some Michael Kamen, then the Laurie Johnson theme, then some more Michael Kamen ... there was no room for identity, and certainly no room for playing it tongue-in-cheek.  Yet I managed to rewrite my score, for a new cut of the movie, which was faster and dryer.  Unofficial recording sessions took place here in London, then we came back during April.  Then, the clash.  Nobody understood my approach, or should I say noboby tried to understand it..."

Interviewer:  "And you finally decided to walk away?"

Kamen:  "Sort of. I'm not good at pastiche.  My job is not to do scores "in the style of...".  There are other composers out there who do that very well.  But I feel somehow bitter about THE AVENGERS ... I'm sure it will be a huge hit, no matter what.  Sean Connery is very good in it and the audience will just love the new Steed/Peel.  With my non-stereotyped score, it simply would have been even greater!"

(I would like to thank MightyMcT for this.  Thank you!)
Last Updated: September 2, 2004

Balls of Fury
Composer: Craig Wedren
Score Details:

Music Editor:  David Burk.
Last Updated: January 28, 2008

Composer: Michel Magne
Score Details:

Conductor:  Michel Magne.
Last Updated: February 1, 2010

The Battle of Britain
Composer: William Walton
Score Details:
Conductor:  Malcolm Arnold.
Conductor:  William Walton (one scene -- the air battle).
Orchestration (additional):  Malcolm Arnold.
Recorded at:  Denham Studios.
Recorded on:  February 21 & April 10, 1969 (maybe some in March).
Score Recordist:  Eric Tomlinson.

(unspecified brass instrument):  Terry Johns.
Last Updated: April 17, 2016

Billy Bathgate
Composer: John Kandar
Score Details:

Orchestrator:  Michael Gibson.
Score Recordist:  Michael Gibson.
Last Updated: June 29, 2009

B. Monkey
Composer: Luis Bacalov
Score Details:

Conductor:  Luis Bacalov.
Mixed at:  Forum Music Village (Roma).
Music Assistant:  Giovanni Bacalov.
Music Engineer:  Damiano Antinori.
Recorded:  1998.
Recorded at:  Forum Music Village (Roma).
Sound Engineer:  Marco Streccioni.
Last Updated: January 25, 2008

Bad Boys 2
Composer: Mark Mancina
Score Details:
Music Editor:  Bob Badami.
Last Updated: August 15, 2006

Barbarians At the Gate
Composer: Trevor Jones
Score Details:

Orchestrator:  Guy Dagul.
Scoring Engineer:  Roger King.
Recorded:  December 11, 13 & 15, 1992.
Last Updated: June 20, 2007

Beast From 20,000 Fathoms
Composer: Michel Michelet
Score Details:
Excerpts from the book: "The Dinosaur Films of Ray Harryhausen:

"According to Harryhausen, Michelet's discarded score was light classical music." and really wanted Steiner to rescore it, but Steiner was too famous and never asked.

Cost of rejected score:  Est. $5,000.00.
Last Updated: September 27, 2007

Before the Devil Knows You're Dead
Composer: Richard Rodney Bennett

Score Details:

Cello:  Fred Sherry.
Timpani:  .
Last Updated: November 4, 2013

Behind Enemy Lines
Composer: Paul Haslinger
Score Details:

Sound Samples:  Robert Rich
Last Updated: January 18, 2007

Being Julia
Composer: ?????
Score Details:
MusicFromtheMovies interview excerpt:

"How did you get the assignment to score a film for István Szabò? And what specific instructions did he give you. What was his goal with the music in Being Julia?"

DANNA:  "I was replacing another composer.  As you know this is a very common occurrence nowadays. I've been on both sides. Nine times out of ten it wasn't incompetence or anything like that, it was misdirection, or a matter of the team figuring out what it is they don't want at the expense of the composer's job. As the incoming composer I think it's good to reach out and call the outgoing composer and try to make the best of an awkward situation.  Anyway, what they had discovered is that they wanted a more dramatic score. István comes from the school of less is more, and when it comes to music, for him, way less is more.  He is doesn't like music that informs, or tells the audience anything that might duplicate what the actors are doing on the screen.  He was still very cautious, but I think he had discovered that he had gone too far in that direction with the other composer.  In fact, the film is very dramatic in the theatrical sense of the word, and quite different from any of his previous projects, so the film could, and does successfully accept a more demonstrative score."
Last Updated: August 12, 2006

The Belly of An Architect
Composer: Glenn Branca
Score Details:

Orchestra:  The London Sinfonietta.

Violin:  Joan Atherton.
Last Updated: February 9, 2010

The Bible
Composers: Goffredo Petrassi, Ennio Morricone
Score Details (from a letter Rozsa wrote back in 1967, when he was being engaged to score the film):

"As Mayuzumi had no name value they also engaged Goffredo Petrassi, a fine Italian composer, and divided the score between them. First, Petrassi's music was recorded with a huge orchestra. It was beyond their understanding, and they sent Mr. Petrassi packing."

Score Details (for Morricone):
Conductor:  Franco Ferrara.
Last Updated: May 17, 2011

The Big Bounce
Composer: Jimmy Rip
Score Details:

Music Editor:  Angie Rubin
Last Updated: August 1, 2007

Composers: Atticus & Leopold Ross, Harry Gregson-Williams
Score Details (for Harry Gregson-Williams):
Additional Score (and programming):  Chris Healings.
Additional Score (and programming):  Charlotte James.
Additional Score (and arranging):  Philip Klein.
Additional Score (and programming):  Michael Truman.
Music Editor:  Clint Bennett.

Harry Gregson-Williams' Facebook post (removed January 13, 2015):
Dear all,

I would like it to be known for what it's worth that the 'score' for Blackhat maybe credited to me, but contains almost none of my compositions. I attended the premiere of the movie at the end of last week and discovered, to my horror, music that shocked and surprised me...quasi emotional (synth) string pieces that I'd never heard in my life before. I knew of at least one other composer, a good one at that(!), that had put in months of work on this movie just as I had, but this appeared to me to be in addition to both our contributions. To be honest, I'm not sure, as I'm having a hard time understanding what I heard and why it was there and I can say nothing for certain except that I was not the author of most of what is now in the movie. I feel like I want to point this out for anyone who like me cares about these things, as my name is right there listed as the lead composer and one would expect that credit to mean something, but it doesn't. And I do care about that.

I therefore reluctantly join the long list of composers who have had their scores either sliced and diced mercilessly or ignored completely by Michael Mann. This is his film and these are his decisions and I do respect that, but see no reason to have people mistake this score for one that I composed, or in any way approved of musically. The 90 minutes of score that I did write and deliver is, as I've said, mostly unused.

I would still encourage you to check out his movie, as you may enjoy it.

Last Updated: January 13, 2015

Blue Powder
Composer: Aaron Zigman
Score Details:

Bass:  Brian Kilgore.
Last Updated: June 9, 2009

Blue Streak
Composer: Randy Edelman
Score Details:

Arranger:  Randy Edelman.
Orchestra Contractor:  .
Orchestrator:  Randy Edelman.
Last Updated: August 4, 2011

Composer: Shie Rozow
Score Details:

Orchestrations:  Shie Rozow.
Orchestrations:  Edgardo Simone.
Music Preperation:  Darren McKenzie.
Recorded & Mixed by:  Noah Snyder.
Last Updated: July 21, 2007

Composers: Michel Legrand, John Dankworth
Score Details (for Dankworth):

Orchestra:  London Philharmonic Orchestra.
Last Updated: June 21, 2011

The Bourne Identity  (un-used)
Composer: Carter Burwell
Score Details:

Recorded At:  Fox Studios
Additional Recording At:  Soundelux
Additional Recording At:  Signet.
Music Editor:  Todd Kasow
Photo from a session:  Burwell at podium
Scoring Mixer:  Mike Farrow.

Guitar:  David Torn.
TRUMPET:  Jon Lewis.
Trumpet (1st):  Warren Luening.
Trumpet:  Tim Morrison.
Trumpet:  Dave Washburn.
Last Updated: November 27, 2007

Brick Mansions
Composer: Marc Bell
Score Details:
Additional Score:  Alexandre Azaria.
Conductor:  Gisèle Gérard-Tolini.
Music Consultant:  Alexandre Azaria.
Music Editor:  Samuel Potin.
Orchestrations:  Tim Rideout.
Orchestrations:  Gisèle Gérard-Tolini.
Recorded At:  Dada Studios.
"Studio Assistant":  François Arbour.
"Studio Assistant":  Simon Leens.
"Studio Engineer":  Jules Fradet.
Synth Programming(and drum):  Sathy Ngouane.

(unknown instrument):  Marc Bell.
(unknown instrument):  Sathy Ngouane.
(unknown instrument):  Tim Rideout.
(unknown instrument):  Gisèle Gérard-Tolini.
Last Updated: March 20, 2014

Composer: David Torn
Score Details:
Orchestrations:  Matt Dunkley.
Last Updated: April 23, 2011

Campamento Flipy
Composer: Fernando Velazquez
Score Details:
Orchestra:  Bulgarian Symphony Orchestra.
Recorded:  February, 2010.
Last Updated: February 25, 2011

Composer: Jack Nitzsche, R.I.P.
Score Details:
Bass:  Russ Titelman.
(unknown instrument):  RY Cooder.
Last Updated: June 15, 2011

Composer: Tim Truman
Score Details:
Conductor:  Allan Wilson.
Orchestrator:  James T. Sale.
Recorded At:  Bratislava.
Last Updated: January 17, 2010

Composers: Ryan Amon, Chris Clark and Rich Walters
Score Details:
Orchestra:  London Philharmonia.
Recorded at:  Abby Road.
Last Updated: November 25, 2014

Charlie's Angels: "Angel With A Broken Wing" (pilot)
Composer: Jeff Russo
Score Details:
Assistant to:  Sylvie Simhon.
Coffee Getter:  Sylvie Simhon.
Music Editor:  Dan Evans Farkas.
Music Editor:  Sylvie Simhon.
ProTools Operator:  Sylvie Simhon.
Last Updated: June 5, 2012

Charlie Bartlett
Composer: Bruno Coon
Score Details:
(Unknown Capacity):  Ben Schor (lists "Temp Tracking and Source Music", but I'm not sure how to handle that).
Last Updated: January 26, 2013

The China Syndrome
Composer: Michael Small, R.I.P.
Score Details:

Orchestration (also on source music)Bob Freedman.
Recorded In:  Los Angeles (Burbank).
Unknown Capacity:  Emile Charlap.

Trombone:  James Pugh.
Trumpet:  Malcom Mcnab.
Last Updated: July 6, 2010

Composer: Phillip Lambro
Score Details:

Double Bass:  Dennis Trembly (also played on Goldsmith's score).
Last Updated: July 3, 2009

Chu Chu Philly and the Flash
Composer: Maurice Jarre, R.I.P.
Score Details:

1985 Soundtrack Magazine interview:

James Fitzpatrick: Have you ever had any of your scores rejected?

Maurice Jarre: I've never had any rejected, apart from music for CHU AND THE PHILLY FLASH. I knew the director, David Lowell Rich, and had worked with him on ENOLA GAY. He asked me as a favor to write the score, as I thought the film was really awful; I said I would write some light background music. Anyway, after recording the music everyone was happy with the score. Then later on Alan Arkin and his wife (being co-producers) changed the score, as they had not been consulted about using my score; David Lowell had been fired and was threatening to sue, so Pete Rugolo wrote another score which was used in the theatrical release. Still, I presume that David must have won his case, because when shown on TV my score was reinstated.
Last Updated: July 1, 2009

Composer: Maurice Jarre, R.I.P.
Score Details:

EVI:  Judd Miller.
Last Updated: August 10, 2008

Composer: Bill Conti
Score Details:
Guitars:  Jamie Glaser
Unknown instrument:  Joe Porcaro (brother of composer Steve Porcaro)
Trumpet:  Rick Baptist.
Unknown contribution:  Tom Saviano.
Last Updated: December 10, 2007

Composer: David Julyan
Score Details:

Music Editor:  Missy Cohen.
Last Updated: April 8, 2008

Casey's Shadow
Composer: Elmer Bernstein, R.I.P.
Score Details:

Orchestrator:  Michael Isaacson.
Orchestrator:  Peter Bernstein.

Flute:  Sheridan Stokes
Last Updated: July 6, 2010

Changing Lanes
Composer: Dave Grusin
Score Details:

Music Editor:  ....
Possible Orchestrator:  ....
Last Updated: June 26, 2007

Composer: Ornette Coleman
Score Details:

"He was asked to come up with some non-traditional soundtrack music for a film called Chappaqua, in '65; he complied with a recording of the trio, augmented with Pharoah Sanders, and with occasional passages scored for strings, brass, and woodwinds, but it wasn't a syrupy "Bird with Strings" sort of orchestration. The music was deemed too challenging for the film - Shankar ended up doing the soundtrack, non-traditional, but not as aurally threatening as Ornette. Chappaqua Suite, the Europe-only album release of the rejected soundtrack, still stands well on its own."
Last Updated: June 26, 2007

Charlie Wilson's War
Composer: RY Cooder
Score Details:

Drums:  Jim Keltner
Last Updated: June 12, 2009

Chinese Coffee
Composer: Howard Shore
Score Details:

Unknown capacity:  Chris Cozens.
Unknown capacity:  K. M. Mahonchak.
Harmonica:  Adam Glasser (not to be confused with Adam Glasser, the porn guy)
Oboe:  Rebecca Henderson.
Unknown CreditsGlobal Music Service
Recorded At:  In an interview HERE, Shore mentions recording some score, but it is not clear if he is reffering to "Chinese Coffee", or "Looking For Richard".
Music Preperation SupervisorRyan Shore.

Bernstein mentions replacing Shore in this interview.
Last Updated: July 8, 2009

The Client
Composer: James Newton Howard
Score Details:
EVI:  Judd Miller.
Last Updated: March 16, 2013

Confessions of A Dangerous Mind
Composer: David Holmes
Score Details:

Music Editor:  Jim Schultz.

Miscellaneous Info:
  • Craig Armstrong was supposedly working with Holmes on the score.
  • interview with Alex Wurman:  "How did you get involved with Confessions of a Dangerous Mind?"

    Wurman:  "I have a friend named Stephen Mirrione, who cut Doug Liman's first movie, which I scored. He went on to cut Doug's next movie, Swingers, and they didn't offer it to me because they didn't have enough money and thought I wouldn't want to do it! I was kicking myself for a long time because when I saw the screening, before Miramax bought it, I thought it was a very cool movie - I would have loved to do it! Stephen is a fantastic editor. Steven Soderbergh saw Swingers, hired Stephen to cut Traffic, and he got the Academy Award - but he's still a friend!

    So Stephen then cut Thirteen Conversations About One Thing, which thanks to him, I scored. It was such a joy - Jill and Karen Sprecher are going to make another movie soon, and I can't wait! Then Stephen was cutting Confessions and director/actor George Clooney was working with a different composer and he wanted to go in a different musical direction. Stephen suggested bringing me in to write some cues and I was hired to score the film."  "So you replaced Clooney's original pick - was there any animosity there?"

    Wurman:  "No, none at all. Clooney was very pleased because he had struggled to get something that he thought was working, and then they gave me one shot at it, and I got it right the first time.  So it was smooth sailing for both if us! He is a great guy too."
Last Updated: February 4, 2008

Conspiracy of Silence
Composer: David Butterworth
Score Details:

Orchestra:  The London Symphony Orchestra.
Last Updated: October 22, 2007

The Cotton Club
Composer: Ralph Burns
Score Details (for Wilber):

Arranger:  Sy Johnson.
Orchestrator:  Sy Johnson.
Piano:  Mark Shane.
Unknown capacity:  Dick Wellstood.
Unknown instrument (guitar and/or trumpet):  Randy Sandke.
Last Updated: May 23, 2010

The Convincer
Composer: Alex Wurman
Score Details:

Assistant to:  Stephen Perone.
Conductor:  Bronwen Jones.
Orchestrator:  Bronwen Jones.
Percussion:  M.B. Gordy.
Banjo:  Bela Fleck.
Music Editor:  Ellen Segal.
Unknown instrument (probably trumpet):  Dan Savant.
Last Updated: June 3, 2011

Composer: Michel Convertino
Score Details:

Score Recordist:  Matt Howe.
Scoring Mixer:  Matt Howe.
Last Updated: March 17, 2008

Crest of the Wave
Composer: Hans May, R.I.P.
Score Details:

Conductor:  Hans May.
Recorded at:  M-G-M British Studios (Elstree Way Studios, Borehamwood, England).
Last Updated: December 23, 2009

Crossing Over
Composer: John Murphy
Score Details:

Orchestrator:  Stephen Coleman.
Last Updated: September 8, 2008

Cry of the Banshee
Composer: Wilfred Josephs
Score Details:
Conductor:  Philip Martell.
Last Updated: February 6, 2013

Dangerous Beauty
Composer: Rachel Portman
Score Details:
Music Editor:  Jay Richardson.

From an interview with BoxOfficeMojo:

BOM:  "You've said that there were only a couple of times when you had to back out of composing a movie's score. Which movies?"

Portman:  ""Dangerous Beauty" had serious problems and they were hoping the music would help, and I couldn't write any music that pleased the director. I was very upset because they didn't use the music."

Note:  Portman's claim was she was pregnant and couldn't do the film, yet we know she did because some (maybe all) is in the film, and now this comment; perhaps the same for "Mulan".
Last Updated: July 24, 2013

Dark Places
Composer: Gregory Tripi

Orchestra:  F.A.M.E.'S Macedonian Radio Symphonic Orchestra (in Studio M1).
Recorded:  Somewhere mid 2014.
Last Updated: March 14, 2014

The Darwin Awards
Composer: Graeme Revell

Score Details:

Additional Score:  David E. Russo.
Score Programmer:  David E. Russo.
Last Updated: December 10, 2007

Composers: Michael Bland & Rick Ziegler

Score Details:

Unknown Instrument:  Michael Bland.
Unknown Instrument:  Rick Ziegler.
Unknown Instrument:  Sonny Thompson.
Unknown Instrument:  Billy Franze.
Unknown Instrument:  Gwen Matthews.
Vocal and/or Keyboard:  Mark Licktieg.
Last Updated: July 2, 2009

Composers: RZA, Alexandre Desplat

Score Details (for Desplat):

Conductor:  Alexandre Desplat.
Orchestra:  London Symphony Orchestra.
Orchestra Leader:  Carmine Lauri.
Recorded:  May 20 - 23, 2005.
Recorded at:  Abbey Road (Studio 2).
Score Engineer:  Peter Cobbin.
Last Updated: August 11, 2009

Composer: Cezary Skubiszewski

Score Details:

Score Recordist:  Robin Gray.
Scoring Mixer:  Robin Gray.
Score Recordist:  Andrew Kotatko.
Scoring Mixer:  Andrew Kotatko.
Music Supervisor:  Daryl McKenzie.
Orchestrator:  George Butrumlis.
Conductor:  George Butrumlis.
Club Music:  Enzo Oscar Geribialdi.
Orchestra:  Victorian Philharmonic Orchestra.

Accordian:  John Barrett.
Harp:  Jeff Payne.
Guitar:  Julia Raines.
Soprano/Saxophones:  David Newdick (Newdick? What happened to your old one?).
Trumpet:  Bob Veniard.
Unknown credit:  Mario Lattuada.
:  .
Last Updated: November 21, 2008

Distant Drums
Composer: Alex North, R.I.P.

Score Details:

Conductor:  Ray Heindorf, R.I.P..
Last Updated: October 10, 2008

Composer: Philip Glass

Score Details:

Choral Music Arranging:  Alan Ett.
Choral Music Arranging:  Scott Liggett.
Conductor:  Michael Riesman.
Last Updated: September 8, 2008

Eaters of the Dead (The 13th Warrior)
Composer: Graeme Revell

Score Details:

Orchestrator:  Graeme Revell.
Orchestrator:  Tim Simonec.
Additional Samplings:  Brian Williams (AKA: "Lustmord").
Music Scoring Mixer:  Dan Wallin.
Music Editor:  Sally Bolt.
Music Editor:  Bob Bayless.
Some of it recorded:  9th to 13th Feb, 1998.
Mostly Recorded At:  Air Lyndhurst (London).
Some Score Recorded At:  Angel in Islington (week's worth).
Conductor:  Graeme Revell.
Orchestra Contractor:  Isobel Griffiths.

Armenian Duduk:  Djivan Gasparian.
Flute (& bamboo flute):  Andy Findon.
Percussion (Egyptian):  Hossam Ramzey.
Shakuhachi / Various Woodwind Flutes:  Clive Bell.
Uilleann Pipes / Dudak / Reeds / Whistle / Ney / Kaval / Mizmar / Zourna:  Dirk Campbell.
Vocals:  Lisa Gerrard (overdubbed at Angel).

From an interview with Goldenscore (site seems to be gone now), conducted by Quentin Billard:

"Can you tell us some words about your bad experience on THE 13TH WARRIOR (EATERS OF THE DEAD) by John McTiernan? What was the deal?  Why was your score entirely rejected?"

"What happened was John McTiernan, the director, who I had been working with not closely, didn't get involved in the music very much, and pretty much removed himself from the movie during post production.  Michael Chricton took it over, and I don't think he even listened to my score. When he took it over, I think he just decided his friend Jerry Goldsmith should be the composer and that was the end of that.  I never really counted that as a rejection and I don't think there was anything inferior about that score, and I'm quite happy to still own it."

He also went on to say he was the third composer on "Aeon Flux", and this:
"We'll speak now about your experience on LARA CROFT TOMB RAIDER (2001). I know that the production rejected the first composer and give you few time to compose this score. I also know that it's more and more frequent in Hollywood today (like on EATERS OF THE DEAD). How did you manage to write the score of TOMB RAIDER and what do you think of these problems of incessant reject in Hollywood today?"

"The main problem with rejection is that they're often hiring the wrong person in the first place. They'll go down the list of people who have written the music for big box office movies or movies that have been nominated for an Oscar and just because that happened, they'll think that person is better than another for a job, and sometimes you see some of the most ludicrous decisions being made and everybody knows that in about six weeks time, that job is going to come back on the block. It's upsetting because you wish people could understand who to hire and why and what the chance might be that you could get a better score, a more interesting one. That's the main reason for it, and sometimes you can have communication problems where a director is fighting a studio or it gets political. And sometimes you get very little time to do something. In the case of "Tomb Raider", it was ten days from start to finish. I just set up a scenario where we worked around the clock, where I had one studio where they were writing, and one where they were mixing, and another with a satellite link to London where it was being recorded at their studios, and uploading and downloading on T1 lines back to LA for mixing. It was an intersting technical challenge. I didn't sleep the whole time, so frankly I don't remember a whole lot about it. The movie did well, and when I listen back to the score, it's okay."

Video Clip(s):

YouTube:  Music only, with Goldsmith's version afterward.

Last Updated: July 21, 2010

Edge of Darkness
Composer: John Corigliano

Score Details:

Conductor:  Leonard Slatkin.
Music Contractor:  Andy Brown.
Music Editor:  Michael K. Bauer.
Music Editor:  Curtis Roush.
Orchestration (additional):  Mark Bachle.
Recorded At:  Abbey Road Studio 1.
Score Mixer:  Joel Iwataki.
Scoring Engineer:  Steve McLaughlin.
Scoring Engineer (additional?):  Lawrence Manchester.
Score Producer:  Teese Gohl.

Flute:  David Heath.
Orchestra:  London Metropolitan Orchestra (up to 85 musicians).
Last Updated: June 3, 2010

Edge of Tomorrow
Composer: Ramin Djawadi

Score Details:
Music Editor:  Michael Higham.
Music Editor:  Robert Houston.
Music Editor:  John Warhurst.
Last Updated: December 19, 2013

Emporer's New Groove
Composer: Marc Shaiman

Score Details:
Drums:  J. R. Robinson.
Last Updated: June 28, 2009

Extraordinary Measures
Composer: Alex Wurman

Score Details:

Music Editor (additional):  Dean Menta.
Last Updated: November 19, 2009

Composer: Jan P. Kaczmarek

From an interview HERE:

"My son, Szymon, was encouraging me to talk about my latest defeat. I agreed, I don't know why, to score a film which is now in theatres. It was right after the Oscars, and it... it was a first time director and I have to warn everybody that this is the most dangerous situation. With a first time director and a big studio picture, you really have too much at stake in a way. So I did the music. The Director was a really lovely man, a sweet man, and very sensitive and we had so many good moments together; he'd cry occasionally while we were playing music, which was very moving. Then we went to Prague and recorded the whole thing, and the mood was absolutely spectacular. And we were really happy and then we gave hugs and kisses and I went to Poland and he went to mix it here. And then the mix was finished and still the mood was really great and I got these reports from the scoring stage occasionally saying it was all great... but then suddenly the day came when he woke up, a month later, after one of the screenings with the executives, thinking that it was all too dark. That the score, my score, was too dark and needed to be replaced with something light and they did it, you know! And he called me and he was very courageous, not many people do this, and he said, 'You are being replaced.' They just don't call you directly. Usually your agent gets the message and, you know, your agent is your psychotherapist who tells you how wonderful you are and it means nothing and they're a bunch of idiots.... No, this Director, to his credit, he called me. I was in the middle of a forest in Poland on my cell, and he told me what had happened. I said, 'I really can not be depressed because I'm in such a beautiful place now and I?m in the middle of doing something really great, but I?m really shocked, and surprised, and I think this must be a mistake, but what can I say?'

"And it happened! They replaced my score and... and I believe it was a mistake, but that's my right to believe that this was a mistake, and their right is to believe it wasn't a mistake. I told you this story because you can get an Oscar on February 27th and be replaced on April 29th. And in a way that's wonderful. And then you ask yourself how did I contribute to this? Was it necessary to score this picture? Was it, is it, my fault as well? And maybe it is, you know, and when I look at it today, I believe the score was right, but maybe I shouldn't have scored another picture about children; maybe that's unnecessary. Maybe one picture with a child as the main character is enough? Maybe I'm victim of, of my own kind of... I don't know what. As a man from Eastern Europe I'm always thinking that I'm being treated as a composer who cannot write music for the mainstream American box office hit. I said, 'No, no, no, I will do it!' ?And even if it's not the most sophisticated movie about a horse which breaks its leg and a little girl, I will try to prove I can do it. So, a certain vanity and maybe too much ambition was the reason that I wanted to prove something. On the other hand, I think I did it!"

Score Details:

Music Editor:  Christopher Kennedy.
Orchestra:  Prague Philharmonic Orchestra.
Orchestra Size:  106 pieces.
Orchestrator:  Dylan Maulucci.
Recorded at:  CNSO Studios.
Score Recordist:  Gary Chester.
Last Updated: July 25, 2008

Ella Enchanted
Composer: Shaun Davey

Score Details:

Score Coordinator:  Karen Elliot
Score Coordinator:  Becky Bentham.
Orchestra:  The Irish Film Orchestra (who also did the replacement score).
Last Updated: October 6, 2008

Composer: Richard Marvin
Score Details:

Music Editor:  Bruno Roussel
Orchestrator:  Ken Thorne.
Recorded at:  Unknown facility in Salt Lake City, Utah (U.S.A.).
Score Mixed at:  Unknown location in Los Angeles, CA (U.S.A.).
Score Recordist:  Tim Boyle.
Last Updated: July 25, 2008

The Exorcist
Composers: Lalo Schifrin, Jack Nitzche

Unknown interview where he comments (on Shifrin):

SM: Now, this is the moment to speak about your work in "The Exorcist". What did it happen, really? Why did they reject your score?
LS: The truth is that it was one of the most unpleasant experiences of my life, but I have recently read that in order to triumph in your life, you may previously have some fails. What happened is that the director, William Friedkin, hired me to write the music for the trailer, six minutes were recorded for the Warner's edition of the trailer. The people who saw the trailer reacted against the film, because the scenes were heavy and frightening, so most of them went to the toilet to vomit. The trailer was terrific, but the mix of those frightening scenes and my music, which was also a very difficult and heavy score, scared the audiences away. So, the Warner Brothers executives said Friedkin to tell me that I must write less dramatic and softer score. I could easily and perfectly do what they wanted because it was way too simple in relevance to what I have previously written, but Friedkin didn't tell me what they said. I'm sure he did it deliberately. In the past we had an incident, cause by other reasons, and I think he wanted vengeance. This is my theory. This is the first time I speak of this matter, my attorney recommended me not to talk about it, but I think this is a good time to reveal the truth.
SM: Thank you very much Mr.Schifrin, because a lot of fans can now learn the truth about the sad episode...
LS: Finally, I wrote the music for the film in the same vein as that of the trailer. In fact, when I wrote the trailer I was in the studio with Friendkin and he congratulated me for it. So, I thought I was in the right way... but the truth was very different.
SM: This was a shame, because your score was very original and pioneer...
LS: Yes, I was very excited with that project as well but life doesn't start or end with "The Exorcist".
SM: Will you release it in a complete edition with the label "Aleph Records"?
LS: It isn't possible as I don't have the rights of the music.

Score Details (for Schifrin):

:  .
Double Bass:  Max Bennett.
Guitar:  Howard Roberts.
Guitar:  Tommy Tedesco, R.I.P.
Percussion:  Airto Moreira.
Percussion:  Emil Richards.
Reeds:  Bud Shank, R.I.P.
Unknown instrument (perhaps sax):  Plas Johnson.
Conductor:  Lalo Schifrin.
Recorded:  October 31 & November 1, 1973.

Score Details (for Nitzche):

Conductor:  David Measham.
Orchestra:  London Symphony Orchestra.
Recording Engineer:  Robert Auger, R.I.P..
Last Updated: May 22, 2010

The Express
Composer: Peter Afterman

Score Details:

Music Editor:  Richard Bernstein.
Last Updated: August 14, 2007

Far North
Composer: Michael Nyman

Score Details:

Recorded:  April 15-21 (maybe all?).

Saxophone:  Simon Haram.
Woodwinds:  Andy Findon.
Last Updated: July 6, 2010

The Fast and the Furious 6
Composer: Lucas Vidal

Music Programmer:  Felix Erskine.
Recorded:  Sometime early 2013, prior to April.
Recorded at:  Abbey Road.
Recorded at:  Air Studios.

:  .
Last Updated: May 3, 2013

51st State
Composer: John Murphy

Score Details:
Score Recordist / Additional Scoring / Score Producer:  Simon Denny.
Last Updated: June 22, 2009

Feast of the Goat
Composer: Stephen Warbeck

Score Details:

Music Editor:  Andy Glen.
Last Updated: November 15, 2007

Composer: Michel Cusson

Score Details:
Electronic Arrangements:  Kim Gaboury.

Percussion:  Kim Gaboury.
Last Updated: January 27, 2013

The Forger
Composer: Stephen Warbeck

Score Details:
Conductor:  Terry Davies.
Mujsic Editor:  Lewis Morison.
Orchestra Contractor:  Isobel Griffiths.
Orchestrator:  Terry Davies.
Scoring Mixer:  Olga Fitzroy.
Recorded:  Late July, 2014.

:  .
Last Updated: March 7, 2015

Fred Clause
Composer: Rolfe Kent

Score Details:
Recorded:  June/July
Music Programmer:  Stephan Coleman.

Bass:  Brian Kilgore.
Last Updated: June 9, 2009

Composer: Henry Mancini, R.I.P.

Score Details:

Amount Recorded:  Two days of sessions (presumebly not completed)
Music Editor:  John Jympson
Recorded at:  CTS, Bayswater (evening sessions)
Score Recordist:  Eric Tomlinson.
Scoring Engineer:  John Richards.
Wembley likely has the masters.
Last Updated: November 1, 2009

Fun Size
Composer: Lyle Workman

Score Details:
Score Programmer:  Paul Kock.
Last Updated: February 22, 2013

Fun With Dick and Jane
Composer: Billy Goldenberg

Score Details:

Violin:  Barry Socher.
Last Updated: June 17, 2009

Gangster Squad
Composer: Carter Burwell
Score Details:
Music Editor:  Adam Milo Smalley.
Musician (unknown instrument):  Dan Higgins.
Musician (unknown instrument):  Peter Erskine.
Unknown Capacity:  Dean Parker.
Vocals:  Nancy Gassner-Clayton.
Vocal Contractor:  Jasper Randall.
Last Updated: June 5, 2012

Composer: Dany Elfman

Score Details:
Orchestra Contractor:  Patti Zimmetti, R.I.P.
Orchestrator:  Steve Bartek.
Recorded at:  MGM/Sony, Culver City.

Clarinet (2nd):  Charles Boito.
Clarinet (1st):  Gary Gray.
Last Updated: July 16, 2009

Gangs of New York
Composer: Elmer Bernstein, R.I.P.

Score Details:

Mixed at:
Music Editor:  Patrician Carlin.
Music Editor:  Kathy Durning.
Orchestra:  The Royal Philharmonic Orchestra (possibly also some at Abbey Road)
Orchestrations by:  Emille Bernstein  (Also Supervisory Copyist)
Orchestrator (additional):  Patrick Russ.
Recorded at:  Air Studios, London (Spring 2002).

Small MftM piece where he talks about it.
Last Updated: June 3, 2010

The Go-Between
Composer: Richard Rodney Bennett

Score Details:

Orchestra:  The London Symphony Orchestra (also did the replacement score as well, if I recall correctly)
Trumpet:  Don Cherry.

1976 Soundtrack Magazine interview:

John Caps: Did Joseph Losey know what he wanted to do with THE GO-BETWEEN?
Richard Rodney Bennett: Losey had been back here in America and got to know an avant-garde trumpet player named Don Cherry. And I remember going on location and they were filming in that extraordinary house and, standing in one of those rooms with him, Losey said, "I want avant-garde jazz and electronic music in this film." Now I've known that novel since I was about fifteen, it's one of my favorite novels in the world and I just looked at him as though he'd gone insane! And it went downhill from there.

John Caps: Did you actually record anything for it?
Richard Rodney Bennett: Oh yes. I would have redone it, because I realized it wasn't what he wanted, but there was no way I could salvage it, unfortunately; that was back when I was teaching in America and I had to come back and teach. Otherwise I would have done another score for him. It would have been so easy to do a beautiful commercial score for that film.
Last Updated: February 2, 2007

Gods and Monsters
Composer: Michael Convertino

Score Details:

Interview with Director Bill Condom:

"I heard on Radio National that you rejected the original music score. Why was that?
I was quite pleased with the original score, except for one wartime scene where the music was very percussive and agitated... We approached the composer Burnett to alter that part of it, but he gently made it clear that it was a take it or leave it situation, so we agreed to use a different score.."
Last Updated: August 7, 2006

Gods Behaving Badly
Composer: George S. Clinton

Score Details:
Music Editor (supervising):  Mike Flicker.
Music Editor:  Last Updated: November 12, 2013

The Golden Child
Composer: John Barry, R.I.P.
Score Details:

Do not recall where this is from:

"Under Michael Ritchie's direction, Eddie Murphy was cast in the unlikely role of a social worker. In this role, he is assigned to look for a mystic child thought able to bring peace to the earth. Although Barry was originally chosen to score the film (and had completed most of the work), Michael Colombier was drafted in to rescore it, after no less than forty minutes had been savagely cut. Barry, reluctant to tamper with what he had completed, proceeded no further. As a result, only segments of his music remain, including the song, 'The Best Man In The World', sung in the film by Ann Wilson which appears on the accompanying soundtrack. When finally released, the film contained a curious and disparate amalgam of musical ideas. Capital Records in America released the Ann Wilson song on a single; its 'b' side containing a four minute instrumental version by Barry omitted from the film. This was split into two distinct parts and, perhaps, gives some indication of how the rest of the unused score might have sounded."
Last Updated: February 27, 2007

The Good German
Composer: David Holmes
Score Details:

Recorded at:  Log cabin belonging to Woodrow Wilson Jackson III.
Score Engineer:  Hugo Nicolson.
Score Mixer:  Hugo Nicolson.
Score finished:  February 27, 2006.

Celeste:  Leo A. Brahams.
Guitar:  Woodrow Wilson Jackson III.
Keyboards:  Scott Kinsey.
Mellotron:  Leo A. Brahams.

Read more HERE.
Last Updated: June 17, 2006

The Good Shepherd
Composer: James Horner
Score Details:

To Be Announced:  ?????
Last Updated: January 4, 2007

Goodbye, Lover
Composer: John Barry, R.I.P.
Score Details:

Interview comment by Ottman:

"Yeah a couple times. I was really honored to replace John Barry on Goodbye Lover. It was a suspense thriller with a very rye sense of humor infused throughout. He had scored it very straight and smoky, and the comedy was so subtle and dry, that people weren't sure whether they should be laughing or not. The score needed to have a little more wink in the eye, subtly letting the audience know that they could laugh. It was tough to ride that line in a sophisticated way. I think it's one of my best scores."
Last Updated: April 11, 2007

Happily N'Ever After
Composer: James L. Venable
Score Details:

Additional Score:  Danail Getz.
Additional Score:  Jennifer Kes.
Additional Score:  Mike Patti.
Additional Score:  David Russell.
Additional Music Preparer (and music librarian)  Robert Puff.
Assistant to Venable:  Loria Robertson.
Concertmaster:  Simon James.
Mixed At:  The Zen Room (Screaming Fan Studios).
Music Editor:  Nathaniel T. Cartier.
Music Editor:  Ran Galor.
Music Editor:  Ryan McClre.
Music Editor:  David Sabee.
Music Editor (supervising):  Erica Weis.
Orchestra:  The Northwest Sinfonia of Seattle.
Orchestra Contractors:  Simon James.
Recorded At:  Bastyr University Chapel.
Scoring Engineer:  Kory Kruckenberg.
Scoring Mixer:  Brian Dixon.
Score Pre-Mix:  Jennifer Kes.
Last Updated: April 27, 2008

Hearts and Souls
Composer: Maurice Jarre, R.I.P.
Score Details:

EVI:  Judd Miller.
Last Updated: June 7, 2011

Hearts In Atlantis  (possibly rejected)  By:  James Newton Howard
From an interview with Danna:

RM:  Lets talk a bit about one of your newest films that has just come out, Hearts in Atlantis.
How did you get the project?

MD:  I believe Scott Hicks, the director had seen my work and enjoyed it.  I think he'd heard The Ice Storm, which caught his ear.  We ended up talking and he and I hit it off really well, he's a really great guy and we had a lot of things in common.  I think it came up originally because there was another composer who dropped off at the last minute.  It was a composer he'd worked with before and he sort of assumed that it would happen and it didn't.
Last Updated: May 31, 2007

Hide & Seek  (demos)
Composer: Christopher Young
Score Details:

Score Coordinator:  Sujin Nam.

Interview comment by Ottman:

"Because of a scheduling conflict, Chris Young had to leave Hide and Seek, so I took that over. He had already written a good theme, so it was a challenge and intimidating to walk in and try to outdo it."
Last Updated: March 26, 2008

Highlander:  End Game
Composer: Nick Glennie-Smith
Score Details:

I wrote Mr. Graziano and here is what he had to say:


What happened was ... Nick Glennie-Smith, (whom I've never met, but would like to some day) scored Highlander:  Endgame.  The producers didn't like his score.

The editor, Michael Knue, said he knew someone who could do a great job, and I was hired to replace Nick's score.  I was only given two weeks, (ideally, a composer gets 5 weeks to score a film) so it was decided that they'd keep half of Nick's score and I'd replace the other half, mainly the action cues, (though some of Nick's action cues stayed).

If you have the CD you can kind of see the breakdown.
(Sentence removed at his behest.)
I felt bad that I never contacted Nick, (kind of rude on my part!) but I was so busy, then I went on to another film and just forgot about it.  I hope he wasn't offended.  There's one cue that indicates that we wrote it together, but in fact, they gave me his track and asked me to add a female voice to
it, so we both got credit.  ("Heather Cuts Her Hair")

I hope that should clear up any confusion!


Last Updated: February 21, 2007

Composer: George Fenton
Score Details:

Conductor:  George Fenton.
Mixed at:  Angel Studios Islington (London).
Music Editor:  Steve Price.
Music Editor:  Michael T. Ryan.
Music Editor:  Sam Watts.
Orchestrator:  Geoffrey Alexander.
Recorded In:  New York.
Sound Design:  David Lawson.

Double Bass:  Kurt Muroki. .
Last Updated: June 20, 2009

Homeward Bound
Composer: David Shire
Score Details:

Orchestra (original):  Munich Symphony Orchestra.
Orchestra:  (smaller 60-piece LA un-named LA orchestra)
Recorded at:  Burbank Studios (LA orchestra).
French Horn:  Phil Yao.

From a 1995 interview in Soundtrack! magazine:
Matthias Büdinger: Although your score was involuntarily chamber-like, you did the best creatively with the forces you had, which is one of the capabilities of good composers. Let’s discuss HOMEWARD BOUND: THE INCREDIBLE JOURNEY, which ended up with a score by Bruce Broughton.

David Shire: For me it was truly an incredible journey. I worked as hard and lovingly and with as much enthusiasm on that score as I did on RETURN TO OZ. It was the best opportunity I had had since OZ to do a full-blown, multi-themed symphonic score. I was thrilled to get the project. I had almost weekly meetings for a couple of months with the director. He sat on that couch many Monday mornings while I played him themes and reworked them until we both loved them. The producers also were very enthusiastic about the material. They sent me off to Munich to record the score and we had to leave after 3 days because the orchestra played so poorly. I’m not totally sure why, but I had the feeling that we got a lot of substitutes. I know for a fact that the concertmaster and the lead trumpet were subs. We then re-recorded the whole score in 2 days at the Burbank Studios with a smaller orchestra (60 pieces) because of the diminished music budget. It was about 80 minutes of music. Before he left for Cannes, Jeffrey Katzenberg (the former Disney chairman - MB) wanted to see the picture in whatever state it was in at that time.
I was at the screening at Katzenberg’s house and he seemed to be pleased. A couple of days later I got a call from my agent saying that my services were no longer required. Katzenberg also fired the stars doing the animal voices and almost fired the director. Then Bruce (Broughton) was called in which surprised me, because I think that we have similar musical sensibilities. I thought that perhaps they wanted a very different style.
People who have heard the score feel it’s as good as anything I’ve done. I think: the cloud of Munich hung over it. It was a double disappointment. When you lose a picture like that, you don’t just lose that picture. You lose all the pictures that that film might have generated. Anyway, one amusing story came out of it: My son Matthew who was 17 at the time is a great fan of mine, very defensive of his father. He went to a dance after this happened and found himself dancing with Bruce Broughton’s daughter. Matt said, “I hear your father scored INCREDIBLE JOURNEY.” “Yes, he did,” she said, “Well, mine did too!” he shot back.

From a 1999 Film Score Monthly interview:
JF: I want to talk about something I came across on the Internet Movie Database. It said that you had an unused score to the movie HOMEWARD BOUND. Is that true?

DS: Yeah.

JF: What didn't they like about it?

DS: They didn't like it. Katzenberg didn't like it. I worked with the director on that picture for three months like I did with Walter Murch on RETURN TO OZ. I came up with all the themes, one by one--he loved them all and as we got to work on them I met with him every Monday for week after week. I went to Germany to record the score, but the orchestra there was not good enough, so we scrapped those sessions and then I re-recorded them in LA. Then Katzenberg wanted to hear a cut of the picture with the score on it and the voices for the animals--and I remember going over to his house and we sat there while he watched it. He smiled and shook my hand and said, "Fine, fine," and by the time I got home there was a call from my agent saying he scrapped my score and wanted a new one. He also fired the three people who were the principal voices of the animals and he almost fired the director. But he brought someone else in to work with him. So it was just a totally disappointing experience because that was the last score I thought was going to get me back in the loop. It was a big, romantic, fun picture with the Disney stamp on it and that was a huge disappointment. Since then I've hardly gotten called for a picture.

JF: Have you ever considered making that music available in some way--as a promo maybe?

DS: No, I haven't thought about it much. Frankly, it was so painful I never went back and even listened to it. But we'd have to get the master tapes and mix it because we never finished it. I have a tape of it somewhere. If somebody wanted to put it out and thought it was good enough to put out, I'd have no objections.
Last Updated: June 17, 2009

Honeymoon In Vegas
Composer: Marc Shaiman
Score Details:
Additional Score:  Jed Leiber.
Orchestration:  Mark McKenzie.

Piano:  Tom Rainer.
Trombone:  Tom Malone.
Last Updated: July 6, 2010

The Hours
Composers: Stephen Warbeck, Michael Nyman
Score Details (for Nyman):

Music Instrument (possibly flute):  Andy Findon.

Score Details (for Warbeck):

Music Instrument (possibly flute):  Andy Findon (both scores).
Assistant Composer / Arranger:  Anders Sondergren
Music Editor:  .....
Violin:  John Lenehan.

Interview Excerpt:

Dan Epstein:  You added an urgency to the score. Was that the intent?

Philip Glass:  I really had two ideas about the music. Urgency would have been the subtler motivation, perhaps. But it's a very complicated film. The kind of film that, if you stop paying attention to it, you get lost. You get drawn into it and stay with it. The strategy of the music dealt with the emotional point of view of the film, which in this case was very specific. I came in late to the project. [Director] Stephen [Daldry] and I worked on the nuances of the feelings of each scene. But more importantly, the whole structure of the film was most interesting. It's like the book Mrs. Dalloway, which takes place in one day and morning, noon and night take place in three different places in three different eras. I saw a rough cut, originally with a temp track of all my music, which was not so easy to listen to. The first thing I did was remove that so I could think about it. I saw that the movie needed music to do a very specific thing. That was to hold the film together. From scene to scene, you didn't want different music. The music should be a bridge to carry you from place to place. When you go from Virginia Woolf [Nicole Kidman] playing with her niece in the park and cut right to Laura [Julianne Moore] in the kitchen getting her medicine. The music is such that its almost like Laura is right next to Virginia.

DE: What do you see as the responsibility of a score in a film?

PG: If it's possible, and I've done it several times, the music can become part of the structure of the film. That doesn't always happen, but I was able to do it in "Kundun" and the version of the original "Dracula" I scored. "Dracula" didn't have a score. The form is structure. When a composer is invited into a project to participate creatively in a very full way, then I have to provide a musical structure that will articulate the structure of the film.

When I looked at "The Hours", I thought it was beautiful, and that the only thing that could go wrong is that it doesn't end up looking like one movie, but like three movies. It had to be one movie and all about the same thing. It was structural.

DE:  What were your reasons for including almost no strings in the score to "The Hours"?

PG:  Maybe it's because I perform on the piano myself, but I always felt the piano is the most intimate instrument. I wanted the music to be about people in intimate moments. The piano carries that role. I added some strings, because of the range we can reach. I did not use percussion and brass because there is so much happening in the film that I didn't want to distract from the film. I kept the music very focused.

DE: What's your basis for choosing film projects?

PG: In this case, it was because I liked the movie. It's usually because i like the director or the movie. Clearly, I'm not Hollywood-based. I don't write film scores one after the other. My next project is an opera. Films happen to be something I do. Filmmakers who want me to score their film obviously know what I do. People know me as a certain way. I didn't get asked to write "Lord of The Rings". I would have liked to have done that.

"Naqoyqatsi" and "Koyaanisqatsi" were movies of passion. I am a co-author [with Geoffrey Reggio].

DE:  When did you decide to do a third one [Naqoyqatsi]?

PG:  We started years ago. We couldn't raise the money for ten years.

DE:  I could have given you some money.

PG:  6 million dollars?

DE:  Maybe not.

PG:  It wasn't super-expensive and it was Steven Soderbergh who convinced Miramax to put it up.

DE:  What was it like coming into "The Hours" after two or three other scores had been written, then rejected?

PG:   I knew about the scores, but I hadn't heard them. It happens in movies.  Writers and directors get changed or fired. I wasn't surprised that happened. Stephen never talked to me about the other scores. But the music editor told me that, whenever they heard the score they liked, the temp track was better, which was made up of my music. I wasn't unhappy with the way it worked out because, coming in at the end, I got to work with Stephen on the final moments of the project.

DE:   Thanks, Philip.
Last Updated: August 24, 2009

Howard the Duck
Composers: Lalo Schifrin, ?????, maybe even a third composer!
Score Details (for Schifrin):

Clarinet:  Gary Gray (also on the unknown other composer's rejected score).
Last Updated: December 11, 2007

I Love Trouble
Composer: Elmer Bernstein, R.I.P.
Score Details:
Orchestrator:  Emillie A. Bernstein.
Orchestrator (additional):  Patrick Russ.

French Horn:  Phil Yao.
Piano:  Randy Waldman.
Trombone:  Andrew Thomas Malloy.
Last Updated: July 7, 2009

I Love You Perfect
Composer: Bob Cobert
Score Details:

Recording Engineer / Scoring Mixer:  Rick Winquest.
Last Updated: April 2, 2008

I Thank A Fool
Composer: Gail Kubrik
Score Details:

Orchestrator:  Gerard Schurmann.
Orchestra:  London Philharmonic Orchestra.

Harmonica:  Larry Adler, R.I.P..
Last Updated: April 25, 2010

I Oversee the Maintenance of A Toolshed
Composer: Jesse Hopkins
I e-mailed Mr. Hopkins and here is what he had to say (used with permission; revision):

     "After talking in depth to the director, George Cox, about the why he rejected my score, I understand that his reasons really have more to do with differences in taste and opinion than any shortcomings.  The director told me that he felt the music was too big, too active, and that there was no room for the acting or cinematography to tell the story.  I still disagree that the music did anything but effectively support the film, but it is every director's right to seek what style and approach he or she wants.  The film was a comedy with many daydreams, fantasies, and broad physical humor, so I thought it would do well with a descriptive score which would hilight the action without resorting to comedic gestures.  I feel it is unfortunate that the director and producer felt that the music would be distracting, because usually people do not notice music which closely matches the action on screen, especially in a broad comedy with narration.  I also disagreed that it was too big, considering it only required a chamber group of about 10 players.  We'd worked together on Kaiju Big Battel, and we got on great.  The format there was more of a variety show, with different sketches and commercials, so a more eclectic style was appropriate there.  George hired me on "Toolshed" with the expectation that I'd write in many styles, but being a short film with only one character, I sought to write something with a more consistent style throughout.  I think the main reason he went for another composer rather than ask me to alter the composition, was that I made it clear I wasn't really interested in writing in popular modern styles for this assignment, nor did I think it was appropriate.

     The new composer's name is Vincent Pedulla.  He's a friend of the writer and went to Berklee in Boston. The new score was more based in modern popular styles, but I was a little insulted when I heard some similarities to my original score.  It was still original, but sounded like the filmmakers asked him to write a simpler version of my music.  The unique instrumentation is nearly the same, but smaller (nylon guitar, celesta, chimes, piano being the main instruments), and there are some musical moments that seemed arrived at through listening to my music.  There is the inclusion of a techno drum beat in one scene, and there is much less music in the film.  In all, I'd rather not have written in the manner that they accepted into the film, so it all worked out well.  It was a learning experience which hilights the importance of f communication between the director and composer."
Last Updated: May 19, 2006

Composer: Barrington Pheloug
Score Details:

Music Editor:  Andy Glenn.
Music Editor:  Robin Morrison.
Scoring Mixer:  Andy Richards.
Score Preperation:  Matthew Slater.
Last Updated: July 17, 2008

Indian In the Cupboard
Composer: Miles Goodman, R.I.P.
Score Details:

IGN intereview where he talks briefly about it (Part 3)

"PLUME: Could you comment on this, and on the replacement of Mile's Goodman's score with Randy Edelman's score?

OZ: Bud (Miles Goodman) was one of my closest friends in the world, who's scored almost all my movies.

It was a situation where I was hesitant hiring my good friend to do something that I had not seen him do before, and Bud and I had a talk about it. He said, "You just don't want to hire me because you're concerned about having to fire a friend." I said, "That's true." He said, "Well give me an opportunity," and I said, "Okay..." because I thought he was brilliantly talented.

So he had the score, and the producers and the writer didn't think the score was that successful, and in the long run, I had to agree with them -- it wasn't happening. So I had to say to Bud, "Sorry Bud, we have to go with somebody else," and Randy came in and finished it and did a very good job.

You know, there's some movies that I can't direct...that I just can't hit...and that's fair enough, but Bud went in as an adult with his eyes open. Fortunately, thank God, before he passed away (which is one of the mortal blows in my life, because he was a good and dear friend) I asked Bud to do the music for In & Out. So he knew everything was fine with us, and he did a great job."

Score Details:

EVI:  Judd Miller (also on the replacement score).
Last Updated: June 7, 2011

The Insider
Composers: Craig Armstrong, Graeme Revell
Score Details (for Armstrong):

Chief Sound Engineer:  Geoff Foster.

Score Details (for Revell):

Music Editor:  Thomas Milano.
Last Updated: August 28, 2006

Inspector Gadget
Composer: Marc Shaiman
Score Details:

Tuba:  Jim Self.
Music Editor:  Tob Holcomb.
Last Updated: December 6, 2007

I Love Huckabees
Composer: Stephen Endelman
Score Details:

Scoring Mixer:  Damon Tedesco.
Last Updated: November 28, 2007

Interview With the Vampire
Composer: George Fenton
Score Details:

Music Contractor:  Emile Charlap (also worked on Goldenthal's score).
Music Editor:  Michael Connell (also worked on Goldenthal's score).
Orchestrator:  Geoffrey Alexander.
Score Recordist & Mixer:  Gerry O'Riodan.
Recorded In:  New York (like Hitch; see above) and CTS Studios, London (now a parking lot).

From an interesting FSM forum post, someone posted this::

"05/09/02 at FSM reported by Scott Bettencourt- this is what someone had sent in:

Emile Charlap (music contractor) and Mike Small attended a film music discussion a few years ago and Emile spoke of Small writing a score to the China Syndrome that was never used. Later on when I was working to get the Jaws 4 promo out I mentioned ever having his CS score released and he kind of demured about ever releasing it. But it was done. Incidentally Emile was the same contractor for Interview with a Vampire...twice. Apparently the producers replaced Fenton midway through his scoring, but didn't tell him, so essentially he was scheduling Fenton in the morning for a score everyone, except Fenton, knew wasn't going to be used, and then Goldenthal in the afternoon/evenings. Not only was it colossally unprofessional on the producer's end, it was also a huge waste of money since it was double union sessions."

Last Updated: August 26, 2008

Composer: Mark Isham
Score Details:

Bass:  Doug Lunn.
Drums:  Kurt Wortman.
Guitar:  Possibly Peter Maunu.
Piano:  Rich Ruttenberg.
Trumpet:  Mark Isham.
Last Updated: December 27, 2008

Jersery Girl
Composer: Christopher Young
Score Details:

Guitar:  ?????.
Guitar:  Tom Hynes.
Last Updated: July 6, 2010

A Night In the Life of Jimmy Reardon
Composer: Elmer Bernstein, R.I.P.
Score Details:

Arranger:  Christopher Palmer, R.I.P.
Orchestra:  London Philharmonic Orchestra.
Last Updated: August 5, 2011

Composer: Lucas Vidal
Score Details:
How did you get involved in the project?

Josh, the director, came to our studio in Santa Monica for an initial meeting about two months ago. Being a true artist, he had an amazing vision about the music for jOBS. The script has a great rhythm and there are a lot indications for music already, acknowledging how music was such a big part of Steve Jobs’ life. We bounced many ideas off of each other very quickly during what turned out to be a very energetic meeting. Then I played at the piano to show him what I thought could be the main theme. He immediately responded, “it is jOBS’ theme”. He really loved it, and wanted me to write it down. These things don’t happen too often, usually I write dozens of themes before finding the right one, but to my great satisfaction he really wanted to use my initial idea as the theme for the film.

Tell us about the work you have already done for the film. What is your general musical approach on the project?

We have recorded a couple of demos at East West Studios in LA with an intimate group of musicians. I love to start the process as soon as possible, so it’s great to work with filmmakers who are on the same page. Thankfully, both the director and the producer wanted me to start working on the music ASAP. Josh and I are very closely working on some of the main themes and different sonorities, and both really want to set this score apart and have something truly original. The story is huge, and hopefully music can find all the right emotions needed to tell the story of this complicated man’s life.

What is your own relation to Apple and the legacy Jobs left behind?

Like so many of us, I have been working on a Mac for as long as I can remember. When I started my first semester at Berklee College of Music, having a Mac was mandatory, so I learned all of the music software that is available. Even though I tend to compose longhand, my team and I work on Macs for the entire process, from writing to mixing.

Steve Jobs has changed the way we produce and distribute music, which has ultimately changed the way composers write music. Our writing is directly connected to advances in technology, but music distribution has a far greater impact. In the 18th century, the only way to listen to music was to go to a concert, a church, or a civic event and see the players performing. You always had to hear it live. Music involved a social interaction; you couldn’t just put your headphones on. Then the piano, which could be mass-produced, was invented as well as sheet music. Both of those new technologies brought music into many households, and it created a new class of musicians, composers and performers. A century later, the gramophone and radio were invented which brought the actual performers, that new class of musicians, into people’s living rooms. Then the iPod, iTunes, Garageband, and other music software changed everything all over again. Now the listeners can manipulate music, creating a new personalized experience. Everyone can be their own composer, and listening to music can be an individual adventure. Steve Jobs was a very lonely person in that way, and we are trying to portray that in the movie through music too.

As jOBS is your first straight drama project in Hollywood, do you hope to do more work in the genre and what other type of films would you like get involved in as your career progresses?

Drama is one of my favorite genres. The storyline as well as the use of music can be very interesting, as there are few specific conventions. I love to work on action films too, those are a lot of fun. I would also love to be involved with an animation project.

( link)
Last Updated: May 15, 2013

Composer: Marius Brouwer
Score Details:

Lyrics:  Tim Rice.
Recorded:  November, 2009.
Songs:  Alan Menken.
Last Updated: August 22, 2011

Journey 2: The Mysterious Island
Composer: Andrew Lockington.
Score Details:

Musc Editor:  Stephen Lotwis.
Musc Editor (supervising):  David Metzner.
Programmer:  Neil Parfitt.
Tech. Assistant:  Neil Parfitt.
Worked on:  March to September, 2011.
Last Updated: November 15, 2011

The Journey of Natty Gann
Composer: Elmer Bernstein, R.I.P.
Score Details:

Orchestrator (additional):  Patrick Russ.
Orchestrator:  David Spear.
Orchestrator:  Rob Thornton.
Last Updated: February 15, 2010

The Josephene Baker Story
Composer: Ralph Burns
Score Details:

Recording Engineer / Scoring Mixer:  Rick Winquest.
Orchestra Contractor:  Emile Charlap(?).
Last Updated: June 20, 2009

Composer: Richard Horowitz
Score Details:

Recorded At:  Marrakech Prod.
A picture on that site has Horowitz standing with "Maellem Abdilha & Lalla Subidha from the group Haddarat" -- maybe they are performers on the score?
Last Updated: February 17, 201

Composers: Ilan Eshkeri, Marius De Vries, John Murphy
Score Details (for Eshkeri):

Orchestra:  London Metropolitan Orchestra.
Score Producer:  Stephen McLaughlin.
Score Programmer:  Felix Erskine.

Score Details (for Vries):
Orchestra:  London Metropolitan Orchestra.

Score Details (for Murphy):
Orchestra:  London Metropolitan Orchestra.
Recorded:  January 14, 2010.
Last Updated: February 1, 2010

Killer Joe
Composer: CC Adcock
Score Details:

Completed:  April 21, 2011.
Score Engineer:  Jack Miele.
Recorded at:  Fudge Recording Studios (New Orleans, LA).
Last Updated: March 28, 2012

Composer: Stephen Warbeck
Score Details:

Music Editor:  Andy Glen.
Score Cooridinator:  Becky Bentham.
Possible Orchestrator:  Jeff Toyne.
Last Updated: August 7, 2007

King Kong
Composer: Howard Shore
Score Details:

Additional Ambient Music (also music editing):  David Long, Steve Roche, Janet Roddick.
Click Engineer:  George Nepia.
Conductor:  Howard Shore.
Electronic Music Programming:  Greg Laporta.
Dubbing:  Park Road Post (New Zealand).
Lead Copyist:  Giancarlo Vuleano.
Music Editor:  Tim Starnes.
Music Editor:  Mark Ebbing.
Music Editor / Coordinator:  Nigel Scott.
Music Production Coordinator:  Jim Bruening.
Orchestra:  The New Zealand Symphony Orchestra.
Orchestra (some):  Berlin Philharmonic.
Orchestrator:  Howard Shore.
Recorded (some):  August 2005.
Recorded at (some):  Teldex Studios.
Recorded at:  Michael Fowler Centre.
Re-recording Engineer:  John Kurlander.
Score Engineer:  Peter Cobbin.
Techincal Engineer:  Patrick Weber.
Hear A Few Seconds:  HERE.
Few seconds of a cue:  HERE
Few seconds of ANOTHER cue:  HERE

CELLO:  Richard Duven.
Cello:  Georg Faust.
Cello:  Christoph Igelbrink.
Cello:  Solene Kermarrec.
Cello:  Martin Lohr.
Cello:  Olaf Maninger.
Cello:  Martin Menking.
Cello:  Ludwig Quandt.
Cello:  David Riniker.
Cello:  Nikolaus Romisch.
Cello:  Dietmar Schwalke.
Cello:  Knut Weber.
Percussion:  Joel Batson.
Last Updated: September 24, 2009

Kit Kittridge: An American Girl
Composer: Lesley Barber
Score Details:

Assistant to Barber:  Neil Parfitt.
Music Editor:  Joseph S. DeBeasi.
Music Editor:  Paul Inston.
Midi Transcriptions:  Youki Yamamoto.
Music Transcriptor:  Youki Yamamoto.
Orchestrator:  Youki Yamamoto.
Recorded at:  Sony Scoring Stage.

Cello:  David Low.
Last Updated: May 31, 2010

The Land Before Time 9  (not rejected)  By:  Andrew James Thomas (a big fucking lie)
Made Up Score Details:

Orchestrator:  Stephen Coleman.
Orchestrator:  James Michael Dooley.
Orchestrator:  William Ross.
Last Updated: February 7, 2008

The Ex / The Queen
Composer: Nathan Larson
Score Details (after the Q&A):

     Mr. Larson very kind to answer some questions I sent to him regarding all three of his replaced scores (the other being "Phone Booth").


1. How did you get involved with "Phone Booth"?

Well I had worked with director Joel Schumacher and had a good creative experience on his film TIGERLAND, so we were coming off that project and feeling good about each other, he called me about it right away.

Do you know why the score was mostly replaced?

For sure! In the end the studio wanted to have themselves a Bruckheimer-style action thriller, which is tricky to pull of consider you're dealing with one guy in a phone booth the whole time, but it seems they managed. And I think that's totally their prerogative of course, it's their money after all; and it's appropriate for the film. As for Joel, I think it was a combination of feeling that he wanted to be in more familiar , more traditional territory....what I was doing (which was what I was initially instructed to do) was this weird minimalist electronic stuff, most of which was less bombastic than that bit I have on my CD. Another factor was fatigue, the postproduction for that film dragged on for over a year, as Joel was off on other projects, so it was sort of start and stop and I think gave executives and director alike time to ponder what the score was doing for the movie, which really was a much more internal thing ‘cause that's sort of what I do, less to the action than just to general mood and emotion etc. So I reckon they did the right thing, and I don't feel weird about it in the least.

What made you want to include excerpts on your CD?

I don't know, probably the idea that none of it would get heard. It's not a particularly fantastic bit I chose either; so if I were to compile that thing today I wouldn't include it, no need.

From you changing count on your website, what is the current tally on how much was left in the film (specific scenes if possible)?

This is not cool to admit but I've never watched the finished film, but on a plane I saw bits of it over a guys shoulder and I did get an "additional music" credit. So who knows? Probably very, very little.
Really thought, who cares?

On Frear's "The Queen" a score fan like myself would have expected George Fenton to score it, so how was it that you cameaboard?

That's funny! Yeah George should have been on it, he would've known how to navigate that one. Ironic as well because Stephen was teasing George about how I was this young guy who couldn't read music and yet I was a rocking film composer etc, etc; it was all in fun. They had just done that funny movie with Bob Hotchkins and that super cute actress, can't remember what it was called. Anyway, George is cool, he's old school, he doesn't come from punk rock like I do. I never feel like I know what I'm doing, which is a good thing I think. It was and is a friendly relationship, with all the folks I know over in London.

Again, much like PHONE BOOTH, Stephen and I had worked on 3 things together, this film DIRTY PRETTY THINGS, a Volvo long form commercial with Robert Downey JR. , and this cable TV thing called THE DEAL about Tony Blair. We'd had a very good working experience on all that stuff, so when the time came he rang me up, and I went over to London and wound up living over there for about 4 months.....

For people curious to hear it, what does the score sound like?

It's my usual sort of shtick! Electronic stuff mixed in with some orchestral bits, and lots of solo cello. Again much less general that what they wound up with, much smaller in scope.... I’m told......I never saw the finished movie on this one either. In my defense I can say that I rarely see the finished product , including films I've successfully scored as well. I just figure, I've been watching this movie for months now, why not check out something else? Also it's too distracting, I'm sitting there listening to what I could've done better, or mourning a scene I loved that had been cut out, or getting frustrated with the theater's sound system ; all of which kind of shatters the experience for me (and for those with me!).

Why was it not used?

A host of good reasons. The biggest factor, I think, is that Harvey Weinstein took one look at the film and declared Helen Mirren's performance the stuff of Oscars (he was right!) and that everything, from editing to music and I think even a reshoot or two, would be geared towards buffering her up, and making sure she was a sympathetic character. I think I was more or less history the moment that conclusion was made, but I hung in there and was very stubborn about my take on the story....that the queen is not a sympathetic character, and that the monarchy should be looked to as the cold, horrible inbreeds that they are.....for instance, regarding their stone-faced reaction to Diana's death. This was as far as I could tell the original intention of the film, that it walk a much finer liner and place emphasis on the grey areas and ambiguities. So I was going for complexities and not trying to steer the audience, when what they really needed if they were to take the sympathetic approach to the film was a big sweeping classical kind of thing. So as I said regarding PHONE BOOTH , the studio made the right decision in terms of getting return on their investment, and you can't really fault that.

It also, alas, must be said that there was a crucial screening of the film in New York for the big cheeses in which the copy of the film they got was somehow fucked up, and the sound (particularly the music) was muffled and barely audible. This was a technical error and as you're rushing to finish something this stuff happens. But I do think as a result, those making the decisions never did hear what I was doing properly. Which of course doesn't change the fact that they made a good call on getting in somebody new, if the success of the film is any indication of these things.

It was no fun though, Stephen had to come down and tell me I was off it, and he was pretty distraught as he felt it wasn't 100% his decision. I love Stephen a lot, I must say, he's a good man.

One funny thing was that my association with Stephen began because I replaced the score on DIRTY PRETTY THINGS (originally Ann Dudley), such is this biz.

Another funny thing: I was in a deli here in New York and an ad came over the radio pumping up the soundtrack for THE QUEEN (this was just before the Oscars last year) and the voice-over was something like "take home the magical Oscar-nominated music from the film THE QUEEN"....etc etc. Standard stuff; except the music that was playing in the commercial, which would surge to the forefront for as much as 5 seconds at a time, was in fact my weird, spooky score. Anyway we figured out later that Miramax (although they never fessed up to it) must've used the music they got from an early promo cut for THE QUEEN which at that point had my bothered me for about 10 minutes, and then it just seemed funny so I just moved on. What are you gonna do?

Any plans to include excerpts on a future compilation, perhapsthe whole score?

Nah......had I gotten to record it properly I would say yes but it never got to a finished stage and I would never go back to it. Too much new stuff to get into!

What was up with the late replacement of "Fast Track" and how did you get involved with the film?

This was a disaster that eventually came out under the name THE very, very good friend (and former roommate) Jesse Peretz directed it, and had it wrested away from him in another one of these political things. Jesse and I have worked together forever.....but yet again, the studio kept saying "Meet the Fockers!" and "Meet the Parents!" and I just couldn't do it, it wasn't how I saw the film, it was a much sadder , sort of tragic film initially. Well it was a fucking good film initially! But I must say in this case the studio just totally destroyed it, and it was very hurtful for my good friend Jesse. Especially since they took the movie away from him, made a piece of shit, and put it out all in multiplexes over the US with his name on when the (rightfully) bad press started coming down the pike it hit my man right in the face. Not fair play if you ask me, and it's the kind of thing that resonates, so he's got to overcome that.

There's crossover, however, between this film and THE QUEEN. One of the major reasons (at least superficially) I was off this film was because post dragged on so long, with endless editorial stuff and endless studio notes, I had to go to London to work on THE QUEEN, I just ran out of time. And irony again, it was the very same executive (mentioned above) who was responsible for both films. So I was fired for going to work on another film by the same production house, in essence, and then fired from that film. And then, best of all, when I got back from New York having been taken off THE QUEEN, I got a call from the very same people about yet another film, as if nothing had you never know with this kooky business. I don't think any of these decisions are personal in the least and the folks in the corner offices just have brains that are attuned to this frequency. It's something I don't understand but that's the reality, true in most businesses I imagine.

What did it sound like?

It was sort of "quirky" lots of percussion, kind of Mothersbaugh-y. Pretty ok, not my thing, but not bad.

Again, CD plans?


Any other scores not used?

Hmm...I think that's more or less it, although I did do some stuff for this doc called CONTROL ROOM that didn't end up getting used. But no major horror stories, I've been quite lucky.

What upcoming films are you working on?

At this year's (2008) Sundance, I have two films, one fantastic dark, dark, dark comedy called "CHOKE" by the writer of FIGHT CLUB starring Sam Rockwell and Angelica Houston , directed by Clark Gregg, and a film called "AUGUST", with Josh Hartnett and directed by Austin Chick. Then more stuff I can't talk about just yet.

Ok thanks Justin!

Fast Track:
Recorded In:  New York.
Violin:  Joan Wasser

Phone Booth:
Music Editor:  Denise Okimoto.

The Queen:
Recorded At:  Abbey Road.

Unknown Instruments:  Nathan Larson.
Unknown String Players:  ?????.
Two Unknown Violinists:  ?????.
Unknown Cellist:  ?????.
Music Editor:  Tony Lewis.
Last Updated: January 10, 2008

The Last Hard Men
Composer: Leonard Rosenman, R.I.P.
From Soundtrack! magazine; vol. 14 no 56, December 1995 (interviewed by Daniel Mangodt):
"What happened on the film THE LAST HARD MEN?
They threw out the score. The director Andrew V. McLaglen asked me to score it. I thought the film was dreadful and he showed it with temporary avant-garde music. It was crazy. I finally did it and it was the wildest way-out music and they threw it out and put in a guitar thing (track music by Jerry Goldsmith). He asked me to write avant-garde music and then threw it out!"
Last Updated: January 30, 2008

Last Man Standing
Composer: Elmer Bernstein, R.I.P.
Score Details:

Music Editor:  .
Orchestrator:  Emilie A. Bernstein.
Recorded at:  Air Lyndhurst Studios (May 1996).
Score Recordist (and mixing):  Keith Grant.
Last Updated: January 23, 2008

Composer: Jerry Goldsmith
Score Details:

Mixed at:  CBS Studios (London).
Orchestra:  National Philharmonic Orchestra.
Orchestrator:  Alexander Courage.
Recorded at:  CBS Studios (London).
Scoring Mixer:  Mike Trevor-Ross.
Vocals:  Ambrosian Singers.
Last Updated: August 11, 2011

The Legend of Tarzan
Composer: Mario Grigorov
Score Details:
Orchestrator:  Tommy Laurence.
Last Updated: March 7, 2016

Les Miserables
Composer: Gabriel Yared
Score Details:
Orchestrator:  Nic Raine (also on the replacement score, too).
Last Updated: July 3, 2008

Composer: William Ross
Score Details:

Co-Produced and/or Scoring and Mix Consultant/Synth Programming :  Matthew Dela Pola.
Last Updated: August 27, 2008

Living Out Loud
Composer: Mervyn Warren
Score Details:

Arranger:  Scott Frankfurt.
Score PRogrammer:  Scott Frankfurt.
Last Updated: September 7, 2011

London Boulevard
Composer: Howard Shore
Score Details:

Music Editor (supervising):  Jen Monnar.
Music Editor:  Tim Starnes.
Recorded:  August, 2010.
Last Updated: October 8, 2010

Lord of the Rings  (rejected?)  By:  Wojciech Kilar
From a recent interview HERE:
"Has any of your film scores been rejected?"

"Yes. A few years ago the producer rejected my music for the first part of The Lord of the Rings, despite the director's wish. I agreed to write music only for the first part of the saga, but the filmmakers were not happy with that. And it's just as well, because I was terrified at the thought that more parts of this tale would be created and that I would have to spend an awful lot of time on that."
Last Updated: August 30, 2007

The Man Who Loved Cat Dancing
Composer: Michel Legrand
Score Details:

Orchestrator:  Brad Dechter.
Recorded at:  MGM, Stage 1.

Musicians (80 piece orchestra):
Piano:  Lincoln Mayorga.
Vocals:  Michel Legrand.
Last Updated: July 4, 2009

Mariette In Ecstasy
Composer: Leonard Rosenman, R.I.P.
Score Details:

Music Editor:  Dick Bernstein.
Orchestrator:  Pete Anthony.
Scoring Mixer:  Rick Winquest.
Last Updated: April 30, 2008

Marvin's Room
Composer: Thomas Newman
Score Details:

Music Editor:  Bill Bernstein.
Last Updated: August 28, 2006

May In the Summer
Composer: Carlo Siliotto
Score Details:
Mixed at:  Glenwood Studios (completed December 21, 2012).
Music Editor:  Dre DeAscentis.
Music Preparation:  Saverio Rapezzi.
Music Programmer:  Luigi Pulcini.
Produced by:  Film Scoring Lab.
Scoring Mixer:  Jorge Velasco.

Ethnic instruments:  Lilo Fadidas.
Guitar (classical):  Saverio Rapezzi.
Last Updated: August 12, 2013

The Meerkats
Composer: Dario Marianelli
Score Details:

Music Editor:  James Bellamy.
Music Editor:  Steve Price.
Last Updated: December 5, 2007

Mission:  Impossible
Composer: Alan Silvestri
Score Details:

Additional Music Editor:  Kenneth Karman.
Orchestra:  Hollywood Studio Symphony (who also did Elfman's score).

Cello:  John Walz.
French Horn:  Phil Yao.
Piano (possibly also sythesizers):  Randy Waldman.
Trumpet:  Rick Baptist.

From the French book "Brian De Palma", by Samuel Blumenfeld and Laurent Vachaud:

(Thanks again to the tireless efforts of MightyMcT.]  Who also translated this excerpt, which I cleaned up a tad bit more.)

Brian De Palma:   "Alan Silvestri had written a score.  We began recording it, but 5 days later, he had to re-write half of his cues.  It wasn't working.  I did not have the time to supervise what he had written.   He came in with his score and right away went to record it in studio, without taking any notice of my suggestions.  It was not what we were looking for, it was too melodic, there always was something too excessive in his music, no matter what we would change.  Yet, we kept on doing modifications, but after four sessions, I said to my editor, Paul Hirsch: 'This is not going to work, Tom won't love this music.'.  Cruise was filming "Jerry Maguire" at that time.
Danny Elfman was available.
It was complicated to find a good composer who would accept to work from the Lalo Schifrin themes.   We dismissed Alan Silvestri and I began working with Elfman.  Every day, I went to his home and we reviewed every cue on his computer."

Question:  "Didn't you consider using Lalo Schifrin?"

Brian De Palma:  "No, I don't think Lalo could have written all the score.  We tried to get the best [composers], but most of them wanted to write their own Mission: Impossible theme."

Video Clip(s):

YouTube:  Noc List
YouTube:  Abort the Mission
YouTube:  The Restaurant
YouTube:  Noc List Trap
YouTube:  Claire
YouTube:  The Train (Part 1)
YouTube:  The Train (Part 2)

Last Updated: July 13, 2009

Mr. Magorium's Wonder Emporium  (rejected)  By:  Alexandre Desplat (1st), Patrick Doyle
Score Details (for Doyle):

Music Editor:  Robin Morrison
Last Updated: October 22, 2007

Mrs. Harris
Composer: John Frizzell
Score Details:

Conductor:  Matt Dunkley.
Music Editor:  Gary Thomas.
Music Editor:  Angie Rubin.
Music Editor:  Steve Price.
Orchestrator:  Andrew Kinney.
Orchestrator (additional):  Frederik Wiedmann.
Score Coordinator:  Becky Bentham.
Last Updated: November 26, 2007

Modern Problems
Composer: Marvin Hamlisch
Score Details:

Played an instrument:  Bill Mays.
Last Updated: February 5, 2008

Mr. Wonderful
Composer: Maurice Jarre, R.I.P.
Score Details:

EVI:  Judd Miller.
Last Updated: June 7, 2011

Murder In Mississippi
Composer: Elmer Bernstein, R.I.P.
Score Details:

Music Editor:  Kathy Durning.
Music Contractor:  Greg Sudmeier.
Orchestrator:  Patrick Russ.
Recorded At:  Skywalker Sound.

Harp:  Penny Beavers.
Last Updated: July 6, 2010

Mystery Men
Composer: Stephen Warbeck
Score Details:

Assistant to Warbeck (additional score, too?):  Andrew Green.
Conductor:  Pete Anthony.
Music Editor:  Dan Garde.
Music Editor (supervising):  Alex Gibson.
Orchestrator:  Geoff Alexander.
Orchestrator (additional):  Andrew Green.
Orchestrator:  Art Kimpel.
Orchestrator:  Patrick Russ.
Orchestrator:  Stephen Warbeck.
Recorded At:  Sony Scoring Stage.
Scoring Mixer:  Dennis Sands.

Bouzouki:  John Parricelli.
Clarinet:  Gary Bovyer.
Percussion:  Mike fisher.
Taragato:  Martin Robertson.
Last Updated: May 17, 2011

Nacho Libre
Composer: Beck (Hansen)
Score Details:

Assistant Scoring Engineer:  Michael Sawitzke.
Scoring Engineers:  Ken Andrews.
Recorded At (some of):  Sound Isadore.
Additional Score:  Brian LeBarton.

Bass:  Justin Meldal-Johnsen.
Guitars:  Beck.
Percussion:  Beck.
Vocals:  Beck.
Last Updated: January 10, 2009

The Necessary Death of Charlie Countryman
Composer: Moby
Score Details:
Cello:  Adrian Naidin.
Last Updated: December 21, 2012, 2009

The Neptune Factor
Composer: William McCauley, R.I.P.
Score Details:

Recorded At:  Manta Sound (now torn down building in Toronto, Canada).
Additional Score:  Matthew McCauley (two cues).
Budget:  $25,000.00.
Conductor:  William McCauley.
Orchestrator:  William McCauley.
Recording Engineer:  David Greene.

FilmScoreMonthly had this to say about his score, in a DVD review:

"... the disc includes both Lalo Schifrin's original score as well as the unreleased, rejected score by William McCauley (portions of which ended up in the film), which is available in dynamic stereo on a secondary audio channel.

It's fascinating to be able to flip from Schifrin's score (also isolated, albeit in mono with FX) to McCauley's, with the big surprise being that McCauley's comparatively romantic and thematically rich score tends to be more pleasant to listen to. Schifrin must have been under marching orders to make the film more suspenseful with cues that are often ominous (especially in the early going) while McCauley's tracks generally play out with more of a sense of wonder (in fact, I wouldn't mind a CD coupling the two scores together)."

Special thanks for Matthew McCauley, son of the late Williams McCauley, for his help.
Last Updated: October 29, 2007

New Face In Hell
Composer: Percy Faith, R.I.P., Dave Grusin
Score Details (for Faith):
Orchestra:  65 piece orchestra.
Recorded:  June, 1967.
Last Updated: June 9, 2011

The New Guy
Composer: Nick Glennie-Smith
Score Details:

Orchestra ContractorSimon James.
Last Updated: November 9, 2007

Night At the Museum
Composer: John Ottman
Score Details:

Music Editor:  Terry Wilson
Orchestrator:  Damon Intrabartolo
Conductor:  Damon Intrabartolo
Possible Recorder/Mixer -- since he usually does Ottman:  Casey Stone
Last Updated: September 1, 2006

Night Falls on Manhattan
Composer: Wynton Marsalis
Score Details:

Score Recordist:  Victor L. Goines
Unknown Instrument Performance: (FIX)
Last Updated: October 25, 2006

Composer: Maury Yeston
Score Details:

Unknown capacity:  Chris Cozens.
Recorded at:  Phoenix Sound.
Recorded In:  London (unknown fascility, early 2008).
Last Updated: November 7, 2009

Composer: Beck (Hansen)
Score Details:

Excerpt from an interview with director David Atkins:

I wanted Beck originally. I thought Beck would be good because that sorta pulsating sound of air going in and out... the wah-wah-wah that Beck and other electronica musicians do... to me, that's the sound of nitrous oxide when I have the mask on. You know, you're flying and the sound of blood pulsing in and out of your ear gives you that wah-wah-wah. But when I put it up to the movie, that electronica didn't work, so I knew I wanted to make a score, but it had to be a score that could contain both tones, a comedic and a darker feel. Elfman is the guy that does that best. But I must say, Steve Bartek did awesome work in elaborating."
Last Updated: January 30, 2007

Now You See Me
Composer: David Sardy
Score Details:
Music Editor:  Clitn Bennett.
Music Editor:  Del Spiva.
Last Updated: March 16, 2013

Object of Beauty
Composer: Trevor Jones
Score Details:

Orchestrator:  Guy Dagul.
Scoring engineer:  Paul Hulme.
Last Updated: June 20, 2007

On the Ropes
Composer: Michael Kamen, R.I.P.
Score Details:

Score Arranger & Programmer:  Robert Christie.
Last Updated: February 5, 2008

The Other Boleyn Girl
Composer: Edward Shearmur
Interview where he talks some about how the score will be.

Score Details:

Score Mixer:  Chris Fogel.
Music Editor:  Christopher Benstead.
Music Editor:  Melissa R. Kaplan.
Last Updated: October 25, 2007

Out of Sight
Composer: Cliff Martinez
From An interview with Soderbergh:

"iW:  I think the score played a large part in creating that mood, also. Can you talk about working with Cliff Martinez?

Soderbergh:  Normally what I would do is temp something and then say to Cliff, it should sound a little like this, but don't get sued. And in this case, I was having a real hard time coming up with temp stuff, so Cliff sent me over a bunch of cues that he'd written based on the temp tracks I sent him and none of them were really working. And then at the end of the tape there was an extra cue which he just did on his own, and just said, "This is just some, little trash, see what you think" and it was basically that main piano riff that we use when we're going into a non-linear reverie.  And when I heard that I went, "Oh, Shit, that's the sound of the movie."  So it was completely by accident and suddenly, when I got that piece of music, I started to cut sequences to it, and the film began to take a new shape."

From an interview by Game Soft:

"That reminds me of that story about Out of Sight. Apparently, Steven Soderbergh had recorded the whole soundtrack, and then he heard the David Holmes album Let's Get Killed. Then he reportedly threw out the entire soundtrack and just called Holmes and had him redo the whole thing."
Last Updated: May 31, 2007

The Passion of the Christ
Composers: Lisa Gerrard, Jack Lenz
Score Details (for Gerrard):

Sound Design:  Jarek Tuschewski.

Score Details (for Lenz):
Additional Score:  Ron Allen.
Orchestrator:  Larry Ashmore (possibly additional scoring as well).
Score Recordist (and mixer):  Sean W. Karp.

Dolki:  Ron Allen.
Duduk:  Ron Allen.
Duff:  Ron Allen.
Erhu:  Ron Allen.
Flutes (Indian, Arabic, Chinese & bass):  Ron Allen.
Guitar:  Ron Allen.
Oud:  Ron Allen.
Udo:  Ron Allen.
Zorna:  Ron Allen.
Vocals:  Ron Allen.
Vocals:  Shannon Kingsbury.

From An Unrecalled Interview:

"And this is also confirmed on Mel Gibson's official Passion website that Horner is not scoring this film. Q: Is it true that James Horner is the composer for the soundtrack?
A: No. We had previously stated that he was the composer, but he is not. We apologize for the confusion."
Last Updated: december 17, 2010

Peace, Love, & Misunderstanding
Composer: Stephen Endelman

Score Details:
Music Editor:  Christopher Kennedy.
Last Updated: February 22, 2013

Peep World
Composer: Nathan Barr
Score Details:

Scoring Mixer:  Joel J. Richard.
Last Updated: June 20, 2010

Pirates of the Caribbean  (demos)
Composer: Alan Silvestri
Score Details:

Music Editor:  Kenneth Karman.

Written Articles:

Magazine snippit

"Hans Zimmer was hired to produce a new score six weeks before the film was scheduled for completion because Jerry Bruckhiemer thought:  "It just didn't sound like a pirate movie to me.".  He felt Silvestri's score, particularly during the key sequence where Elizabeth discovers the pirates are undead, sounded too whimsical.  He much preferred the harder edged music that Klaus Badelt later provided."
Last Updated: September 23, 2006

Point of No Return
Composer: Gary Chang
Score Details:

Drums:  Billy Ward.
Last Updated: May 31, 2010

Composers: Donald Rubinstein, ?????
Score Details:

Recorded at:  Cello Studios (LA).

Bass:  Tim Emmons.
Cello:  Hank Roberts.
Drumset:  John Densmore.
Percussion:  Brad Dutz.
Percussion:  Emil Richards.
Piano:  Marcel Bergmann.
Reeds:  Vinny Golia.
Saxophone (tenor):  Katrine Sulwalski.
Vocals (soprano):  Elin Carlson.
Last Updated: November 19, 2010

Practical Magic
Composer: Michael Nyman
Score Details:

Assissant to Nyman:  Robert Warby.
Music Editor:  Bunny Andrews.
Music Engineer:  Austin Ince
Music Programmer:  Robert Warby.
Orchestra:  The Michael Nyman Orchestra.
Orchestrator:  Gary Carpenter
UNKNOWN Instrument:  Bill Mays.
Conducted:  Michael Nyman
Recorded (and mixed) At:  Abbey Road Studios, London (August 15 & 16, 1998)
Produced By(?):  Danny Bramson and Sandra Bullock.

Interview where he speaks

If you have the CD that had two Nyman cues on it, and see any credits missing from here, let me know please. :-)

Last Updated: January 10, 2007

Precinct 45
Composer: Don Ellis
Score Details:

(unknown instrument):  John Clark.
(unknown instrument):  Gary Herbig.
Bass:  Dave McDaniel.
Drums:  Ralph Humphreys.
Drums:  Ron Dunn-Jones.
Flute:  Fred Seldon.
Keyboards:  Michol Leview.
Saxophone:  Sam Falzone.
Trumpet:  Glenn Stewart, R.I.P..
Last Updated: February 8, 2010

The Prince of Tides
Composer: John Barry
Score Details:

Oboe:  Larry M. Timm.
Last Updated: July 4, 2009

The Prodigies
Composer: Craig Armstrong
Score Details:

Orchestra:  Scott Fraser
Last Updated: October 3, 2011

The Public Eye
Composer: Jerry Goldsmith, R.I.P.
Score Details:

Recorded at:  Hit Factory (London).
Score Recordist:  Mike Ross-Trevor.
Last Updated: August 11, 2011

Push Button Go
Composers: Neal Hefti, Nelson Riddle
Score Details (for Hefti):
Guitar:  Tommy Tedesco.

Score Details (for Riddle):
Guitar:  Tommy Tedesco.

Tedesco also played on the final score.
Last Updated: May 22, 2010

Composer: Howard Shore
Score Details:

Played an Instrument:  Bill Mays.

The Score: Interviews With Film Composers, by Michael Schelle; Silman-James Press, 1999:

Before Ransom was rejected:
Interviewer (MS): ...there seems to be a very strong and agreeable camaraderie among you, Ron Howard, the editor and the producer.
Howard Shore (HS): Yeah! This is the way you would like to make movies, everything feels smooth...
MS: Ron Howard seems very flexible about the music - he'll offer intelligent opinions, but he's still quite agreeable to considering your interpretation and asking for you advice.
HS: Yeah, we actually discuss things. He sees what you're doing, and he likes it, but then he might want to give you his ideas too. He wants both things - he wants the traditional and he enjoys the more experimental approaches, too. A lot of the Ransom score pays attention to the genre and the kinds of things you'd expect, but I'm also trying to keep it edgy and contemporary - paying respect to the genre, but not locked into predictability and cliché...
MS: Ransom seems like a very comfortable situation for all of you - I sense a lot of sincerity and honesty floating around the studio.
HS: Yeah, exactly...We're all working for the same goal, and nobody's trying to rush anything...

After Ransom was rejected:
MS: What happened? It was a great score and Ron Howard seemed to be so happy with it.
HS: Well, these things happen - all the time. It's frustrating because you spend so much time and so much energy. I aged about ten years in those two weeks!
MS: Will sections of the score transfer to some future movie or composition project?
HS: Probably not a movie, it's too specific to Ransom...
MS: Were you told why this happened?
HS: Not really. All I can figure out is that he came into the picture wearing a black leather jacket and left wearing a white sport coat. I think he got nervous - the music was probably too contemporary or too experimental in the long run.

Last Updated: December 6, 2007

Rat Race
Composer: Elmer Bernstein, R.I.P.
Score Details:

Orchestrator:  Emillie A. Bernstein.
Unknown capacity:  Chris Cozens.

Clarinet:  Nicholas Bucknall.
Last Updated: June 25, 2008

The Reaping
Composers: Philip Glass & Ravi Shankar
Score Details:

Assistant Music Editor:  Derek Somaru.
Conductor:  Michael Riesman.
Orchestra Contractor:  Peter Rotter.
Music Editor:  Joseph S. DeBeasi.
Music Editor:  Andy Glen.

Choral Music Arranging:  Alan Ett.
Choral Music Arranging:  Scott Liggett.
Percussion:  Frank Cassara.
Trombone:  Dan Levine.
Violin:  Megan Gould.
Vocals:  Alex Sweeton.
Last Updated: January 17, 2010

Regarding Henry
Composer: Georges Delerue, R.I.P.
Score Details:

Music Editor:  Suzana Peric.

Last Updated: September 23, 2006

The Reivers
Composer: Lalo Schifrin
Score Details:

Conductor::  Lalo Schifrin.
Harmonica::  Tommy Morgan (also on Williams' score).
Last Updated: April 25, 2010

The River Wild
Composer: Maurice Jarre
Score Details:

Score Copyist::  Steve Juliani.
Head Music Preparationist::  Bob Bornstein.

Bass:  Norman Ludwin.
French Horn (solos):  James Thatcher.
French Horn:  Phil Yao.
Harp::  Ann Mason Stockton, R.I.P. (the last score she performed on).
Percussion:  Raynor Carroll.
Last Updated: May 31, 2010

Robin and Mariam
Composer: Michel Legrand
Score Details:

Quote from FSM issue Vol. 12, #3 (March 2007 online issue):

"Lester's a weird fellow; I didn't get along with him. He chickens out, he worries all the time. I wrote for Robin a concerto grosso for solo violin, solo cello and double strings orchestra, and he told me my music was so good that, if he uses it, it'll distract from the film. I told him he was wrong, that it'd be the opposite, that it would add something more."
Last Updated: July 3, 2007

Romantic Mortiz
Composer: Jay Asher
Score Details:

In a post at's board, Asher wrote:

"Hi Kays,but I respectfully must say that I don't agree. A few years ago I had a score thrown out, the first and only time this has happened to me. I felt I knew exactly what the film needed. I felt the direction that the producer wanted was wrong. But after he insisted I said to myself, "Oh well, it is his film." I tailored it to his micro-managing and he pronounced himself pleased. At the dub he stopped by for a while and said, "Well it seems to be laying in nicely."

Two weeks later, apparently after being told by some friends that it didn't work, he replaced it. Ironically, the score my replacement did was similar to what I wanted to do in the first place!

We both would have been better off if I had bowed out earlier on."
Last Updated: September 27, 2007

Romeo and Juliet
Composer: James Horner
Score Details:
Choir:  Rodolfus Choir.
Choir Conductor:  Ralph Allwood.
Choir Contrator (and conductor):  Jasper Randall.
Choir Director:  Tom Allwood.
Conductor:  James Horner.
Conductor (additional):  Robert Ziegler.
Orchestrator:  James Horner.
Orchestrator:  Randy Kerber.
Orchestrator:  J.A.C. Redford.
Orchestra Contrator:  Isobel Griffiths.
Recorded at:  Abbey Road (Studio 1, late December, 2012).
Recorded at:  Air Studios.
Score Preparation:  Jessica Rae Huber.
Scoring Engineer:  Simon Rhodes.
Synth Programmer:  Franglen Simon.

Unknown instrument(s):  George Doering.
Piano:  Iain Farrington.
Trumpet (baroque):  Alison Balsom.
Vocalist:  Emily Kirby-Ashmore.
Vocalist:  Iestyn Davies.
Vocalist:  Sissel (whom also worked on "Titanic").
Last Updated: July 12, 2013

Composer: Wynton Marsalis
Score Details:

Score Recordist:  Victor L. Goines.
Additional Score Recordist (and sound engineer):  William Easystone.
Music Supervisor:  Suzy Civiti.
Recorded at:  Warner Bros. Studios.
Recording Sessions At:  Dinosaur Studio, New Orleans.
Unknown Capacity:  Nana Kimati Dinizulu.

Acoustic Guitar:  Vasti Jackson.
Alto Sax:  Wes Anderson.
Banjo:  Don Vappie.
Drums (and spoons):  Herlin Riley.
Fiddle:  Mark O'Conner.
Trumpet:  Wayne Bergeron.
Piano:  Marcus Roberts.
(possibly sax, or guitar):  Taj Mahal (same person who did the replacement score on "Sounder").
Trombone:  Wycliffe Gordon.
Trumpet:  Wynton Marsalis.
Violin:  Michael Ward.
Vocals:  Cassandra Wilson.
Vocals:  Shirley Caesar.
Last Updated: July 14, 2009

Run All Night
Composer: Alan Silvestri
Score Details:

Mixed at::  Sound Waves SB.
Orchestra Contractor::  Gina Zimmitti.
Last Updated: December 5, 2014

Composer: John Gray
Score Details:

Music Editor:  Emily Swanson.
Last Updated: ?January 13, 2011

Say It In Russian  (un-used)
Composer: Vincent Gillioz
Score Details:

Score Finished:  March, 2007.
Last Updated: August 27, 2007

Scarlet Letter
Composers: Elmer Bernstein, R.I.P., Ennio Morricone
Score Details (for Bernstein):

Chief Sound Engineer:  Geoff Foster.
Music Editor:  Bob Badami.
Orchestrator:  Emillie A. Bernstein.
Orchestrator (additional):  Patrick Russ.

Source not recalled; possibly from

     "At the time John Barry was recording SCARLET LETTER I was exchanging e-mails with Peter Buffet who worked on the score with Barry and supplied the Indian motifs as well as the fire dance sequence.  Buffet went into great detail about the score.
Two other composers had been hired and fired on Scarlet Letter: Elmer Bernstein and Ennio Morricone.  They were down to mere hours before release date and John Barry was called in because he can write incredibly fast.
This is partly why the "run out of ideas" approach to certain cues is evident; there was little time to do much but punch in what had worked in the past.  Having said that, however, there are some fine moments present here. ...      All he said was that the director was under pressure all along from Demi Moore to hire Barry.  Morricone was his first choice, but the score was so ponderously solemn it brought down the mood.  Bernstein's effort was "too historical" sounding (whatever that means).  I think perhaps Demi Moore had a "thang" for Barry's music and hoped the movie would be another Out of Africa or Indecent Proposal. T."
Last Updated: September 20, 2010

Scary Movie 2
Composer: George S. Clinton
Score Details:
Music Editor:  Tomas Bartke.
Music Editor:  Mike Flicker.
Music Editor:  Jeff Lingle.
Orchestrator:  Rick Giovinazzo.
Orchestrator:  Frank Macchia.
Recorded At:  Fox Studios.
Score Mixer:  John Whynot.
Score Recordist:  John Rodd.
Time For Replacement Score:  72 hours after higher.

Percussion:  Scott Breadman.
Trombone:  Tommy Johnson.
Trombone (1st):  Charlie Loper.
Trombone:  Bob Payne.
Trombone (1st):  Bill Reichenbach.
Trombone:  Phil Teele.
Trombone:  Steve WIlliams.
Trumpet:  Rick Baptist.
Trumpet:  Gary Grant.
Trumpet:  Jon Lewis.
Trumpet (1st):  Malcolm McNab. (Brass section) (Clinton at podium)
(If photo links do not work, please inform me; I saved the pictures)
Last Updated: June 15, 2010

The Seduction of Joe Tynan
Composer: Michael Small, R.I.P.
Score Details:

Orchestration (also on source music)Bob Freedman.
Recorded at:  A&R Studios (New York).
Unknown Capacity:  Emile Charlap.

Trombone:  James Pugh.
Last Updated: June 20, 2009

See No Evil
Composers: Andre Previn, David Whitaker
Score Details (for Previn):
Orchestra:  London Symphony Orchestra.

Newspaper Article Someone Posted at FSM; did not name paper:

Friday, June 11, 1971
Mia Farrow Movie Loses An Andre Previn Score

LONDON (AP) - The words of actress Mia Farrow, starring in a new thriller movie, will not be accompanied by the note of her orchestral conductor husband Andre Previn after all His music score has been scrapped.

Columbia Pictures, distributors of the film called "See No Evil," ran a blue pencil through Previn's score after hearing a recording by the London symphony Orchestra with the composer conducting.

American composer Elmer Bernstein is writing new background music, which is due to be recorded next month.

Associate producer Basil Appleby said Tuesday: "It is all very embarrassing.  I had to tell Previn the concensus was that they didn't like his score.  It's a Columbia Pictures decision.  They weren't very specific about why they didn't like it."

The film, directed by Richard Fleischer and originally called "Buff," depicts Miss Farrow in her first British screen role. She plays a blind girl unwittingly involved in a mass murder.
Appleby said Previn had been asked to rewrite his score, "but unfortunately I spoke to him the day before he was flyng to Moscow with the orchestra."

Found At

"Today, Randall Larson, former editor of Soundtrack Magazine, as well as former editor of CinemaScore (a much-loved early film music magazine) responded:

Paraphrasing from Musique Fantastique, page 307:

Andre Previn did indeed compose and record an original score to SEE NO EVIL. It was reportedly recorded by the London Symphony, for whom he was then-resident conductor. But the producers rejected the music and hired David Whitaker, whose work evidently didn't satisfy them either, and Bernstein was hired.

"According to Previn, writing in FilmFacts, the producers had felt his music was 'too harsh, too astringent, too ugly, too rough, and there isn't anything the kids can whistle.'

"Mark Stevens, writing in the original 'Score' column for Cinefantastique, heard Previn's score and described it as 'a superbly chilling score, PSYCHO-like, with electronic overtones, a synthesizer being employed to stunning effect.' It's too bad the recording of this score hasn't been made available -- nor Bernstein's more romantic approach either, for that matter. A great topic for a new FSM or Intrada or Percepto or La-La Land combo soundtrack with both scores, hmmm???" "
Last Updated: October 24, 2009

Composer: Kenny Asher
Score Details:

Orchestration (also on source music)Bob Freedman.
Recorded In:  Los Angeles.
Unknown Capacity:  Emile Charlap.
Last Updated: June 20, 2009

Seven Days In May
Composer: David Amram
Score Details:

Drums:  Jimmy Cobb.
Last Updated: February 11, 2010

The Seven-Ups
Composer: Johnny Mandel
Score Details:

Recorded on:  October 3rd, 5th, and 18th, 1978.
Last Updated: January 26, 2010

Seventh Son
Composers: Tuomas Kantelinen and A.R. Rahman
Score Details:
Recorded at:  Air Lyndhurst.
Recorded on:  Early 2013 (before May).
Scoring Engineer:  Geoff Foster.
Scoring Mixer:  Geoff Foster.
Last Updated: August 2, 2013

Composer: Christopher Young
Score Details:

Scoring Engineer:  Johnathan Price.
Soundtrack Producer:  Johnathan Price.
Synthesist:  Johnathan Price.
Last Updated: August 2, 2008

Composer: Alex Heffes
Score Details:
Orchestra:  London Guildhall School of Music (hand picked members; string quartet).
Music Group:  The Silk String Quartet.
Unknown instrument:  Lang Lang.
Recorded:  May 2009.
Last Updated: August 7, 2009

Composer: Scott Benzie
Score Details: Conductor:  Scott Benzie.
Orchestra:  London Guildhall School of Music (hand picked members; string quartet).
Orchestrations:  Scott Benzie.
Recorded at:  Unnamed art center in central London.
Last Updated: January 8, 2007

Sinful Davey
Composer: John Barry
Score Details:
Recorded at:  CTS/Masterson (on 35mm mag stock tape).
Tape Operator / Junior Engineer:  John Middleton
Last Updated: January 8, 2007

Single Moms Club
Composer: Aaron Zigman
Score Details:
Conductor:  Aaron Zigman.
Orchestration:  Aaron Zigman.
Orchestratra Contractor:  Peter Rotter.
Scoring Mixer:  Michael Stern.
Last Updated: July 24, 2013

Composer: Geoffrey Burgon
Score Details:

"Geoffrey Burgon is a marvellous composer and a lovely man.  I once shared an unfortunate experience with him; we attended the cast and crew screening of SIRENS for which Geoffrey had composed the music.  Well, the film continued, and there seemed to be little music -- most of Geoffrey's score had been dropped -- with scenes playing without music -- but nobody had bothered to warn him -- and I was there to assess a possible soundtrack album (and there was only fifteen minutes of music left in the movie!).  In the end the movie was rescored -- by Rachel Portman I think -- and her score sounded the same as Geoffrey's original one -- so the mind boggles.

All the best,
David Wishart"

NOTE: Mr. Wishart passed away recently; he was nothing but nice, and helpful as you can see above.
Last Updated: September 23, 2006

The Sixth Man
Composer: Randy Edelman
Score Details:

Very Short Interview by Knight-Ridder:

Film composer constantly busy


Prolific film composer Randy Edelman finished back-to-back scoring of Sylvester Stallone's "Daylight" and the upcoming Danny Glover/Joe Pesci film "Gone Fishin" - then went directly into the studio to start recording the score for Touchstone's "The Sixth Man" comedy with Marlon Wayans.

Meanwhile, he's anxiously awaiting the footage from Columbia's "Anaconda."

That film, which stars Jon Voight, Eric Stoltz and Ice Cube, is about a documentary film crew in the Amazon that is terrorized by a killer snake.

"They better have it for me soon or I'll have to score it without the special effects," says Edelman, who plans to begin recording the "Anaconda" score in January.".

Violin:  rrrrrrRobin (yeah, that's what he likes being called; Robin Olson).
Last Updated: July 30, 2007

The Smurfs
Composer: John Powell
Score Details:

Music Editor:  .
Last Updated: ?????, 2011

Something's Gotta Give
Composer: Alan Silvestri
Score Details:

Orchestration:  Mark McKenzie.
Music Editor:  Kenneth Karman.
Music Editor:  Andrew Silver.
Time For Replacement Score:  About one week (according to James Michael Dooley).

Guitar:  Mitch Holder.
Oboe:  Tom Boyd.
Last Updated: January 29, 2010

Something Wicked This Way Comes
Composer: Georges Delerue, R.I.P.
Score Details:

Music Editor:  Dan Carlin.
Last Updated: November 28, 2009

Composer: Gary Chang
Score Details:

Drums:  Billy Ward.
Last Updated: May 31, 2010

Snowden On Ice
Composer: Joseph Vitarelli
Score Details:

Violin:  Nicole Garcia.
Recorded:  October 1997.
Last Updated: December 6, 2007

Space Chimps
Composer: Dave A. Stewart
Score Details:

Additional score:  Blue Man Group (and sound design; unknown whether they score they did under the original composer will remain, or if they will record new material).
Last Updated: February 1, 2008

Composer: Jerry Goldsmith, R.I.P.
Score Details:

Clarinet:  Steve Roberts.
Last Updated: December 12, 2007

Composer: John Scott
In an interview HERE, Mr. Scott comments:

Can you please tell us what happened with "S.P.Y.S." (1974), a movie which you scored but, surprisingly, it was shown in the USA as a telefilm with music by Jerry Goldsmith?

"Director Irvin Kirshner briefed me on this film. He was very exacting in communicating what he wanted the music to do, however he was getting mixed messages from his producers. The film was fun. I thought there were hilarious moments. However, the outcome was that the Americans wanted one film and the Europeans wanted another. I have never heard Jerry Goldsmith's score but he, without doubt, was my hero. Of course I was devastated when I heard that my score had been replaced for the US version. But the common saying amongst film composers is that 'You haven't arrived until you have had a score rejected'."
Last Updated: December 12, 2006

Stars and Bars
Composer: Elmer Bernstein, R.I.P.
Score Details:

Orchestrator:  Patrick Russ.
Recorded At:  Unknown facility in Dublin, Ireland.
Last Updated: June 3, 2010

Composer: Randy Edelman
Score Details:

Music Editor:  Bob Badami.
Last Updated: September 20, 2010

Composer: Patrick Doyle
Score Details:

Supervising Copyist:  Steve Juliani.
Supervising Copyist:  Suzie Katayama.

French Horn:  Phil Yao.
Viloin:  rrrrrrRobin.
Last Updated: September 21, 2008

Composer: Bob Florence, R.I.P.
Score Details:

Strings:  Merilyn Graham.
Trumpet (lead):  Bob Graham.
Last Updated: October 25, 2008

Stone's War
Composer: Titas Petrikis‏
Score Details:

Orchestra Arranger:  Tadas Sileika.
Vocals:  Egle Vakarinaite.
Last Updated: July 14, 2009

Composer: Trevor Jones
Score Details:

Conductor:  Geoff Alexander.
Music Editor:  Tony Lewis.
Orchestra:  London Symphony Orchestra.
Orchestra Leader:  Carmine Lauri.
Orchestrator:  Geoff Alexander.
Recorded:  February 20, 21 & 25, 2006.
Recorded at:  Abbey Road (Studio 1).
Scoring Engineer:  Andrew Dudman.
Svetlin Roussev:  Carmine Lauri.
Last Updated: March 7, 2016

Streets of Fire
Composer: James Horner
Score Details:

Steelpan:  Bill Reichenbach.
Trombone:  Andy Narell.

Excerpt from CinemaScore, issue # 13/14, Fall 1984/Summer 1985; interview by Steven Simak:

"The score that I wrote for "Streets of Fire" was a very percussive, propulsive score.  It used a lot of varied, different, exotic instrumentation.  They decided to take it, that feeling out.  They wanted something a little more traditional and they went with 50's rock and roll."
     Horner attributes the difficulty with the score as the result of his willingness to experiment:  "I tried something very risky in "Streets of Fire".  I thought it worked terrifically and so did everybody, actually.  But about a week of living with it, thinking about it, the director started to feel perhaps I had gone too far.  Now there's a difference between perhaps going to far and reverting back to 50's rock and roll!".
Last Updated: February 28, 2008

Team America:  World Police
Composer: Marc Shaiman
Score Details:

Conductor:  Pete Anthony.
Copyist:  Kendall Schmidt.
Music Editor:  Joseph Lisanti.
Music Editor:  Stephanie Lowry.
Music Programmer:  Nick Vidar.
Orchestrator:  Jeff Atmajian.
Orchestrator:  Larry Blank.
Orchestrator:  Harvey R. Cohen.
Orchestrator:  David De Palo.
Recorded At:  Paramount Studios (Scoring Stage M).
(possible) Orchestrator:  Bruce Babcock.

Bassoon:  Leslie Lashinsky.
Cello:  John Walz.
Clarinet:  Steve Roberts.
Clarinet:  Amanda Walker.
Drums:  J. R. Robinson.
French Horn:  Phil Yao.
Piano:  Rich Ruttenberg.
Percussion:  Brian Kilgore.
Saxophone or woodwind:  Dan Higgins.
Trombone:  Alex Isles (also played on the replacement score).
Trombone:  Andrew Thomas Malloy.
Trumpet:  Wayne Bergeron.
Trumpet:  Rick Baptist.
Tuba:  Jim Self.
Viola:  Darrin McCann.
Viola:  Simon Oswell.
Violin:  Charlie Bisharat.
Last Updated: May 28, 2010

Theory of Flight
Composers: Christopher Gunning, Stephen Warbeck
Score Details (for Warbeck):

Orchestrator:  Geoffrey Alexander.

Score Details (also for Christopher Gunning):

Orchestrator:  Geoffrey Alexander.

Excerpt from a January 23, 2011 interview conducted by Stephen Eickle:
Stephan Eicke: Many people don't want to talk about the following theme but do you have any rejected scores?

Christopher Gunning: Oh my God (laughing)! I don't mind talking about that... there has only been one full score which was rejected and that was a score for a film called "The Theory of Flight".

Stephan Eicke: Wasn't Stephen Warbeck's score for this movie rejected, too?

Christopher Gunning: That's right and that's why I don't mind talking about that because there were lots of rejections (laughing). Actually, the film was crap... no, it wasn't crap... it could have been a very nice film, but... the situation there was that there was a producer and a director who weren't communicating at all with each other and the relationships really collapsed. I was working with the director and it turned out that the producer just didn't like what I was doing. I didn't know that until it was too late. They were terribly bad about it.
I was called for a meeting afterwards and then they phoned up just as I got my hat and coat on ready to go, and they said: 'I think we'll postpone the meeting.'
Then Stephen (Warbeck) rang up and said: 'Chris, I've just been to see this film and it says 'Music by Christopher Gunning' at the beginning!' 'Oh Stephen, do you really want to know the whole story?' (laughing)
He said: 'Look Chris, I am short of work at the moment, so if they offer it to me, I am afraid I am going to take it, but I just want to know the background.'
I replied: 'Watch out because this could be a poison-chalice.' Stephen is a really nice man and he phoned me up after the meeting and said: 'Well, I'll do it.' Then he rang me up a month later and said: 'You'll be happy to hear that my score was thrown out as well!' (laughing)
They got an American guy to do it, and when the movie was shown on television, I noticed that his music was not unlike mine at all. I recorded my music and Stephen, too. The same engineer recorded both scores. It's a huge waste of money and it was produced by the BBC whose license-fee is... whoa...
Last Updated: July 20, 2013

Thor: The Dark World
Composer: Carter Burwell
Score Details:
Additional Score:  Christopher Willis.
Conductor:  Carter Burwell.
Music Editor:  Steve Durkee.
Orchestra Contractor:  Isobel Griffiths.
Orchestra Contractor (assistant):  Lucy Whalley.
Orchestrator:  Carter Burwell.
Orchestrator:  Sonny Kompanek.
Orchestrator:  John Ashton Thomas.
Last Updated: June 26, 2014

Composer: Jerry Goldsmith
Score Details:

Assistant to Goldsmith:  Lois Carruth.
Conductor:  JErry Goldsmith.
Music Editor:  Ken Hall.
Music Preperation:  JoAnn Kane Music Services.
Orchestra:  The Hollywood Studio Symphony (uncredited on their site, but probably many rejected scores uncredited on their site).
Orchestrator:  Mark McKenzie.
Orchestra Contractor:  Sandy De Crescent.
Recorded and Mixed By (& Engineer):  Bruce Botnick.
Recorded At:  Paramount Studios Scoring Stage M.

Bass:  Nico Carmine Abondolo.
Bass (principal):  Arni Egilsson.
Bass:  Donald Ferrone.
Bass:  Oscar Hidalgo.
Bass:  David Parmeter.
Bass:  Nicolas Philippon.
Bass:  Michael Valerio.
BASSOON (principal):  Michael O'Donovan.
Bassoon:  Allen Savedoff.
Bassoon:  John Steinmetz.
CELLO:  Antony Cooke.
Cello:  Christine Ermacoff.
Cello:  Todd Hemmenway.
Cello (principal):  Dennis Karmazyn.
Cello:  Armen Ksadjikian.
Cello:  Steve Richards.
Cello:  Andrew Shulman.
Cello:  David Speltz.
Cello:  Sebastian Toettcher.
Cello:  Kevan Torfeh.
Cello:  John Walz.
CLARINET (principal):  James Kanter.
Clarinet:  Joshua Ranz.
Clarinet:  Steven Roberts.
FLUTE:  Peter Sheridan.
Flute (principal):  Sheridon Stokes.
FRENCH HORN:  Daniel Kelley.
French Horn (principal):  Brian O'Conner.
French Horn:  Kurt Snyder.
French Horn (solos):  Jim Thatcher.
French Horn:  Phillip Edward Yao.
HARP:  JoAnn Turovsky.
KEYBOARD:  Mike Lang.
OBOE:  Phil Ayling.
Oboe (principal):  John MacArthur Ellis.
Oboe:  Barbara Northcutt.
PERCUSSION:  Timm Boatman.
Percussion (principal):  Alan Estes.
Percussion:  Gregory Goodall.
Percussion:  Steve Schaeffer.
Percussion:  Donald Williams.
TROMBONE (principal):  William Booth.
Trombone:  Andrew Thomas Malloy.
Trombone:  Phil Teele .
Trumpet:  Rick Baptist.
TUBA:  James Self.
VIOLIN:  Armen Anassian.
Violin:  Jacqueline Brand.
Violin:  Roberto Cani.
Violin:  Ronald Folsom.
Violin:  Samuel Formicola.
Violin:  Galina Golovin.
Violin (and Concert Master):  Endre Granat.
Violin:  Andrew Graybill.
Violin:  Julian Hallmark.
Violin:  Clayton Haslop.
Violin:  Al Hershberger.
Violin:  Eric J. Hosler.
Violin:  Tiffany Hu.
Violin:  Miran Kojian.
Violin:  Ana Landauer.
Violin:  Gregory Lee.
Violin:  Sungil Lee.
Violin:  Dimitrie Leivici.
Violin (principal):  Rene Mandel.
Violin:  Marina Manukian.
Violin:  Claire Jeanne Martin.
Violin:  Liane Mautner.
Violin:  Helen Nightengale.
Violin:  Robin Olson.
Violin:  Rafael Rishik
Violin:  Anatoly Rosinsky.
Violin:  Sarah Thornblade.
Violin:  Margaret Wooten.
Violin:  Ken Yerke.
VIOLA:  Denyse Buffum.
Viola:  Rick Gerding.
Viola (principal):  Pamela Goldsmith.
Viola:  Keith Greene.
Viola:  Jennie Hansen.
Viola:  Piotr Jandula.
Viola:  Darrin McCann.
Viola:  Dan Neufeld.
Viola:  Karie Prescott.
Viola:  Cassandra Richburg.
Viola:  Ron Strauss.
Viola:  Karen Van Sant.

Unless anyone wants to speak otherwise, I think that concludes the musician credits for this score.

Last Updated: June 12, 2009

Todo Modo
Composer: Charles Mingus, R.I.P.
Score Details:

Unknown capacity:  Danny Mixon.
Recorded at:  Unknown fascility in Rome, Italy.
Orchestra size:  At least 10 players.

Unknown instrument:  George Adams.
Bass or flute:  Charles Mingus.
Last Updated: April 28, 2009

Tomb Raider 2
Composer: Craig Armstrong
Score Details:

Orchestra:  Prague Philharmonic Orchestra (In May 2003, along with some demo cues for the score).
Orchestra:  Scott Fraser
Last Updated: October 3, 2011

Torn Curtain
Composer: Bernard Herrmann, R.I.P.

YouTube:  Clip 1 of 4.
YouTube:  Clip 2.
YouTube:  Clip 3.
YouTube:  Clip 4.
Last Updated: September 6, 2008

Touch and Go
Composer: Georges Delerue, R.I.P.
Score Details:

Mixed At:  Skip Saylor Studio, Hollywood, CA.
Scoring Mixer (assistant):  Andy D'Addario.
Scoring Mixer:  Dennis S. Sands.
Last Updated: February 2, 2010

Tower of London
Composers: Frank Skinner & Hans J. Salter

From an interview in the book: I Talked with a Zombie: Interviews With 23 Veterans of Horror and Sci-fi Films and Television:

"I remember Tower of London very well. What we tried to do there was to record music of that period, Dowland and other earlt English composers' music, without regard to the scene, just for a sort of mood. And we used harpsochord, and flutes and violas da damba -- all those old instruments. But when we went to the preview with this, it didn't work out. The executives were somehow startled. They didn't like it. They couldn't makes heads or tails out of that sound. I think I had orchestrated some of that old music for strings and harpsichord, and I think I wrote a few sequences, too, in that style. It was a good idea, but it didn't work. So, after the preview, all this music was replaced by some other music, and some of it was from Son of Frankenstein.
Last Updated: January 25, 2013

Composer: Guy Farley
Score Details:

Orchestrator:  Andrew Pearce.
Score Recordist/Mixer:  Francesco Cameli.
Last Updated: April 19, 2009

Composer: John Zorn
Score Details:

Recorded at:  Shelley Palmer Studios, New York City in May/June 1992
Produced By:  John Zorn.

Banjo (and guitar):  Marc Ribot.
Brazilian Percussion:  Cyro Baptista.
Didjeridu:  Andy Haas.
Drums (& producer):  Jim Keltner.
Harp:  Carol Emanuel.
Percussion:  Jim Pugliese.
Piano (prepared) / Keyboards:  Anthony Coleman.
Turntables / Sampler:  David Shea.
Last Updated: February 14, 2007

Composer: Gabriel Yared
Score Details:

Guitar:  Colin Green.
Tuba:  Owen Slade.
Clarinet:  Nicholas Bucknall.
Trumpet:  Andrew Crowley.
Unknown instrument:  Martin Robertson.
Woodwinds:  Andy Findon.
Last Updated: July 6, 2010

Two Bits
Composer: Maurice Jarre
Score Details:
Orchestrator:  Patrick Russ.
Last Updated: June 3, 2010

2 Days In the Valley
Composer: Jerry Goldsmith, R.I.P.
Score Details:

Mixed By(?):

Last Updated: February 6, 2007

Upside Down
Composer: Benoit Charset
Score Details:
Copyist:  Simon Charrier.
Music Consultant:  Emmanuel Deletang.
Technical Assistant:  Simon Charrier.
Last Updated: March 27, 2012

The Vow
Composer: Rachel Portman
Score Details:

Mixed at:  Angel Studios.
Recorded at:  Angel Studios (studio 3, London).
Scoring Engineer:  Chris Dibble.
Scoring Engineer (assistant):  Jeremy Murphy.
Score Recordist:  Chris Cozens.
Last Updated: October 24, 2011

Walking With Dinosaurs 3D
Composer: David Hirschfelder
Score Details:
Music Editor:  Jason Fernandez.
Music Editor:  Del Spiva.
Recorded at:  Trackdown (Australia).
Last Updated: August 8, 2013

Wall Street
Composer: Jerry Goldsmith, R.I.P.
Score Details:

Music Editor:  Ken Hall
Last Updated: June 26, 2007

The Wedding Date
Composer: Debbie Wiseman
Score Details:

Music Editor:  Tony Lewis
Music Editor:  Emily Rogers
Score Engineer (possibly another music editor?):  Steve Price
Last Updated: October 27, 2007

Waterworld (demos)
Composer: Mark Isham
     Here is an excerpt from a Mikael Carlsson interview with Mark Isham (which was available at MusicFromtheMovies but seems to be no longer in their files):
Mikael:  "When we are talking about action scores, I have to ask you about the chaotic events around the scoring of WATERWORLD.  What happened?  The only thing remaining from your score is a tiny little music-box theme, the rest of the score was replaced by James Newton Howard."

ISHAM:  "What went wrong was that the film politically exploded at the end.  Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view.  He basically made a completely different film -- he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score.  And I said, "oh let me demonstrate that I can give that to you", so I presented him with a demo of my approach to his approach, and he rejected that and fired me.  What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music."

Mikael:  "What kind of approach did you have, and what went wrong?"

ISHAM:  "One of the things that I do in scoring is I try to find a unique sound for each film.  I believe that, at least to me, is the most artistic way to approach it.  I'm not a formula composer.  So here in this case, Costner I think just didn't want to put in the time.  He wanted to give someone the assignment, go away and come back in six weeks' time and it would be exactly what he wanted.  Because he had a long working relationship with James Newton Howard he knew he could do that with him, and he knew he couldn't do that with me because he'd have to work with me, he'd have to come and listen and respond and we would have to shape this score.  That's my interpretation of what happened."

Mikael:  "How much music did you write?  How did you react on a personal level?"

ISHAM:  "I had written about, maybe two thirds of the score.  On a personal level,
you've got to just roll with the punches.  This is part of the business.  That particular scenario was so understandable because the of the politics.  I was low man on the totem pole.  There were a lot of dead bodies on that picture, and I was one of many, so it wasn't exactly a mystery as to what happened there.  It only gets personally upsetting when you can't understand it, and so I just always get as much information as I can from the producers as possible so I really do understand why these things are going on.  And then it's really just part of the game that you're playing if you're in this business."

Mikael:  "What did you think of James Newton Howard's score?"

ISHAM:  "I think James did a very admirable job, I mean considering the assignment -- that it was a very exotic motion picture and yet Costner wanted to turn it into a very mainstream heroic picture, but Reynolds had shot footage that was something else -- I think he did a fine job."

  • Mark Isham had plans to use the music box theme that Anola kept singing to her self throuhought the score.  Apparently, he'd written the tune as source music during production, so that the girl would have something to sing when in front of the camera, and Isham wanted something of his own to work with when incorporating the theme into other parts of the score.
  • Isham is in the end credits as the composer of "Music Box Theme" in the end credits.
  • In the book "The Making of Waterworld," there is a section commenting on Isham's music and Kevin Reynold briefly discussing why he chose Isham.
  • A Japanese pressing of the score that supposedly contains one of Isham's cues is a FAKE; mislabeled.  It's a cue from J.N.H.'s score.

In an XM digital radio interview by Chris Panico, on "Crash", when asked about "Waterworld", Isham said:
     "Well, that particular case, um, I was hired by Kevin Reynolds, who was the director, and, um, I've worked with him before and we have a very good working relationship, and I felt that we were doing quite well together; I had submitted demos for maybe a quarter of the movie and he was happy.  And I was just about to get really, really going when ... and then there was ah ... there was a breakdown between him and Kevin Costner ... and they're old friends and I won't begin to know, or care to relate actually what may have gone on there, but basically it ended up with Kevin Reynolds not finishing the movie, and Kevin Costner took over.  And so I met with Kevin and the producers and said I would like the oppritunity to stay and finish this for you, and he said 'In that case, you know I want a different approach,' and I said, 'Well, can I show you that approach; how I would do that?' and he said, 'Yeah, you have a couple days,' so I wrote some music ... um, but he decided not to take me on that..."

(Special thanks to:  MightyMcT!)
Last Updated: August 10, 2005

The West Side Waltz
Composer: Leonard Rosenman, R.I.P.
Score Details:

Scoring Mixer:  Rick Winquest.
Last Updated: April 30, 2008

What's the Worst That Could Happen?
Composer: Marc Shaiman
Score Details:

Arranger:  Larry Blank.
Music Preperation:  JoAnn Kane Music Services.
Music Editor:  Stephen Lotwis.
Music Editor:  Stephanie Lowry.
Orchestrator:  Larry Blank.

Saxophone or woodwind:  Dan Higgins.
Last Updated: March 18, 2008

The Whispers
Composer: Conrad Pope
Score Details:
Orchestrator (additional):  Chad Cannon.
Orchestrator:  Conrad Pope.
Last Updated: July 23, 2015

White Squal
Composer: Maurice Jarre
Score Details:

Viloin:  rrrrrrRobin.
Last Updated: July 30, 2007

White Water Summer
Composer: John Scott
Score Details:

Conductor:  John Scott.
Orchestrator:  John Fiddy.
Recorded:  February 12 to 15th, 1987 (five sessions).
Recorded At:  Bavaria Music Studio (Munich).
Sitting In the Booth Listing to the Mix:  Film Producer George Korngold.

Flute:  .
Marimba:  .
Oboe:  .
Last Updated: February 3, 2011

Who Is Julia?
Composer: Maurice Jarre, R.I.P.
Score Details:

EVI:  Judd Miller.
Last Updated: June 7, 2011

Wild Side
Composer: Jon Hassell
Score Details:

Additional Score:  Lee Curreri.
Additional Score:  Jamie Muhoberac.
Additional Score:  Eduardo M. Del Signore.
Last Updated: November 11, 2009

Composer: Klaus Badelt
Score Details:

From the London Metropolitan Orchestra News:
"LMO recorded a handful of cues in advance of the film's American previews, and the rest of the score will be recorded in May. The orchestra, conducted by Andy Brown, was made up of 40 strings, piano, flute and alto flute and the session was the first in the newly reopened Whitfield Street Studios (formerly Sony Studios).

This is LMO's first collaboration with Klaus Badelt, whose credits include "Pirates of the Carribean", "Time Machine", "The Recruit" and "Ned Kelly".

Below: clockwise from top left; Chris Brooks, Klaus Badelt, Andy Brown and Steve McLaughlin."
Last Updated: December 11, 2006

Composer: Craig Safan
Score Details:

Orchestrations:  Craig Safan.
Recorded and Mixed At:  CBS Studio Center (TODD-AO).
Recorded and Mixed By:  David Holman.
Recorded:  May 1981.

Bass:  Steve Edelman.
Trombone:  Bill Reichenbach.

Video Clip(s):

YouTube:  Clip 1 (no others yet)
Last Updated: May 29, 2010

The Wolfman
Composer: Paul Haslinger
Score Details:

Conductor:  Tim Davies.
Orchestra Contractor:  Peter Rotter.
Orchestrator:  Tim Davies.
Orchestrator:  Ric Giovanazzo.
Orchestrator:  Abraham Libbos.
Score Recordist:  Chris Fogel.
Last Updated: February 1, 2010

The Woman In Black
Composer: David Julyan
Score Details:

Music Editor:  Ken Hall.
Recorded:  Late August/Early September, 2011.
Last Updated: September 27, 2011

Year of the Comet
Composer: John Barry
Score Details:

Orchestrator:  Greig McRitchie.
Orchestrator:  Nic Raine.
Recorded At:  CTS Winbley, Londan (the last score he recorded there)
Score Recordist:  Dick Lewzey.
Last Updated: June 20, 2007

You, Me & Dupree
Composer: Rolfe Kent
Score Details:

Conductor:  Rolfe Kent.
Mixed At:  Warner Bros.
Music Editor:  Andrew Silver.
Music Editor:  Nick South.
Music Programer:  Stephen Coleman.
Orchestra:  Hollywood Studio Symphony (83 piece).
Orchestra Contractor:  Dan Savant.
Orchestrator:  Tony Blondal.
Orchestrator (additional):  Stephen Coleman.
Recorded At:  Sony Scoring Stage.
Score Mixer:  Shawn Murphy.
Score Recordist:  Vincent Cirilli.
Score Recordist:  Greg Denned.
Stage Recordist:  Adam Michalak.

Percussion:  Brian Kilgore.
Trombone:  Bill Reichenbach.
Ukulele:  George Doering.
Last Updated: January 29, 2010

Young Guns
Composer: James Horner
Score Details:

Score Recordist:  Matt Howe.
Assistant Scoring Mixer:  Matt Howe.
Recorded At:  Air Studios, London.
Synthesizer Programming:  Ian Underwood.

Unknown instruments:  David Lindley.
Unknown instruments:  Mike Taylor.
Unknown instruments:  Tommy McCarthy, R.I.P.
Last Updated: March 19, 2008

Your Highness
Composer: Paul Englishby
Score Details:

Music Supervisor:  Becky Bentham.
Orchestrator:  Paul Englishby.
Last Updated: January 6, 2010

Composer: B.T.
Score Details:

Assistant to (& "secondary Protools operator for orchestral sessions (mix-down, pre-records"):  Michael DiMattia.
Scoring Engineer:  Richard J. McIlvery.
Last Updated: February 1, 2010

Composer: Rupert Gregson Williams
Score Details:

Recorded at:  Skywalker Sound.
Last Updated: June 20, 2010