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REJECTED
There are many reasons for rejection, some listed on the main page, but just because a score is rejected, doesn't mean the composer lacks talent -- far from it. Just look at the info section and see the "Most Rejected" ones; do they strike you as untalented? A rejected score is not a way to judge a composer, but rather should be used as promotional tool for future work, like Yared's AMAZING "Troy".
Rejected scores are like a whole new score for those who haven't heard them, or know rejected scores exist, and, therefore, should be looked upon as a regular score to profit from, yet we rarely get official CD releases of them. Companies like Varese Sarabande and Film Score Monthly are champions in an area where few others even care. All hail them, and then buy their CDs.
In an attempt to keep the HTML code down, I have removed almost all the links to store bought CDs; need one, go to MovieMusic.com, eBay.com, and if you really can't find it, try asking: soundtrackers@adelphia.net
On this list, I tried my best to only list ones that have been recorded; whether partially, or completely. If you are looking for "maybes", you want the Suposedly Rejected list. The lists may be split up and "Rejected" may have it's own page; it's getting too large to be friends with other lists...
This list last updated: April 23, 2012 (Click to "jump" to title; Click HR lines to go back here. "INFO" pages contain miscellaneous stuff like: interview excerpts, additional composers [rejected], sound engineers, orchestrators, musicians, where it was recorded, etc...)
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KEY:
+ = Unfinished score, whether not fully recorded or not completed in writing for recording.)
* = "Films marked with an asterix managed to win a Best Score nomination for the replacement composer" (this system is kept over from the original FSM listing; I try to update once in a while)
ORIGINAL NAME (AKA: NAME RELEASED AS) -- Original composer. [Final composer.]
A question that comes up occassionally is what are the scores written in the shortest amount of time. The top three are:
3. "Scary Movie 2" (72 hours)
2. "Wet Gold" (precise time unknown, described as "hours")
And the winner is: "A Talent For Murder" (7 hours; the original composer is still unknown)
1924  (Click for 2011; numbers do not denote item list, but rather just keeping count)
- JANICE MEREDITH -- Victor Herbert. Silent film scores were meant to be played live, not recorded, but I couldn't resist including this one, as it's the earliest rejected score I know of. Many, many thanks to imdb.com member jorodo. [Deems Taylor.]
1928
- LA PASSION DE JEANNE D'ARC -- Jacb Gade, R.I.P.. According to composer Ole Schnidt, who did a new score in 1983, the film had two rejected scores, the first being a large, lush one by an un-named composer duo; the second he did name, and IMDB reflects this as well, but according to an article written by Jonathan Rhodes Lee (for Silent Film Festival), Gade was first -- doing a score that was a "using a pastiche drawn from the orchestra’s library of familiar classics" . [Léo Pouget and Victor Alix.]
- LA PASSION DE JEANNE D'ARC -- Léo Pouget and Victor Alix. In France the film recieved a new score (orchestrated by Eugène Météhen) and it was kept for the cut, but it was a special cut that was lost in a fire; a new cut of that was then made, but then those tapes were also lost in a fire (decades later a print of the film was found in storage next to a mental institute). [NO SCORE USED IN ORIGINAL CUT.]
1930
- Fox's sci-fi musical JUST IMAGINE -- Featured a massive wall-to-wall score originally by staffers Peter Brunelli, Hugo Friedhofer, Reginald Bassett, Jean Talbot, Jack Virgil, but the release print only had part of Friedhofer's contribution on the soundtrack. [Obviously.]
1931
- DER MORDER DIMITRI KARAMASOFF -- ?????. The director said he didn't like the previous score and coincidently during that time, met Karol Rathaus. IMDB also lists Kurt Schroder -- perhaps he did the original score. [Karol Rathus.]
- RESERVED FOR LADIES -- Percival Mackey. This Alexander Korda film made in UK retained its original score there, but Paramount replaced Mackey's score with stock cues for the US release. [Karl Hajos, Rudolph Kopp, John Leipold.]
1932
- THE MOST DANGEROUS GAME -- W. Franke Harling. This is a sum up of what the linear notes in the Naxos CD say: Max Steiner was begged to take over and write a replacement score, despite an already massive workload which would eventually result in him leaving RKO, when producer Meriam Cooper strongly disliked Harling's fully completed score, suggesting it was too light and invoked broadway and passengers on a desert island. Buried in an enourmous work load, Steiner was eventually talked into rescoring the film and completed his score two weeks before the film opened. [Max Steiner.]
1933
- THE GOOD COMPANIONS -- Bretton Byrd, Walter Collins, Leighton Lucas. Another British picture subject to tampering in the USA. This was a musical with songs by George Posford and an original background score by three anonymous staffers under MD Louis Levy. Fox released it in US with a new background score by Friedhofer based on Posford's songs. [Hugo Friedhofer.]
1935
- THE SCOUNDREL -- George Antheil. This one appears in all GA filmographies, but his score was not used, and he isn't credited. The replacement score was compiled from various works, including Rachmaninoff's 2nd piano concerto, by MD Frank Tours. [existing music.]
1936
- THE FUTURE'S IN THE AIR -- Raymond Bennell. [William Alwyn; Alwyn's first film job was re-scoring this documentary short.]
- PAGLIACCI -- Rutland Broughton. After doing some or all of his score, the director decided to use a friend instead, whose score also may not have been used. [?????.]
1937
- THE ADVENTURES OF DON QUIXOTE -- Maurice Ravel, R.I.P.. According to a 1953 book on the composer, the replacement score was prefered, and two reasons were given for rejecting Ravel's score (quoting the book): "Ravel was late with his score and Chaliapan found them [it] lacking in dramatic affect"; according to the boot, to boot at the time Ravel was writing an opera on the character, and having his score rejected certainly didn't help matters. [Jacques Ibert.]
1938
- THE RIVER IS BLUE (AKA: BLOCKADE) -- Kurt Weill. Supposedly not recorded, but some written. [Werner Janssen.]
- YOU AND ME -- Kurt Weill. Much of Weill's score was abandoned and changed. Even the title song is by Frederick Hollander. [Weill, W. Franke Harling, John Leipold, Leo Shuken.]
1939
- STAGECOACH -- Louis Gruenberg. The director wasn't happy with the score. [Richard Hageman, Frank Harling, John Leipold & Leo Shuken.]
- TOWER OF LONDON -- Frank Skinner, R.I.P., & Hans J. Salter, R.I.P.. In what is the earliest example I know of, a test audience didn't get the film or the music, as told in an old interview, and the studio rejected score after it was recorded. Described as being of period music, and some original scoring, with a small orchestra (flutes, harpsichord, etc.); ironically, or to their benefit (depending on what the music use laws were then), stock music from a score recently completed, was used. [Stock music; some from "Son of Frankenstein".]
1940
- THEIF OF BAGHDAD -- Oscar Straus. Producer Korda wanted Rozsa to write the score, but the director wanted to use Straus, who was in France at that time. He sent his songs and his score to England, where it was laughed at -- Rozsa called it "turn-of-the-century Viennese candy-floss". After hearing Rozsa's music, the director went with him -- Straus was paid his full price. [Miklos Rozsa]
- THE WESTERNER -- Dimitri Tiomkin. According to Jan Herman's biography of William Wyler ("A Talent for Trouble"), it was producer Sam Goldwyn who was unhappy with the original music and had Alfred Newman rewrite "much of Tiomkin's score". [Alfred Newman.]
1942
- SABOTEUR -- Frank Skinner. Hard to believe why this happens so often in other countries, but the German Language version featured a different score by an Austrian composer, Heuser - who takes a similar approach, but reportedly sounds like Tiomkin. [Kurt Heuser.]
1943
- HITLER'S MADMAN -- Karl Hajos. This poverty row PRC picture, originally "HITLER'S HANGMAN", was acquired by MGM which had it rescored. [Nathaniel Shilkret, Hajos, Mario Castelnuovo-Tedesco, Eric Zeisl, Arthur Morton.]
1944
- BIG JACK -- Andre Previn. Originally hired first to do the score, only some of it remains in the film. [Herbert Stothert; Andre PRevin (leftovers).]
- SINCE YOU WENT AWAY -- Alexandre Tansman. Tansman's complete written score resides at the University of Texas. They have an official site, for those of you who want to bug them (I did). Selznick went with another composer after hearing some of Tansman's music with an orchestra too small to actually perform it. One cue -- an arrangement of the song "Together" is retained. [Max Steiner, stock music by Alfred Newman.]
1945
- CAESAR AND CLEOPATRA -- Arthur Bliss. Official CD. [Georges Auric.]
- *THE LOST WEEKEND -- ?????. Producer Charles Brackett hired Rosza to do a replacement score. To quote Dan Hobgood's article on FSM:
"However, the film's musical accompaniment was inappropriate in tone and poorly placed within the picture.". [Miklos Rosza.]
1946
- GREAT EXPECTATIONS -- Walter Goehr. About half of WG's music was rescored by Pakeman -- whom went uncredited. [Kenneth Pakeman, Walter Goehr.]
1948
- ARCH OF TRIUMPH -- Franz Waxman, R.I.P.. Said the director in an interview after a screening, "The preview was a disaster."; and so the film was re-edited, including some footage of German soldiers; the scenes were then cut after spending a large sum of money. Then they blamed Gruenberg's score, so they hired Waxman to rescore it, and he did, then the film was recut; I have no idea what happened afterward, but upon watching the opening credits, I see Gruenberg credited for the score. [Louis Gruenberg.]
- MICHURIN -- Gavril Popov. According to the book Soviet Music and Society Under Lenin and Stalin: The Baton and Sickle, Popov's score was rejected for being complicated and not adhiring to to old Russian songs. [Shostakovich.]
- +THE NAKED CITY -- George Bassman. Producer Mark Hellinger attacked Bassman at the recording sessions, claiming he plagiarized. The experience ended Bassman's Hollywood career and killed Hellinger. [Miklos Rosza.]
- SO EVIL MY LOVE -- William Alwyn. Paramount rescored about half of the original Alwyn score for US release, but this is the version shown in UK too. (Jorodo: "Alwyn was surprised when I mentioned this to him"). [Alwyn, Victor Young.]
1950
- NIGHT AND THE CITY -- Benjamin Frankel. Frankel's score retained in UK. Both versions circulate on British TV. Both are on CD. [Franz Waxman.]
1950
- ANOTHER MAN'S POISON -- John Greenwood. Greenwood's score retained in UK. [Paul Sawtell.]
- DISTANT DRUMS -- Alex North. I got a copy after years of hunting and can confirm it showcases themes he later worked into other scores he did. Silva Screen records was going to release it a few years back around 2004, but the North Estate never responded to their call. INFO / Boot. [Max Steiner.]
1953
- BEAST FROM 20,000 FATHOMS -- Michel Michelet. According to composer Loran Alan Davis. The replacement score was done in 10 days. INFO. [David Buttolph.]
- HIS MAJESTY O'KEEFE -- Robert Farnon. Farnon's score retained in UK. Both versions circulate on British TV. [Dimitri Tiomkin.]
1954
- BETRAYED -- Walter Goehr. Goehr's version retained in UK. [Bronislau Kaper.]
- SEAGULLS OVER SORRENTO (AKA: Crest of the Wave) -- Hans May, R.I.P.. The Film Score Monthly 15CD Rozsa box set included, along with Rozsa's score, a 5:24 suite of May's rejected score (THIS FSM article explains that only 17mins survive). INFO. [Miklos Rozsa.]
1955
- THE DESPERATE HOURS -- Gail Kubik. Only about half of Kubik's Desperate Hours junked. Amfitheatrof rescored it, uncredited, but Kubik kept his screen credit. Stock music by Young, Joseph J. Lilley and Paul Weston used. Ref: Clifford McCarty's Film Composers in America (2000). Kansas State University holds the tapes and paper work. [Daniele Amfitheatrof & Victor Young.]
- STORM OVER THE NILE -- Buxton Orr. A widescreen remake of "The Four Feathers", the directors wanted to used use an adaptation of Miklos Rozsa's original score. Orr's re-workig didn't match, so a new score was written by Benjamin Frankel, who happened to be his teacher (not re-working Rozsa's original). [Benjamin Frankel, Miklos Rozsa (stock music from the original film)]
1956
- FORBIDDEN PLANET -- David Rose. Rose recorded all his score, but destroyed it after the rejection. The film's trailer contains edited pieces from a few cues, and Rose re-recorded the main title for a CD. [Bebe Barron, R.I.P., Louis Barron (additional).]
- HELL ON FRISCO BAY -- David Buttolph. [Max Steiner.]
- INVITATION TO THE DANCE (middle segment) -- Malcolm Arnold. [Andre Previn.]
- IT'S A WONDERFUL WORLD -- ?????. [Robert Farnon.]
1957
- A KING IN NEW YORK -- Philip Sainton, R.I.P.. An online bio says the film's drector, Charlie Chaplin, wanted to take credit for the score, but Sainton didn't want to have anything to do with that, so he left; supposely another composer did a score as well. While Chaplin is credited as the film's composer (he did do scores after all), one wonders if he requested and took credit away from the replacement composer as well. [Charlie Chaplin.]
- THE BARRETTS OF WIMPOLE STREET -- Malcolm Arnold. Arnold wasn't too disappointed with it's replacement. [Bronislau Kaper.]
- SWEET SMELL OF SUCCESS -- Fred Karlin. Karlin states in a 1983 interview the director approached him and he ended up doing the score, but the studio felt the score was too "esoteric" and had it thrown out, though Karlin states in the interview all the jazzy scoring is his, implying some was left in; the director, was not happy about the change. [Elmer Bernstein; Fred Karlin (leftovers?).]
1958
- SADDLE THE WIND -- Jeff Alexander. Yes, he did and Bernstein didn't even know. Well, FSM has released the complete scores to both. Here is a direct LINK to it. [Elmer Bernstein.]
- SEPERATE TABLES -- David Raksin. Apparently he composed two scores. [Take a wild guess Sherlock ;-) ]
- +THE HORSE'S MOUTH -- Tristram Cary, R.I.P.. According to him on a site, other than his own, he says: "Score rejected by Director. One day's recording, which I have on file". [Kenneth V. Jones; Tristram Cary (one cue left in).]
- WE ARE THE LAMBETH BOYS -- ?????. Told Dankworth in an interview once:
"He'd made a documentary, and someone had written a score which he didn't like it and which he rejected. I don't know what he did after that, how he replaced it. But he played this film, or part of it, to show me the sort of music that he didn't like. It wasn't at all bad, but it was traditional in that it used the sort of effects and sort of music you would expect. It wasn't trashy in any way, but 'that's what I don't want', he said, 'I just want you to sit in front of this film and think of something'. But he certainly wasn't a particular jazz fan. He may simply have heard my records and liked what he heard.
This turned out to be Dankworth's first score, done on a "shoe string" budget, since Ford didn't offer any up. [Johnny Dankworth, R.I.P..]
1959
- THE SCAPEGOAT -- Douglas Gamley. imdb.com member jorodo came across the cue sheet for Gamley's version. According to the imdb.com trivia, it was recorded in England, and was a mix of classical pieces and regular film score. [Bronislau Kaper.]
1960
- GENERAL ELECTRIC THEATER: "SARAH'S LAUGHTER" -- Fred Steiner, R.I.P.. While some tapes for TV scores of this era are lost, this one is still in tact (so is Goldsmith's replacement score), along with paper work for each. [Jerry Goldsmith, R.I.P..]
- LE PILLOLE DI ERCOLE -- Ennio Morricone. This was to be Morricone's first score, but producer Dino de Laurentiis didn't want a newcomer, so the fully recorded score was tossed. [Armando Trovajoli]
- SURPRISE PACKAGE -- Benjamin Frankel. Stanley Donen wanted a more darker score for his movie and replaced most of Frankel's score. Only 9 minutes retained -- the composer removed his name, so there's no composer credited now. [Kenneth V. Jones, Benjamin Frankel (leftovers).]
1961
- THE INNOCENTS -- Georges Auric. About half of GA's score was scrapped and rescored by KVJ, uncredited. The electronic soundscape was created by Daphne Oram. [Georges Auric, Kenneth V. Jones.]
1962
- +HATARI -- Hoagy Carmichael, R.I.P.. While his score is replaced, at least one song he did was retained, and Indiana University holds some, if not all of the tapes and paper work. [Henry Mancini, R.I.P.; Hoagy Carmichael (supposedly some left in).]
- I THANK A FOOL -- Gail Kubik. Kubik kept the session tapes, according to Irwin Bazelon's book Knowing the Score (1975). Gerard Schurmann orchestrated for Kubik. Kansas State University holds the tapes and paper work. INFO. [Ron Goodwin.]
1963
- BEBO'S GIRL -- Vakentino Bucchi. Some of Bucchi's score was released on LP [CAM EP45 / CEP45-109]. [Carlo Rustichelli.]
- MOONSTRIKE: (UNKNOWN EPISODE) (mini series) -- ?????. In a book about replacement composer Dudley Simpson, it explains that at a party, the producer of an episode approached him and asked if he wrote film music, and that he was doing this series, but that "Two people have written a score" that wasn't working (it wasn't fully explained; two people did a score together, or two seperate people did their own scores?) and he said, "I need it yesterday", leaving Simpson with only a week to do his score. [Dudley Simpson.]
- YESTERDAY IN FACT (Polish film "Naprawde wczoraj") -- ?????. The replacement composer had just under a day to write and record his score, for which he got an award and recognition for. IMDB lists another composer, Lucjan M. Kaszycki -- perhaps (if he didn't help on the replacement) he was the original composer. [Gunther Schuller.]
1964
- SEVEN DAYS IN MAY -- David Amram. I read at FSM that on the DVD commentary, the director said he fired him. INFO. [Jerry Goldsmith, R.I.P.; David Amram (leftover: one source cue).]
- SOMETHING WILD -- Morton Feldman. The CD Something Wild: Music for Film contains a cue or two from his rejected score (re-recorded). [Aaron Copland - CD.]
1965
- PROMISE HER ANYTHING -- John Barry. For a few years now I had read an IMDB trivia bit saying Barry had done a score, but I was unable to find anything that could collaborate that, until now; in a book, Murray tells that the "powers" didn't like Barry's score, and ask Lyn to replace it; he further goes on to say he did not hear Barry's score. [Lyn Murray.]
- PUSH BUTTON GO (AKA: Shellarama) -- Steve Race. Tubby Hayes on some instrument. [John Scott.]
- THE SLENDER THREAD -- George Bassman. In Sidney Pollack's directorial debut. Pollack wanted to replace Bassman's score with improvised trumpet riffs, but then actually had it replaced. [Quincy Jones.]
1966
- *THE BIBLE -- Ennio Morricone. Morricone parts of the score were reused in such films as "Secret of the Sahara" and "Il Ritorno Di Ringo". The track "Llincontro Conla Figlia" from the RCA CD Return to Ringo, is supposedly a track from this score. Only recorded about 15 to 16 minutes, to show what he could do, after having asked Rozsa to score the film. [Goffredo Petrassi.]
- THE BIBLE -- Goffredo Petrassi, R.I.P.. In the end, these composers came after Igor Stravinsky was being considered. INFO. [Toshiro Mayuzumi.]
- CHAPPAQUA -- Ornette Coleman. Available on a 2CD set title "Chappaqua Suite". INFO. [Ravi Shankar.]
- L'UOMO CHE RIDE -- Piero Piccioni. Man has a Herrmann opinion, read HERE. In February, 2011, his rejected score was released along with the replacement score, by GDM/Legend, for what ever reason, on cassette, too (limited to 500 copies). [Carlo Savina.]
- MAROC 7 -- Paul Ferris. Ferris' source music for the opening party scene retained. He is credited with "main theme and party music" but KVJ told me (jorodo) he wrote a new score without referring to any Ferris theme. [Kenneth V. Jones - in
KVJ wrote additional, uncredited cues for Ferris's WITCHFINDER GENERAL/THE CONQUEROR WORM.]
- MATCHLESS -- Piero Piccioni. Morricone did not work with Gino -- though they both contributed. [Ennio Morricone, Gino Marinuzzi, Jr.]
- SECOND BREATH -- John Lewis, R.I.P.. [Bernard Gerard, R.I.P. (used to orchestrate for Desplat).]
- TORN CURTAIN -- Bernard Herrmann. Herrmann reworked some of his rejected score into Battle of Neretva -- itself a rescore of a foreign film -- and Elmer Bernstein also used some of it in his adaptation score for the remake of Cape Fear. The Torn Curtain score has been rerecorded twice -- once by Elmer Bernstein in the 70s for an LP, and once by Joel McNeely for a Varese Sarabande CD [48:13]. The supplement to the recent Torn Curtain DVD features sequences with Herrmann's score tracked back in -- but reportedly, the synch isn't perfect and is in mono. But this is a brave step by MGM. INFO+v. [John Addison - CD.]
1967
- A TIME FOR KILLING -- Van Alexander. A song left, but uncredited. INFO. [Mundell Lowe.]
- BONNIE & CLYDE -- George Bassman. According to an article, which I believe originates from Wiki, Bassman had "several scores" rejected before he finally passed away, and that this was one of them. This is only his second time on the list and I could not find any of those "several" Should be noted that very little of the replacement score is actually left in the film. An FSM article coloborated the rejection (which I also confirmed as recorded, via another source). [Charles Strouse (second time on the list by the way...).]
- OH DAD POOR DAD, MAMA'S HUNG YOU IN THE CLOSET AND I'M FEELING SO SAD -- George Duning. What a name for a film, huh?. The film was shelved for two years before the studio decided to bring it out of the closet and have it rescored. [Neal Hefti.]
- SINFUL DAVY -- John Barry. Score was rejected by MGM executives and the director, whom felt it was too "serious". Sadly it seems the tapes were water damaged during a flood when in storage just over the road from CTS studios (assuming Thorne or Barry don't have copies themselves). John Greenhill stated this in a post at FSM. INFO. [Ken Throne.]
1968
- A DANDY IN ASPIC -- ?????. Read an old article saying Duke Ellington was doing the music, but that doesn't necessarily mean he did the rejected score (though somebody did do one). [Quincy Jones.]
- AGE OF CONSENT -- Peter Sculthorpe. Sculthorpe's score retained in Australia? During the Sydney Film Festival, at the State Theatre, on June 19, 2005, the film was shown with restored scenes (including nude scenes of Helen Mirren) and Sculthorpe's score fully restored. There was a Q&A with the composer and others, which I didn't find a transcript of. [Stanley Myers.]
- BARBARELLA -- Michel Magne, R.I.P.. While Googling for rejected score info, I found a post by someone who mentioned that he was told Universal had the tapes for Magne's rejected score. There are two releases with some of his score: a 2CD set of Magne music released in France, supervised by his widow, which contains a five-minute cue; the 2007 Universal France Mange compilation has eight cues, with approximately 25 minutes of score (that's counting the song, too). [Charles Fox, and what ever the hell James Campbell had to do with it.]
- BOOM! -- Michel Legrand. Listed on BFI.org.uk's site. When a label looked into releasing the score, supposedly Intrada Records, the studio could not find the tapes to Barry's score (nothing was said about Legrand's); any CD you see of it is a bootleg, regardless of excuses. [John Dankworth, R.I.P..]
- BOOM! -- John Dankworth, R.I.P.. Dankworth tells in his book, Cleo and John: A Biography of the Dankworths, how with little direction from the director and only having seen the film a couple times, he did a score; after a couple sessions the director, not liking the score, said, "Maybe I just don't like strings much" -- never a good sign. He said another composer had been on board, so unless there's a mystery composer I don't know about, that solves where Legrand falls. INFO. [John Barry, R.I.P..]
- CANDY -- Jack Nitzsche. Special thanks to the son of the late composer for confirming this title. INFO. [Dave Grusin.]
- NEW FACE IN HELL (AKA: P.J.) -- Percy Faith, R.I.P.. Wasn't all to happy about it either. INFO. [Dave Grusin.]
- CRISS-CROSS (AKA: P.J.) -- Dave Grusin. Putting together a score fairly quickly, and with a producer breathing down his neck on the scoring stage, even right next to him as he wrote it, the producer left the room after one session not saying anything, and after Grusin's score was done, he became the second victim. [Neal Hefti.]
- FADE IN -- Manos Hajidakis. One of two US scores written in 1968 by the Greek composer. This one was replaced, but the other, BLUE, was used. [Ken Lauber, Leo Shuken, R.I.P., Jack Hayes, R.I.P..]
- LAND OF THE GIANTS: "THE CRASH" PILOT EPISODE -- Alexander Courage. The GNP Cresendo CD features some of Courage's rejected episode score as well. [John Williams.]
- +THE LOST CONTINENT -- Benjamin Frankel. The director showed up at the sessions, asked for a bunch of changes, and finally had an argument with Frankel that ended up with his score being replaced. [Gerard Schurmann.]
- 2001: A SPACE ODYSSEY -- Frank Cordell. In a 1967 radio interview, Cordell said he was busy adapting the music of Gustav Mahler for 2001. Cordell's widow tried to get a CD release for it about 10 years ago after the North score was re-recorded. Would still be interesting to hear this one. Shows a pattern in Kubrick. If the man had remained alive for A.I., no doubt he would have rejected Williams. [Alex North.]
- 2001: A SPACE ODYSSEY -- Alex North, R.I.P.. North reworked his "2001" music into "Shanks", "Dragonslayer", and used a four-note motif from the main title, in one of the themes from "Shoes of the Fisherman". Jerry Goldsmith conducted a rerecording of the complete score [35:37] for a Varese Sarabande CD, but a labeling mix-up caused him to also rerecord North's theme for the TV documentary "Africa", included on the "2001" disc as intermission music. But, sadly, the original score was recorded over to save money HERE: Paragraphs 3 and 4 from the bottom. I read in a FSM post that some kind of copy of the original score, is still preserved at a Alex North Society or something. In spite of all this, Intrada Records' first release of 2007 was of the original tracks (now since SOLD OUT). INFO. [various classical pieces.]
1969
- THE APPOINTMENT -- Michel Legrand. For a good telling of what happened, go to HERE.. [John Barry, R.I.P..]
- THE APPOINTMENT -- John Barry. Although John Barry was replaced on The Appointment, European versions of the film still carry his score even though the credit remains Stu Phillips. [Stu Phillips.]
- THE ONLY GAME IN TOWN -- Johnny Mandel. According to Jarre in and interview (see "Chu Chu Philly and the Flash"), Alex North was the first composer, before Mandel. [Maurice Jarre.]
- *THE REIVERS -- Lalo Schifrin. INFO. [John Williams.]
- SWEET HUNTERS -- Carl Orff. This Panamanian film originally had Orff's "Carmina Burana" on the soundtrack, but the UK release had additional scoring by Whitaker. [David Whitaker, Carl Orff.]
- TELL THEM WILLIE BOY IS HERE -- Jimmy Webb. If used, would have been Webb's very first film score; oddly enough, Webb's second film score was also rejected (see 1970) and yet he still tried to break into film scoring (and was successful). [Patrick Williams.]
- TELL THEM WILLIE BOY IS HERE -- Patrick Williams. In a 2008 interview, when asked if he ever had any rejected scores, he said "two" (both listed), but declined to comment any further. Shame. [Dave Grusin.]
1970
- A NEW LEAF -- Johnny Mandel. Most of Mandel's score was replaced with Hefti's music from OH DAD, POOR DAD. No composer credited. [Neal Hefti, Mandel.]
- THE ANGEL LEVINE -- Frank Lewin. An old article reported Lewin being hired, and a 2CD set of cues from various scores Lewin did, reportedly contains a few pieces from the score; I don't have the set -- perhaps the linear notes tell what happened. [Dusan Radic.]
- THE ANONYMOUS VENETIAN -- Giorgio Galini. [Stelvio Cipriani.]
- BATTLE OF BRITAIN -- William Walton. At Laurence Olivier's insistence, Walton's "Battle in the Air" cue was retained in the final film. The Ryko soundtrack CD includes Walton's complete score [25:45] as well as Ron Goodwin's replacement score. This CD was reissued recently. Malcolm Arnold orchestrated and provided additional cues on Walton's score. INFO. [Ron Goodwin.]
- CRY OF THE BANSHEE -- Wilfred Josephs. [Les Baxter.]
- *LOVE STORY -- Jimmy Webb. Indeed he did a score and when it was going to be tossed, he was offered a chance to do another one. Appearently back it was common knowledge that Webb sued over the replacement of his score. Notably, Webb was the second composer on the film, with Burt Bacharach being hired first (I don't know if he recorded). Lai didn't even want to do the movie. [Francis Lai - with classical music from: Johann Sebastian Bach, Georg Friedrich Handel, Wolfgang Amadeus Mozart.]
- THE MOLLY MAGUIRES -- Charles Strouse. Mancini said in an interview that the previous score was very sparce, so much so there was no score for a long period in the film. I was never personally able to reach Strouse via his website. On January 30, 2012, Kritzerland Records released both Mancini and Strouse's respective scores on one CD. [Henry Mancini, R.I.P.]
- ON A CLEAR DAY YOU CAN SEE FOREVER -- Neal Hefti. According to the book September In the Rain, a Nelson Riddle biography, Hefti was initially hired to score the film, but Streisand didn't like it for some reason. [Burton Lane & Nelson Riddle.]
- THE RAILWAY CHILDREN -- Harry Robertson, R.I.P.. One piece retained. [Johnny Douglas; Harry Robertson (one cue leftover).]
- THE RED CIRCLE / Le Cercle Rouge -- Michel Legrand. You can order the big, new set: Le Cinema De Michel Legrand, HERE. It contains one cue: "Chasses-Croises" 2:46. In an interview Demarsan says he got a call from the director saying he had hired another composer. Then one day he got called to go to the director's house, once there the director said he did not like Legrand's score and that if Eric took the job, he would have three weeks; no preassure, though. Legrand called and offered to help Demarsan, if he needed it. [Eric Demarsan (site in French).]
- WATERLOO -- Wilfred Josephs. Joseph's waltzes retained for ballroom scenes. 1970 not a good year for this British composer. [Nino Rota.]
1971
- THE G0-BETWEEN -- Richard Rodney Bennett. The director thought the score was too dramatic and too climatic, so he got rid of it. INFO. [Michel Legrand.]
- THE NIGHT EVELYN CAME OUT OF HER TOMB -- Stelvio Cipriani. One cue "Evelyn's Theme", on the "Bay of Blood" CD (and a couple alternates). Interestingly enough, all three film scores on that CD come from director's who never made a film with the character "Evelyn". Producer rejected the score. [Bruno Nicolai.]
- THE PANIC IN NEEDLE PARK -- Ned Rorem. Said the director in an old interview:
"Jerry Schatzberg: I think in Panic in Needle Park the sound of the street is absolutely intrinsic to the film. I could not hear any music in this film. I had a score composed and tried to lay it in but it took away from the authenticity...".
In the end Rorem wrote and recorded 40 minutes of score which a week later was rejected, as he found out via a telegram, rather than a phone call. [No original score.]
- SEE NO EVIL (AKA: BLIND TERROR) -- Andre Previn. INFO. [David Whitaker.]
- SEE NO EVIL -- David Whitaker. This is one of the strangest rejected score stories. At the time, Previn was married to the film's star, Mia Farrow. After his score was rejected, Whitaker's replacement score was also thrown out, and the final score was by Elmer Bernstein, R.I.P.. [Elmer Bernstein, R.I.P.]
- SUMMER OF 42' -- Dave Grusin. Story. [Michel Legrand.]
- +TOUCH AND GO -- Jean Wiener. This is one of those silly stories. Instead of me rewording, I will just copy and paste what I got:
"...but as the director Philippe de Broca remembers, "it all went wrong during the recording: he hadn't prepared anything, he just began improvising at the piano while his arranger beavered away in a corner. I had no choice but to let him go; he must have hated me for that."
Note to all inspiring composers: come prepared! [Michel Legrand -- one cue on that 4CD set mentioned on this page.]
1972
- ANTONY AND CLEOPATRA -- Augusto Alguero. Heston tells in a book that the original score just wasn't working out and he chose to hire Scott to provide a new score on very short notice. [John Scott; Augusto Alguero (leftovers).]
- COLUMBO: "THE GREENHOUSE JUNGLE" -- Paul Glass. The producers tossed the score after Mr. Glass used an uncommon instrument in it that made a sound they didn't care for (heckelphone). [Oliver Nelson.]
- FRENZY -- Henry Mancini, R.I.P.. Mancini re-recorded his main title theme [2:15] for his CD Mancini in Surround. Unfortunately the tapes for Mancini's score are missing (no word about Goodwin's). Mancini stated in an old interview that the score did not have a theme. INFO. [Ron Goodwin, R.I.P..]
- THE GETAWAY -- Jerry Fielding. The limited release CD Jerry Fielding Film Music Vol. 3 featured a [17:39] suite from Fielding's score, but FilmScoreMonthly.com has released the entire score on CD, along with a special DVD related to it. On October 17, 2003, an individual by the name of Dick Dinman wrote a letter put up on FSM, with a hilarious bit of info:
"Your mention of Jerry Fielding's rejected score for THE GETAWAY brings back a memory of the first preview of that film, which was run with the Fielding score. At about the mid-point of the picture, the audience was startled by a very loud, very angry, and very inebriated voice screaming "F-I-E-L-D-I-N-G!!!!!!!!". The voice, of course, belonged to Sam Peckinpah."
Although they were prepared in time, the Deluxe DVD release (2005) didn't feature Nick Redman's extras. They were put on the recent Blu-Ray edition though, which carries an isolated score, includs the featurette "Jerry Fielding, Sam Peckinpah and The Getaway" which is also available with the soundtrack and a restored sequence of the bank robbery (Fielding's score with effects) as a separate feature. [Quincy Jones.]
- LUCIFER RISING -- Jimmy Page. I had known about this title for over a year, but finally promted me to remember to include it was that the replacement score just got a brand new CD release. There is a bootleg of the 28 minutes of score Page did record; unknown as to whether this was the recordings to be used in the film or if these were simply demos made with his band. [Bobby Beausoleil.]
- THE SALZBURG CONNECTION -- Bronislau Kaper. Most of Kaper's score rejected (16:30 retained, per cue sheet) after one of the film's producers decided the music needed to be more youth friendly. Jerry Goldsmith was announced in trades to rescore, but he doesn't seem to have recorded anything. Stock cues were substituted. No composer credited, only music supervisor Lionel Newman. An undistinguished end to Kaper's career. [Tom Scott, Duane Tatro, Henry Mancini, R.I.P. (The Stock Cue guys), and B. Kaper.]
- SOUNDER -- Alex North. FSM did an article that listed it and of course I was curious, so I contacted Lukas and he told me it was listed in Motion Picture Acadamy as having several tape reels. [Taj Mahal (alias?).]
- UP THE SANDBOX -- Neil Hefti. There are things in like that are certain: death, taxes, and Barbra Streisand rejecting scores. [Nelson Riddle.]
- UP THE SANDBOX -- Nelson Riddle. There are things in life that are certain: death, taxes, and Barbra Streisand rejecting a score again. Even Dave Grusin did a theme she didn't like. [Billy Goldenberg.]
1973
- DEUX HOMMES DANS LA VILLE -- Franis de Roubaix, R.I.P.. [Philippe Sarde.]
- THE EXORCIST -- Lalo Schifrin. The 14:14 which Schifrin recorded of his score was included on a CD packaged with a recent video release of the film. Possibly one of the most horrible reads on rejection: INFO. [Jack Nitzsche & found music.]
- THE EXORCIST -- Jack Nitzche, R.I.P.. As told on the LSO website, Nitzche was hired to replace Shifrin's score, but was unable to finish writing due to a hand injury, but a few sessions did take place; since adding the before sentences, the LSO has updated their website to suggest that Nitzche might have recorded all of his score -- and ahead of time, and the final booked sessions ended up being used for other recordings. Ironically, the director had the nerve to ask to have the film's release date pushed back, after going over budget and nearly getting fired for it, so he could have it rescored, then rejecting the new score. [Pre-existing music.]
- HEX -- Patrick Williams. [Charles Bernstein.]
- THE MAN WHO LOVED CAT DANCING -- Michel Legrand. The 28:19 Legrand recorded for the film was included on FSM's CD of John Williams replacement score. INFO. [John Williams.]
- MOSES THE LAWGIVER -- Anthony Burgess, R.I.P.. According to Burgess, Producer Lew Grade rejected him. [Ennio Morricone.]
- THE NEPTUNE FACTOR -- William McCauley. The 2007 DVD release contained isolated score tracks for his, and Scifrin's score. McCauley said in an old interview they cut the film and rescored it without telling him (as I recall), and that he thought only about three of his cues were left in. INFO. [Lalo Schifrin, William McCauley, R.I.P. (leftovers).]
- THE SEVEN-UPS -- Johnny Mandel. Released by Intrada Records (with Ellis' score). INFO. [Don Ellis.]
- HELL UP IN HARLEM -- James Brown & Fred Wesley. A song/score done for the film which was untimately replaced. Wesley did the scoring. You can buy the song/score on CD HERE. [Fonce Mizell & Freddie Perren.]
1974
- THE ANTARCTIC (Le Voyage au bout du monde) -- Franis de Roubaix, R.I.P.. His last score before dying, it was released on CD [Le Monde Electronique de Francois de Roubaix]. [Classical music.]
- *CHINATOWN -- Philip Lambro. Music from Lambro's score is supposedly included in the film's trailer, seen on the DVD. Jerry said in an interview by Daniel Schweiger:
"Scores have been tossed out and redone ever since I can remember, though the only one I was called in to redo was CHINATOWN. And the main reason that score was rejected was because the composer wasn't right for the movie in the first place." Cheeky! Oh, and it gets better. Goldsmith also said: "I couldn't believe it, it was Chinese-sounding!". That coming from the master who also did Mulan... Goldsmith replaced Lambro's score 10 days from first screening with director to final mix. Bootleg CD-R, plus info on how it sounded. Perserverance Records was going to re-record the rejected score and release it in 2007, but due to lack of interest (according to the label's head), the project was cancelled. INFO. [Jerry Goldsmith, R.I.P.]
- PRECINCT 45 (AKA: The New Centurions) -- Don Ellis. Providing a score -- his third film score -- not too different from his award-winning "French Connection", the studio felt it was too busy and too much going on anddecided to replace it. With about three days to go, this must have been what drove Jones away. INFO (more coming, some added now. [Quincy Jones.]
- S*P*Y*S -- John Scott. Scott's score retained on UK prints. This one is especially inexplicable, as Goldsmith's replacement score is probably the worst score he ever wrote. INFO. [Jerry Goldsmith, R.I.P. - The recent 2004 Varese Sarabande Jerry Goldsmith At Fox 6CD set included a good chunck on his score. It is sold out. Get ready to pay out the ass on eBay.]
1975
- KEETJE TIPPEL -- Rogier van Otterloo. Still some left in. [Willem Breuker, Rogier van Otterloo (leftovers).]
- INTO INFINITY (AKA: THE DAY AFTER TOMORROW; Pilot film) -- Steven Cole. The replacement composer states in a 1984 interview, the director didn't like the score. [Derek Wadsworth.]
- DEEP RED -- Giorgio Gaslini. The jazzy score, rejected by the producer, still has small bits retained in the film. Go HERE to learn more about the previous score. [The group Goblin (members of the time unknown).]
- MONTY PYTHON AND THE HOLY GRAIL -- Neil Innis. The series composer didn't make a score per se, but did period music like dances, songs and other stuff that could be score, but I guess they decided it was time for something completely different (SQUISH). [DeWolfe Stock Music; composers: Stanley Black, Kenneth Essex, Paul Ferris, Peter Knight, Jack Trombey, Roger Webb.]
- WINNER TAKE ALL (TV movie) -- Richard Markowitz. The University of California has at least the paper work and some information (unsure if the tapes). [David Shire.]
1976
- THE ASTRAL FACTOR -- Bill Marx. Reissued in 1984 as THE INVISIBLE STRANGLER and for some reason rescored. [Richard Hieronymous, Alan Oldfield.]
- THE LAST HARD MEN -- Leonard Rosenman, R.I.P.. Sadly, when a label went hunting for the tapes to release the score, they were not found (if you or somebody you know has them, contact me). INFO. [Cues from: 100 Rifles and Stagecoach (& others), by: Jerry Goldsmith, R.I.P.]
- ROBIN AND MARIAN -- Michel Legrand. Some interesting things on Barry/Legrand's work HERE and HERE. Most interesting bit: Producer Ray Stark allegedly called Legrand's score "A piece of shit". Prior to 2001, a French label was going to release it, but cancelled. You can buy a box set of Legrand scores: Le Cinema De Michel Legrand, HERE. It contains only one cue from it, titled: "Sean and Audry" 8:49; also, in May 2009, a CD was released containing what I believe is the full rejected score. In an old interview, Barry' described Legrand's score as: "...double string concerto.". INFO. [John Barry, Richard Shores (additional score; two cues) - CD.]
- TODO MODO -- Charles Mingus, R.I.P.. Some of the score was re-used in his Cumbia and Jazz Fusion. There is a nearly 23 minute suite of the score on LP, and one track on a compilation CD. INFO. [Ennio Morricone.]
1977
- THE DISAPPEARANCE -- ?????. Huxley said in an interview:
"THE DISAPPEARANCE was a good case of a film which was re-edited. It had been scored once before, and the scoring was very elegantly done in a classical orchestral style, and it certainly fit the film. The problem was that many people felt the film was beautiful but utterly boring, so the challenge was to re-edit the film and through flashbacks create more of a dynamic, and through the music provide the feeling of a rush of energy, the attending climax to the film, and I felt it was somewhat successful in doing that."
IMDB lists Robert Farnon as the composer. [I have no idea.]
- FUN WITH DICK AND JANE -- Billy Goldenberg. Working on both this and a television series at the same time, Goldenberg did the score in little time and was displeased with it, understanding the rejection and agreeing with it; he did, however, still feel bad about it and for a year afterward didn't score anything. INFO. [Ernest Gold; Billy Goldenberg (leftovers).]
- WHITE BUFFALO -- David Shire. See my interview with Shire where I ask him about the score; HERE. [John Barry.]
1978
- AGATHA -- Howard Blake. Blake can be seen as one of the trio playing in the hotel. His arrangements (Gilbert & Sullivan, etc) were retained. I e-mailed Blake at his website to ask and here is his unedited reply:
"This is true. I was both MD and composer for Agatha. (I arranged all the period music and was even in the film playing the piano.) I wrote a huge symphonic score for director Michael Apted and producer David Puttnam who were delighted with it... However Puttnam resigned and the incoming producer junked my entire score. I met Johnny Mandel in LA quite soon after he had replaced it and we compared notes."
Carl Davis re-recorded 13:06 of the score on May 20, 1995 in The Barbican London; there was no release, but a extremely hard to find bootleg. In an old interview, Blake explains that after test review of the film, there were so many positive comments about hsi score, but so many bad ones, that the new producer grabbed him by the throat and asked him "what the hell" he was doing (personally, my reply would have been: "thinking of how much to sue you for"). INFO. [Johnny Mandel - Most famous for his Main title to "M*A*S*H".]
- ANIMAL HOUSE -- ?????. SAid the director: "They [the studio] assigned me a composer I did not want, who did a lot of mickey-mousing. I didn't like that and said No ...". [Elmer Bernstein, R.I.P..]
- CASEY'S SHADOW -- Elmer Bernstein, R.I.P. INFO. [Patrick Williams.]
- EVERY WHICH WAY BUT LOOSE -- Dee Barton, R.I.P.. [Steve Dorff.]
- FIRST LOVE -- John Barry. Barry was hired to write a complete score, parts of which were rejected as "too mature", resulting in a hybrid song/Barry score. At that point, Barry asked his name be removed, but his name was seen as composer on the theatrical posters and there were unmistakable Barry-isms in the snippets of score that still remain. The director just couldn't make up her mind. [John Barry and crappy songs.] Special thanks to MightyMcT
1979
- APOCALYPSE NOW -- David Shire. Score described as, "electronic". INFO. [Carmine Coppola & Francis Coppola.]
- CALIGULA -- Franco Mannino. A friend of the director, Mannino did a score without seeing the film, under a tight deadline, and after all that it was rejected. Described as a "beutiful" score. [Fiorenzo Carpi.]
- CALIGULA -- Fiorenzo Carpi. [Bruno Nicolai [as "Paul Clamente"].]
- THE CHINA SYNDROME -- Michael Small, R.I.P.. Released by Intrada Records on September 14, 2009. INFO. [no score.]
- DEFIANCE -- Basil Poledouris, R.I.P.. My "sister" site, so to speak, run by imdb.com member jorodo suggested Dominic Frontiere was rejected, but I checked into this a little. Turns out John Beal is listed as "additional music" on imdb.com, so I contacted him via his site; turns out he is a protege of Frontiere and, as far as he knows, Frontiere's score is still retained; imdb.com reflects this too by not listing Poledouris at all. Curious as to why Basil was listed at all, I contacted jorodo and asked. He said a few reliable printed sources, such as BFI's Monthly Film Bulletin, list Mr. Poledouris as the composer. Interesting. Could his score still be retained in some countries? [Dominic Frontiere, John Beal (additional).]
- GUYANA: CRIME OF THE CENTURY -- Alfredo Diaz Ordaz & Ignacio Mendez. Original score retained in Mexican prints, but English language version had additional Haskell cues. This version shown in UK. [Alfred Diaz Ordaz, Jimmie Haskell.]
- KRAMER VS. KRAMER -- David Shire. [Fred Ebb, R.I.P. & John Kander.]
- KRAMER VS. KRAMER -- Fred Ebb, R.I.P. & John Kander. On top of doing an arrangement of a classical music piece, EBB & Kander did a score for the film, but it was too "urban" and distracted from the emotion of the film. Ultimately the film was left with no original score. [Classical music.]
- THE SEDUCTION OF JOE TYNAN -- Michael Small, R.I.P.. In a ScoreMagacine interview, Conti says:
"I did a movie with Alan Alda, the "The Senator", or something like that, maybe they changed the name. Alan was just the actor but he did not like the score in the movie he was in, and he brought me in to do the movie. He was not the Director but he had a lot to say in that movie so I worked with Alan Alda and enjoyed it very much."
.
INFO. [Bill Conti.]
- STALKER -- Edward Artemiev. Interview by Anneilese Varaldiev - excerpt:
"There were actually two versions of the score for "Stalker ". The first one was done with an orchestra alone-no synthesizer-but Tarkovsky rejected it, which surprised me, because he loved the idea of live music-making. The second version, which he accepted, was basically created on the Synti-100 synthesizer, along with solo acoustic instruments that were extensively manipulated using various sound processors. At that time, Tarkovsky was very interested in Zen Buddhism, and wanted the music to reflect certain contemplative elements that are part of Eastern religion and philosophy. To achieve this quality, I borrowed from the Indian classical tradition of using a single basic tonality, whose rhythmic patterns are slowly and constantly changing, creating a background over which the melody of a solo instrument can soar."
[Edward Artemiev.]
1980
- THE EARTHLING -- Bruce Smeaton. Smeaton's score retained on Australian prints. [Dick DeBenedictis.]
- GAUGUIN THE SAVAGE (TV) -- Elizabeth Swados. In her book, Listening Out Loud (1988), Swados recounts how the executive producer did not like her music at the recording session. She used drums and voices to evoke Tahiti, and he said "I wanted strings!" During a later section, he said "Now she's giving me Stravinsky! I wanted strings!" She was replaced. [Gerald Fried.]
- THE HUNTER -- Michel Legrand. While technically American movies carry Legrand's score (with some of Bernstein's in, and some overseas carry Charles Bernstein's score, I decided to count this as this wasn't an overseas rescore scenario; Paramount decided the replace Legrand's score, which in the end they kept here anyway; doesn't really fit on any list here. [Charles Bernstein (Europe), Michel Legrand (USA).]
- THE MISSING LINK -- Ray Ellis, R.I.P.. In a 1984 Soundtrack! magazine interview, Budd says "it was a hair-raising experience!" after the producers rejected a score and gave him just six days to write and record his. [Alan Brewer & Anna Pepper (U.S. version); Roy Budd (overseas version), Paul Fishmann (additional, and electronic music); Leo Sayer & Les Davidson: "Igua's theme" (perhaps they did a rejected score, too?).]
- MURDER BY MAIL -- Bernardo Segall. Retitled SCHIZOID, with new score by Hundley (later known as Craig Huxley). [Craig Hundley.]
- SERIAL -- Kenny Asher. Described as a very good soudning score. INFO. [Lalo Schifrin.]
- THE SHINING -- Wendy Carlos & Rachel Elkind. The LP (Bootleg?) contains more. [Classical music.]
- USED CARS -- Ernest Gold, R.I.P.. Angela Morley orchestrated Gold's score. Williams had three weeks to do his score. [Patrick Williams; Ernest Gold (leftovers).]
1981
- BUDDY BUDDY -- Pete Rugolo. A friend of Rugolo, at the time Schifrin didn't know Rugolo had recorded a score, but if he did, would not have accepted the assignement. [Lalo Schifrin.]
- CATTLE ANNIE AND THE LITTLE BRITCHES -- Alex North. North's biography makes a short mention of his score not used for this movie. Like "Sounder" (another rejected score), the Motion Picture Academey has the tapes -- and paper work. [Sahn Berti & Tom Slocum -- their only score.]
- CHU CHU AND THE PHILLY FLASH -- Maurice Jarre. In an old interview (click on INFO for full related text) Jarre states that when shown on TV, his score is still retained (can anyone confirm that?). INFO. [Pete Rugolo.]
- CLASH OF THE TITANS -- A mailbag letter to FSM: In answer to your question regarding John Barry and the score to "Clash of the Titans" apparently Barry DID write a score. Ray Harry Hausen has been quoted as (tersely) saying: "John Barry wrote a musical score for Clash of the Titans. We couldn't use it.". [Laurence Rosenthal.]
- THE BUNKER -- John Barry. According to FSM member Ford A. Thaxton; any disagreements with this should be brought up with him for clarity. [Brad Fiedel.]
- LOOKER -- Pino Donaggio. [Barry DeVorzon.]
- MODERN PROBLEMS -- Marvin Hamlisch. INFO. [Dominic Frontiere.]
- NEIGHBORS -- Tom Scott. Similarly to Goldsmith's "S*P*Y*S", Bill Conti's replacement score is the worst he ever wrote. The Belushi biography book, "Wired" (by Bob Woodward) supposedly has some details. On November 19, 2007, Varese Sarabande Club released it with Conti's score, limited to 1,500 copies. [Bill Conti.]
- SILENCE OF THE NORTH -- Michael Conway Baker. When inquiring with Mr. Baker about another title, he said he did a score for this film which was not used. While only one composer credited, the score was done by five composers in a semi precurser "Pirates of the Caribbean" way. Some of his score may still be in the film. [Allan Macmillan & four other composers (which may include songwriter Neil Young, and Jerrold Immel).]
- SHOT THE SUN DOWN/ AKA: SANTA FE 1836 -- Bruce Langhorne. According to an interview with David Leeds, the film's creator: "The original version had a largely acoustic and slide guitar score by Bruce Langhorne." And an unused title song by Kinky Friedman. Interview HERE. [Ed Bogus & Judy Munsen.]
- WOLCOTT (mini series) -- Andy McKay. Said to be four days to rescore. [Frank Ricotti.]
- WOLFEN -- Craig Safan. Safan released his score, 58:31, on a composer promo through Intrada Records. INFO+v. [James Horner -- boot.]
1982
- AUTHOR! AUTHOR! -- Johnny Mandel. Released by Varese Sarabande (along with Grusin's score). [Dave Grusin.]
- DOCTOR BUTCHER, M.D. -- Nico Fidenco. Fidenco score retained on original release. Refitted with electronic score by Sear for reissue in US. [Walter Sear.]
- HIGHPOINT -- John Addison, R.I.P.. In an interview Young said Addison made it an "action comedy", and he thought the score was a "fantastic job". [Christopher Young.]
- EXPERIENCE PREFERRED ... BUT NOT ESSENTIAL -- John Scott. Portman was asked by David Puttnam to rescore the film. Over at imdb.com, Scott has the following credit: "(composer: addditional music) (uncredited)", so some of his score must still be in there. [Rachel Portman, John Scott (leftovers).]
- FIVE DAYS ONE SUMMER -- Carl Davis. Test audiences had problems with the film, but the director ignored those problems and decided canning the score was the answer; he even wanted to replaced Bernstein's score with one (that didn't end up happening) by Georges Delerue). Said Davis in an interview:
"In my career I had only one score rejected. That was by Fred Zinnemann, I did a score for FIVE DAYS ONE SUMMER. He didn't like my musical description of the scenery -- which I do in silent films as well. Zinnemann said, "What do I need a horn over the Alps? I've been hearing that all my life." He didn't want any music at all. He just wanted wind. So ever though that was painful, it was quite instructive."
[Elmer Bernstein, R.I.P.]
- JINXED! -- Lalo Schifrin. Late composer Richard Shores, when mentioning other rejected scores (all of which he listed were already on the list), said Schifrin had a, quote, "clever score" for the film thrown out. [Miles Goodman, Howard Roberts.]
- TWO OF A KIND -- Bill Conti. As pointed out in an FSM article, Conti's replacement was so late in the game that his name is still on the CD. [Patrick Williams.]
1983
- BLACK RIDER -- Rogier van Otterloo. According to him, on is website HERE. [Clous van Mechelen.]
- THE JIGSAW MAN -- Georges Garvarentz. Song by Garvarentz retained. [John Cameron.]
- THE LORDS OF DISCIPLINE -- Howard Blake. Originally Blake did a darker more dissonant score, but the White House felt differently and wanted a change. So Blake went back, wrote a lighter score, and recorded the new one; a rare instance of a composer replacing his own score. [Howard blake.]
- THE MACK -- Willie Hutch. Film was originall scored by Hutch, but then when re-released ten years later, they replaced his score. Hutch's score is available on CD. [Alan Silvestri.]
- MIKE'S MURDER -- Joe Jackson. Songs by Jackson retained and supposedly some score is left in; film was pushed back for release. [John Barry.]
- NEVER CRY WOLF -- Robert Hughes. [Jerry Neff.]
- NEVER CRY WOLF -- Jerry Neff. In an interview by Peter Simons, Isham said:
"Director Carol Ballard had already rejected two scores when he heard a demo by Mark Isham. "I did a couple of cues and he liked it. I got to do the whole film, but that wasn't easy," Isham recalls. "I really had no idea what I was doing, but soon I noticed I did have a talent for writing filmscores. I worked closely with editors Mark Adler and Todd Bucklehide and they taught me a lot."
And also said: "...especially after having had a couple of scores recorded and thrown out."
Neff was a percussionist who performed on some scores (that's about all I can find on him thus far). [Mark Isham; Robert Hughes (leftovers, with a special thanks).]
- SOMETHING WICKED THIS WAY COMES -- Georges Delerue, R.I.P.. Delerue re-recorded an 11:48 suite of his score on his Varese CD The London Sessions Volume Three. Author Ray Bradbury raved about James Horner's replacement score, said it was one of the things he loved most about the film. Also been said that the director chassed Horner around with a tape of Delerue's work. November, 2011, Universal France released the incomplete scores to two of Delerue's four rejected scores (not counting "Twins"). The complete score, plus two alternates and all source music Delerue wrote, is on a crappy sounding bootleg. For years I reported that "supposedly" a boot with excellent sound, of Delerue's score, existed, and finally in October of 2009, I attained this boot -- the complete rejected score, in darn near excellent sound. INFO. [James Horner, Greig McRitchie (additional) - one boot and LaserDisc isolated score.]
- STROKER ACE -- RY Cooder. INFO. [Al Capps.]
- TIGHTROPE OF TERROR -- David Farnon. His father (Robert Farnon) conducted. [Ed Welch.]
1984
- A TALENT FOR MURDER (TV movie) -- ?????. When commenting about the score in a series on his works for THIS blog, he says the film had a score but they hated it; he came in and did a score on piano in seven hours (this currently beats out "Wet Gold" for "Fastest Written Score"). [William Goldstein.]
- ANGEL -- Ken Lauber. Safan had one week to replace a score by Lauber, of "Tales From the Darkside" scoring fame. [Craig Safan.]
- BLOOD SIMPLE -- ?????. In the book Soundscape: The School of Sound Lectures, Burwell says the first composer -- which he was not told about -- did a "very electronic" score which the Cohen brothers weren't liking, but then the composer "lost it"; the Cohen brothers still don't know if it was a computer crash, the tapes were misplaced or what, but the score was M.I.A. and they decided to go with a new composer; Burwell further goes on in another book to say it was done by a "local band", who also did sound effects for it (Jun Mizumachi seems to fit the bill). [Carter Burwell.]
- THE COTTON CLUB -- Ralph Burns, R.I.P.. Supposedly some score left in, which includes instrumental re-workings of Duke Ellington pieces. Coppola brought Barry in to re-score the film (Coppala replacing the previous director who was fired; don't know who) as Burns' score didn't sound like the period music he was hoping for. INFO. [John Barry; Bob Wilber (instrumental re-workings of period songs); Ralph Burns (leftovers?).]
- COUNTRY -- Mark Isham. Isham lists this among his scores in Who's Who in America. Some of his score is still in the film, and one cue on the Gross score CD ("Chants") is by him. [Charles Gross; Darol Anger, Mike Marshall, George Winston, Gary Anderson (additional); Mark Isham (leftovers).]
- DUNE -- Jade Warrior. Apparently Jade Warrior sent in a number of samples, but they got lost. The studio, thinking JW wasn't interested, went with Toto. [Toto.]
- THE ENCHANTED -- ?????. In a book interview, producer Esther Luttrell said when Lord showed him a finished copy of the film, he thought it was bad; Esther made some changes, added some film, and also said he threw out the score (didn't say who did it). [Phil Sawyer.]
- GARBO TALKS -- Bob James. If kept, would have been his second known (and last known) film score. So enraged was James over the replacement, that he had issued a restraining order against producer Elliot Kastner and MGM to stop use of his score in the promotional trailers, which at the time were reportedly using pieces of his score, and Copyright infringment and emotional distress. INFO (pending). [Cy Coleman.]
- GREYSTOKE -- ?????. As stated by John Scott in an interview, the film had already had two [score] efforts attempted. This one was the second "score"; I use "score" in quotation marks, because Scott says it was specially arranged classical music recorded by the Royal Philharmonic Orchestra, but he doesn't say who wrote these arrangements. He also declines to name who the other composer was, but both Vangelis and John Corigliano (who was supposedly busy) are the only two names known to have been associated with this film, at the time I write this. Vangelis being a recluse who doesn't even like to do interviews (despite having done at least one), I can't just contact him and find out, sadly. [John Scott.]
- ORDEAL BY INNOCENCE -- Pino Donaggio. Donaggio released 17:36 of his score on a CD with his music for Going Bananas and Deja Vu. On February 28, 2011, Kritzerland Records released Pino's score (and not the replacement). Dave Brubeck's replacement score was one of the most jarringly inappropriate scores in film music history. [Dave Brubeck.]
- SLAPSTICK OF ANOTHER KIND -- Michel Legrand. The Varese soundtrack LP included Legrand's music on one side and Morton Stevens' replacement score on the other as well as the European film version may be the first instance of a rejected score release. [Morton Stevens, Berrington Van Campen (additional.]
- STREETS OF FIRE -- James Horner. A re-recorded suite is available. "Hard Target", a moviemusic.com member, said that Horner actually wrote three different scores. The man obviously wanted his Cooder. In an FSM poll on Unreleased Horner Scores, "Streets of Fire" got 28 votes (4.1%). INFO and suite. [Ry Cooder.]
- SWING SHIFT -- ?????. As recanted in a 1998 interview with the director, Warner Bros. took the film, put new scenes in it, and threw out the score (he doesn't name the previous composer) -- much to his dismay. [Patrick Williams.]
- 1984 -- Dominic Muldowney. During the recording, Muldowney and the orchestra were told they were not going to use the score, but had to finish recording it. Almost all of his score was replaced in the film with songs by the Eurythmics (and supposedly score by them as well). The original Region 2 DVD release used Muldowney's score. David Bowie was asked to the score the film, but turned it down. [Songs by the Eurythmics, Dominic Muldowney (leftovers).]
- V: THE FINAL BATTLE -- Barry DeVorzon. The producers didn't want the DeVorzon synth score, so they hired McCarthy. A quote from an interview on McCarthy's website: "I got the call and had nine days before it aired to score it." Composer Joseph Conlan composed the original theme and score with DeVorzon. [Dennis McCarthy.]
- WET GOLD (TV movie) -- John Scott. In an old interview Scott mentions how the producers kept fiddling with the score until so close to the end that the replacement composer had hours to do a new one. [Sylvester Levay and who know how many other guys.]
1985
- CRIMEWAVE -- Joseph LoDuca. The producers, against the wishes of the director, removed LoDuca and another person. LoDuca is still listed on imdb.com as "jazz music". In an interview, LoDuca says he composed "big band music". Unknown how much is left in. In an interview, Christopher Young mentions trying to get the film after someone else was rejected. [Arlon Ober, Joseph LoDuca (leftovers?).]
- DOCTOR WHO: "THE MARK OF RANI (Part 1)" -- John Lewis, R.I.P.. Never having scored an episode of the series before, he was asked to score the two-parter. After completing the score for the first episode, he died. Instead of keeping the score, they replaced it. The DVD has an option to watch the film with Lewis' score too. [Jonathan Gibbs.]
- HEAVEN HELP US -- James Horner. HERE. A very obscure bootleg 2CD set reports to have all three scores on it. [James Horner.]
- THE JOURNEY OF NATTY GANN -- Elmer Bernstein, R.I.P.. Bernstein's music for Natty Gann was featured in the film's trailer, and later in the trailer for "Benji the Hunted". Intrada Records was going to release it, but then it just didn't happen; but on June 11, 2008 -- was released in limited edition with two other rejected scores. INFO. [James Horner; Elmer Bernstein (tiny bit of leftovers) - boot for Horner.]
- MOONLIGHTING: "THE LAST IN THE IRON MASK" -- Richard Lewis Warren. Director of this episode didn't care for it, even though Warren already had a couple episodes under the belt. Warren's score was accidently used instead on the DVD. [Alf Clausen.]
- THE NEW KIDS -- Harry Manfredini. According to Manfredini. A horror site claimed the studio was unhappy with the score. Michel Rubini is credited on IMDB, and some places credit him as well, but he is not credited in the film (opening or ending). [Lalo Schifrin.]
- STICK -- Bob Florence, R.I.P.. An arranger of music for song aritsts, Florence returned to score his second movie for Burt Reynolds, but after doing the score supposedly somebody in the higher ups talked Reynolds into replacing it. INFO. [Barry De Vorzon & Joseph Conlan; Bob Florence (leftovers).]
- THE NEW TWILIGHT ZONE: "BUT CAN SHE TYPE?" -- Morton Stevens, R.I.P.. His score for segments one and three were kept. [Merl Saunders & the Grateful Dead.]
- VISIONQUEST -- Jack Nitzsche, R.I.P.. [Tangerine Dream.]
1986
- THE ADVENTURES OF MILO & OTIS -- David McHugh. When inquiring with McHugh about another score, he mentioned having a score rejected for this film, which he mentioned was his favorite score he has done. Decision to replace the score came from one of the film's producers. INFO (pending). [Ryuichi Sakamoto, Michael Boddicker (US version).]
- CASTLE IN THE SKY -- Joe Hisaishi. "...One other thing that bears mentioning about the dub is that, to go along with the redub, Disney asked original composer Joe Hisaishi to rescore the movie, adding the backing of a full symphony orchestra and reducing the moments of music-free "silence" in the film (since apparently American audiences don't deal with lack of music very well). In most places, this new score works fairly well...it is still Hisaishi, after all. The only really jarring moment for me was Pazu's trumpet solo, which was unaccompanied in the Japanese version but became the centerpiece of a totally unnecessary orchestral version in the English." HERE. [Joe Hisaishi.]
- CRY OF THE CITY (AKA: KNIGHTS OF THE CITY) -- Tony Berg. Berg created, as described, "a brilliant electronic soundtrack that was fresh, full of emotional subtleties and pathos."; though the composer provided a score the director wanted, late on the film's executive producer was arrested for racketeering, and then the lawyers took over "creative duties"; of their own accord, they brought inMisha Segal. One cue from Berg's score is retained, a "muzak" source piece written for an office scene. A couple listings show Mark Isham -- I have no idea what he may or may not have done for the film. [Misha Segal; Tony Berg (one cue retained).]
- THE GOLDEN CHILD -- John Barry, R.I.P.. A few Barry cues were retained in the final film, and 7:06 of his music was included on the soundtrack CD, including a Nancy Wilson song, "The Greatest Man in the World". He was rejected from Once Bitten and used his themes from it for The Golden Child and then was rejected from that film. Hired in September, 1986 to score it, and according to the producers, it took five sessions and the score had 92 musicians (fully recorded; Colombier did his score in two weeks). On July 12, 2011, La La Land Records released Barry's complete score, along with the replacement. INFO. [Michel Colombier, R.I.P.; Irving Berlin (additional; stock), John Barry (leftovers, small bits).]
- HARD TO BE GOD -- Georges Delerue, R.I.P. According to Delerue's film credits, at his website, run by his widow, he did a score which was not used; I take the site's word at it, as I know nothing about it. [Jürgen Fritz.]
- HOWARD THE DUCK -- Lalo Schifrin. INFO. [Thomas Dolby.]
- HOWARD THE DUCK -- Thomas Dolby. Dobly was hired by the studio to do songs for the film, initially, but the deal was sealed when he asked, and was also hired to provide the film's score. Recorded from February to July, 1986, Dolby's score was initially going to have cues on the MCA Records CD, but when the score was replaced, that changed; some cues are retained in the film and he is credited with "additional music". I have also had the names Sylvester Levy and Michael Colombier mentioned. INFO (for Dolby, coming). [John Barry; Thomas Dolby (leftovers).]
- INVADERS FROM MARS -- Christopher Young. Young wrote and recorded five cues. Later those five cues were used a basis for a longer re-recording for a CD. Release: Edel/Cinerame 0022032CIN. Invaders totals 34:17 and total time of the disc is 71:44. In 2008, Intrada Records released a 2CD set of Young's score and the replacement score (SOLD OUT). [David Storrs and Sylvester Levay.]
- THE LADIES CLUB/ THE VIOLATED -- Shirley Walker, R.I.P.. Yes, her first. Replaced by Schifrin, can't be a good way to start your career's beginnings. Listed it as 1984, but I typed it into imdb.com and they don't bring up a page of results, no, they take me strait to The Ladies Club. Weird, but I guess it's the same film. [Lalo Schifrin.]
- LEGEND -- Jerry Goldsmith. 70:54 of the score was released on a Silva CD, to be reissued shortly. The Goldsmith score was included in foreign prints, and will be heard again on the upcoming "Director's Cut" DVD; of interesting note: when TD saw a cut of the film for the first time, it still had Jerry's score in it. The complete score, plus un-used and alternates appears on a 2CD bootleg. [Tangerine Dream.]
- RATBOY -- ?????. Said the director, Sondra Locke, in her book, Clint wouldn't let her hire the composer she wanted and when he did let her get one, the score was rejected because the test audiences reaction was, quote: "it was so over-the-top that the screening audience laughed at it". There were a handfull of songs credited to songwriter, occassional film & TV composer Steve Dorff in the end credits -- perhaps he did the score that was replaced. [Lennie Niehaus.]
- TOUCH AND GO -- Georges Delerue, R.I.P. Bootleg. INFO. [Sylvester Levay.]
- WHO IS JULIA? -- Maurice Jarre. INFO (pending). [Robert Drasnin]
1987
- THE BELLY OF AN ARCHITECT -- Glenn Branca. Recommended by Nyman to do the score, difficulties with the directors who really just wanted Nyman all along lead Branca to being replaced. Unknown whether Nyman ever was onboard himself. INFO. [Wim Mertens; Glenn Branca (leftovers).]
- DR. WHO: "PARADISE TOWERS" (Season 24) -- David Snell. A review of the DVD says the score can be found under "audio settings", which I assume would mean you can hear it in place of the replacement score. . The producer, John Nathan-Turner, allowed a non in-house BBC composer to score an episode of the series, but was becoming unsure of the scoring; he rejected it and Snell offered to rescore it for free, as needed, but Turner had already picked a replacement composer. [Keff McCullough.]
- THE FOURTH PROTOCOL -- Francis Shaw. After completeting his score, and even dubbing it into the film, the decision came down to not used it; despite that, three of his cues are still in the film (some sources erroneously list him as "co-composer"). [Lalo Schifrin; Francis Shaw (leftovers).]
- LEONARD PART 6 -- Henry Mancini, R.I.P.. [Elmer Bernstein, R.I.P..]
- NO MAN'S LAND -- ?????. In a 1989 Soundtrack! magazine interview, Basil states this was a replacement score and he had four weeks to do it, and he decided against listening to the previous score. [Basil Poledouris.]
- NUTS -- ?????. Not liking the previous score, with the film's premiere coming up shortly, she decided to do the score herself, marking what I believe it her first scoring foray. [Barbra Streisand.]
- THE SERPENT AND THE RAINBOW -- Babatunde Olatunji, R.I.P.. You may be scratching your head as much as I, but the film's makers wanted something different and they hired this African percussionist who had never done a score before, to score the film, but it resulted in the score being rejected, but that's not where the story ends... [Jeff Koz & Jesse Frederick.]
- THE SERPENT AND THE RAINBOW -- Jeff Koz & Jesse Frederick. When we last left off, a score by an African percussionist was rejected, but the film's makers still liked it's general feel, so they hired the composer duo Jeff Koz & Jesse Frederick to "build" upon Olatunji's score; Koz & Frederick had, at the time, gained some attention for a couple films they scored, but this was to be their sour note as their score was rejected -- even though it incorporated Olatunji's score. But again, the story still doesn't end here... [Charles Bernstein.]
- THE SERPENT AND THE RAINBOW -- Charles Bernstein. Cue Bernstein who in turn "builds" upon the score Koz & Frederick had made that built upon Olatunji's score. Finally, they rejected a third score and went with Fiedel. Mr. Fiedel did not "build" upon the multi composer conglomeration of rejected scores that came before him, but rather provided his own. This is still the strangest thing I have ever come across. Babtunde Olatunji, by the way, still receives a credit for special percussion tracks; a couple scenes in the film for essentially dancing source, should be Olatunji's. [Brad Fiedel.]
- SOME KIND OF WONDERFUL -- Ira Newborn. Like "2001: A Space Odyssey", two composers were doing a score at once, unknown to each other at the time; for whatever reason, the director and John Hughes thought this was a good idea. [Stephen Hague, John Musser (additional?).]
- THE SUPERNATURALS -- Maurice Gibb, R.I.P.. Member of the Bee Gees, his score is only found on a four-track bootleg. The imdb.com "Trivia for" page says his cameo in the film is still there and that there is a cut of the movie floating around with Gibb's score still intact. [Robert O. Ragland.]
- WALL STREET -- Jerry Goldsmith, R.I.P. - Goldsmith has said he did not record anything, but Alex Kitaman Ho, the movie's producer says he did. Alex also said Goldsmith was fired during a session. Tried re-using a theme in "Alien Nation", but that score was rejected, then ultimately found a home in "Russia House". INFO. [Stewart Copland.]
- THE RITES OF SUMMER (AKA: WHITE WATER SUMMER) -- John Scott. Recorded in Munich, the score was dumped at the beheast of the studio, and a prologue was filmed. INFO. [Michael Boddicker.]
1988
- OUTER HEAT (AKA: ALIEN NATION) -- Jerry Goldsmith, R.I.P.. Goldsmith reportedly reused one his themes for his score to The Russia House. The score made it to a few boots. It has reportedly "shitty" sound and is also reportedly a really bad score -- a matter of opinion I am sure. Varese Sarabande released the score as a 3,000 limited Clude Edition. INFO. [Curt Sobel - boot.]
- +APARTMENT ZERO -- Astor Piazzola. In a Soundtrack.net interview, replacement composer Cmiral comments that Astor was originally hired, did part of the score, but it wasn't liked. 10 days for him to do 45mins of score. [Elia Cmiral.]
- THE BIG BLUE -- Eric Serra. Bill Conti's replacement score was only heard in the U.S., and was never released on CD. Serra's score was released on CD throughout the world, and later in a two-disc set [86:29]. It was also isolated on an overseas DVD version. A bootleg of Conti's score is available. [Bill Conti - CD.]
- COCKTAIL -- Maurice Jarre. INFO. [J. Peter Robison.]
- DEAD BANG -- Michael Kamen. Some of Kamen's score was included in the final film, and he received an "Additional Music" credit. [Gary Chang, Michael Kamen (additional).]
- DRACULA'S WIDOW -- Jim Fox. The film's producer and it's director disagreed over various aspects, from it's genre to it's editing, to it's score. Fox chose to side with the director's musical vision (the director was his friend and former student), knowing that the producer would fire him if he did so. This was Fox's very first score.
As an interesting side note: A brief fugal use of Dies Irae appeared in the rejected score. I mention this because some score fans like to keep track of scores that use this theme. [James B. Campbell (eluusive composer who used to orchestrate for Silvestri).]
- FRESH HORSES -- David Mansfield. When e-mailing the kind Mr. Mansfield to clear up, among a couple titles, "Miss Firecracker", he said he recorded a score for this movie but producer Jimmy Weintraub didn't like the score, so ... bye-bye; also said it was a personal favorite of his, and that he still gets BMI(?) checks, so some might be left in. [Patrick Williams, David Foster; David Mansfield (leftovers?).]
- GHOST TOWN -- Harvey R. Cohen, R.I.P.. The film, like most typical Hollywood films, was being rushed through production so it could make an American market by a certain date (Feb. to March). The score was still in a Beverly Center screening, but to the composer's surprise, when the film opened in November -- only about three cues remained. The rest were cues by Richard Band from his previous works. [Richard Band (non original); Harvey R. Cohen, R.I.P. (leftovers).]
- HELLRAISER -- Coil. Vinyl and CD info HERE. [Christopher Young.]
- AREN'T YOU EVEN GONNA KISS ME GOODBYE? (AKA: A NIGHT IN THE LIFE OF JIMMY REARDON) -- Elmer Bernstein, R.I.P. Bernstein's score was retained for European and Australian prints. Can someone get the scoring credits from the end title scrawl? Not released by the Varese club with Conti's score because the masters are missing. INFO. [Bill Conti, (leftovers).]
- MAN BEHIND THE SUN -- ?????. In an interview the director states he "... instantly disliked the score ..." and only used a few minutes of it in the film. I don't know if he replaced it with another composer or not (tried and failed to find out who scored it, though I had found the names Wong Lap-Ping and Man Lok-Hong). [?????.]
- MISSISSIPPI BURNING -- Bruce Broughton. INFO (coming...). [Trevor Jones.]
- STARS AND BARS -- Elmer Bernstein, R.I.P.. Bernstein's score [40:51] was released on a Varese CD Club disc (can someone send me the credits?). I believe this title is out of print; see Official CDs. INFO. [Stanley Myers.]
- THE TELEPHONE -- Christopher Young. Original jazz source-like score was refused and Young made to do new score, copying other composers; in other words, he had a bad time. Film score was originally more akin to "Rear Window" is score used. [Christopher Young.]
- YOUNG GUNS -- James Horner. Bootleg tracklisting. Go to the new website of woodwind instrument player Tony Hinnigan to hear a 0:30 re-recording sample (can buy whole cue). Themes were later recycled into "Braveheart". In an FSM poll on Unreleased Horner Scores, "Young Guns" got 46 votes (6.7%). INFO. [Anthony Marinelli & Brian Banks - Boot: 17 tracks - 28:39 + one cue on a promo from Marinelli: "Bill's Hat", which may or may not be on the boot.]
1989
- THE ABYSS -- ?????. The orchestra musician who told me he worked on it, has yet to recall the composer's name; I assume Robert Garrett, who is credited on IMDB with "additional music" for the "Special Edition" (Garrett was impossible for me to find). INFO (empty for now). [Alan Silvestri.]
- ALIENATOR -- Chuck Cirino. While credited for the score ... none of his score actually appears in the movie. Oops. INFO. [John Bigham, Michael Bishop.]
- BATMAN -- Roger Nelson (AKA: Prince). The recent Tim Burton/Elfman mega boxset had a revelation in the linear notes reportedly by fans mention tidbits from it, among it was that Prince -- on top of the songts he did for the film, in fact did a compelte score which was rejected. The notes reportedly describe Prince's score as: "much smaller, much more rock n' roll, nothing like Danny's score" and "small and intimate". Chalk this up as one of the oddest entries on my site, and baffling as to what it sounds like, and why Burton didn't hire Elfman straight away after Pee Wee. [Danny Elfman.]
- CYBORG -- James Saad & Anthony 'Tony' Riparetti. Suite on this CD. Some score retained. In April, 2011, Howlin' Wolf Records will release the rejected score. [Kevin Bassinson; Anthony Riparetti (leftovers).]
- I LOVE YOU PERFECT (TV movie) -- Bob Cobert. Reportedly, the producers were so traumatized by the way Cobert treated them, that they tossed his score. INFO . [Yanni.]
- JACKNIFE -- Mark Isham. Small group score, which ironically Broughton's was not all too different from. INFO. [Bruce Broughton.]
- SAY ANYTHING... -- Anne Dudley. Edits and whims of the director kept having Dudley rescoring and rescoring the film until it was just easier to get a new composer. Some of her score is left in the film. [Richard Gibbs, Nancy Wilson (additional?); Anne Dudley (leftovers).]
- THE SEINFELD CHRONICLES: "PILOT" -- Jep Epstein. On composer Johnathan Wolff's website, he mentions how he was asked to do a new score after the original music wasn't working out. I asked Wolff about it and among his answer, he said that supposedly the Pilot on DVD contains Epstein's score and an explanation why. What's the deal with rejection? ;-) [Johnathan Wolff.]
- TO DIE FOR -- John Addison. Addison listed this one among his scores in Who's Who in America. [Cliff Eidelman.]
- TRUST ME -- Elmer Bernstein, R.I.P. Retained at least on a what was described to me as a "Sell-through" video. Don't know if it was retained in any other country, or which country at all. Interview where Dan Woll talks about it. USC contains at least the paper work. [Gary Brown, James Woody, Dan Wool - as the group "Pray For Rain"]
1990
- MURDER IN MISSISSIPPI (TV movie) -- Elmer Bernstein, R.I.P.. One cue was retained in the scenes where the black men stand to be counted for who's willing to fight. INFO. [Mason Daring; Elmer Bernstein (one leftover cue).]
- MOBSTERS -- Stewart Copeland. Copeland included 3:23 of his score on his promo CD, From Rumble Fish to Gridlock'd. [Michael Small, R.I.P.]
- QUICK CHANGE -- Randy Edelman. Parts of his score were rejected and Howard Shore stepped in. [Randy Edelman, Howard Shore (additional).]
- STELLA -- John Barry. In an interview Barry says he had finished composing the score and the "powers that be" decided the film should be a comedy instead of drama and asked him to redo the main theme (which, to me, implies the score was recorded), Barry refused, and walked off the picture, which was not too big a deal as he says the very next film he was offered was "Dances With Wolves". [John Morris.]
- TREMORS -- Ernest Troost. Robert Folk came in to save the day and rescore an estimated 2/3rds of the film, and was asked to rescore the whole movie, but there wasn't enough time; ended up doing 40mins of replacement score. Some, if not all, of his rejected score appeared on an Intrada promotional CD with four cues from Bloodrush. [Robert Folk; Ernest Troost (leftovers).]
1991
- BINGO -- John Morris. Perhaps, now that Morris is getting his due, the recorded score for this film will be issued on CD. [Richard Gibbs.]
- BILLY BATHGATE -- John Kander. Kander's lush, old-fashioned romantic score was replaced after the film was re-cut by the studio. INFO. [Mark Isham.]
- IN THE HEAT OF THE NIGHT: "NO OTHER ROAD" (Season 4) -- Larry Blank. Score rejected for being too "melodic". Despite his score not being used, he is still credited during the end credits. [Pre-existing score from other episodes; Nan Schwartz Mishkin (who has a website now, as of November 08!) and David Bell efforts (Bell sadly does NOT have a website; if you're him, I will make you one! Contact me).]
- +THE INNER SANCTUM -- ?????. Cirino tells in an interview the first composer did some of his score, they hated it, and asked him for a new one, giving him only five days. [Chuck Cirino.]
- THE JOSEPHENE BAKER STORY (TV movie) -- Ralph Burns. INFO. [George Delerue; Ralph Burns (leftovers).]
- NEW JACK CITY -- Wally Badarou. Part of his score will be re-worked on his upcoming solo album. [Michel Colombier, Vassal Benford (additional).]
- OBJECT OF BEAUTY -- Trevor Jones. The sessions reside at the University of Leeds in the United Kingdom, after being donated by Jones himself. INFO . [Tom Bahler, Billy Barber (additional).]
- OTHER PEOPLE'S MONEY -- Angelo Badalamenti. Supposedly some still left in. Orchestrations by Andy Barrett. [David Newman - boot.]
- THE PEOPLE UNDER THE STAIRS -- Graeme Revell. 28:55 suite of Revell's score was included on the Bay Cities soundtrack CD, along with a suite of Don Peake's replacement score. Also, three un-suited cue selections appear on a film music demo that was assembled so he would score a movie called "Fallen" (Tan Dun got it, but supposedly Revell's score was rejected). [Don Peake.]
- *THE PRINCE OF TIDES -- John Barry. Barry turned his main theme into the piece "Moviola," and included it on the album of the same name. Later he used it in his score to "Across the Sea of Time". INFO. [James Newton Howard.]
- REGARDING HENRY -- Georges Delerue. Replacement composer Hans Zimmer said he wanted the soundtrack album to include both his score and Delerue's. Not surprisingly, this didn't happen. In an interview by Darren Cavanagh, Zimmer said:
"It wasn't rejected. Actually it was a beautiful score. I was trying to persuade them that for the record we should have one side with George's score, and the other side with mine. It's not like Mike Nichols doesn't love Delerue's score. It just doesn't quite work with the film. If I have to apportion blame, I think it was mostly Mike's fault."
In an interesting post at FSM, percepto.com head said he had Delerue's score. Yeah, I already tried e-mailing him. Boot. INFO. [Hans Zimmer.]
- SHATTERED -- Angelo Badalamenti. Andy Berrett, orchestrations. [Alan Silvestri, Ashley Irwin (additional).]
- WHITE FANG -- Hans Zimmer. Zimmer's score was actually written to replace Basil Poledouris, R.I.P.' score, but the studio ended up choosing between them cue by cue, and including the majority of Poledouris' work. [Basil Poledouris, R.I.P., Fiachra Trench (additional), Shirley Walker, R.I.P. (additional); Hans Zimmer (leftovers). - boot.]
1992
- AILEEN WUORNOS -- Christian Henson. [David Bergeaud.]
- THE BODYGUARD -- John Barry. FSM had a poll once on which Barry scores should be released and Barry's Bodyguard got: 202 votes (4.4%). [Alan Silvestri, Allen Dennis Rich (additional). - 2CD boot.]
- CRISSCROSS -- Michael Convertino. Jones had one week to come up with a new score. INFO. [Trevor Jones.]
- GLADIATOR -- Jerry Goldsmith, R.I.P.. There are two versions, one long and one shorter, that are available. But for those who don't have the boot, tid-bit for you: The soft piano theme was re-used in a handful of cues in "The Vanishing". So there. Catchy score. [Brad Fiedel.]
- HONEYMOON IN VEGAS -- Marc Shaiman. INFO. [David Newman.]
- INNOCENT BLOOD -- Elmer Bernstein, R.I.P.. According to Ford A. Thaxton, Elmer had a score tossed. Now whether that is true... (feel free to speak up, Ford) [Ira Newborn.]
- JENNIFER EIGHT -- Maurice Jarre. Orchestrations by Patrick Russ. Initially it was Young they rejected to go with a bigger name, but Jarre's score didn't work out. One cue, "Main Title" [4:19], was included on CD4 of the late 2010 Maurice Jarre box. August 29, 2011: Young's website says LLLR will release his score; that goes without saying we'll be getting Jarre’s full rejected score, too. [Christopher Young.]
- K2 -- Hans Zimmer. Varese released Zimmer's score [41:24] on a "Music Inspired by the Film" CD. Zimmer on the movie: "K2 was an odd thing. Someone else scored the movie, then my good friend, Franc Roddam asked me to rescore it. They ended up making lots of picture changes, so my score only made it to the European territories, and different versions went to the Japan and American territories." [Chaz Jankel.]
- MEMORIS OF AN INVISIBLE MAN -- ?????. In a Soundtrack.net interview, John Carpenter states that Walker was brought on board by Chevey Chase and the producer at the request of Warner Bros., because they weren't happy with the current score. Carpenter doesn't say if he did any additional score, but one only assume. Composer Jack Nitzsche was involved, but no word on whether he was the one replaced. [Shirley Walker, R.I.P. - CD.]
- ONE FALSE MOVE -- Pete Haycock & Derek Holt. Though still retaining credit on the film, and a few small pieces still in, according to composer Terry Plumeri, the director hated the duo's score and tossed most of it, but was unable to remove their names from the film for other reasons. [Paul De Franco; Terry Plumeri (additional); Pete Haycock & Derek Holt (leftovers).]
- POISON IVY -- Aaron Davis. In an old interview, Frank explains he was replacing another composer's score, and that he had two weeks to write and record his. Davis is credited with "Additional music", though it appears to be just songs he worked on, and none of his score. Frank's score, a personal favorite of mine, is still unreleased (you can hear a cue on his site though). [David Michael Frank; Aaron Davis (leftovers?).]
- THE PUBLIC EYE -- Jerry Goldsmith, R.I.P. After watching a cut of the film with Goldsmith's score, the director was sure it would ruin the film, and ultimately had it replaced. Dark noir score, darker than "Chinatown". Recorded in London. Rumored to be a bootleg of it. INFO. [Mark Isham.]
- SPLIT SECOND -- Wendy Carlos. Rediscovering Lost Scores Volume 2 features two cues: "Visit to a Morgue" 1:21, and "Return to the Morgue" 2:45. [Francis Haines & Stephen W. Parsons.]
- *A RIVER RUNS THROUGH IT -- Elmer Bernstein, R.I.P. A member of either FSM, or moviemusic attended a pre-screening that contained Bernstein's score. FSM also wrote: "Bernstein later agreed that his mystical approach didn't gibe with what director Robert Redford was seeking...". Hear a whole piece HERE; from 15:44 to 16:51. INFO. [Mark Isham - CD [reissued & remastered].]
- YEAR OF THE COMET -- John Barry. The trailer for the film included some of Barry's unmistakable music toward the end. Supposedly at the Barry scoring session, the film's director, Peter Yates, was heard to remark, "This is the worst film I've ever made.". FSM had a poll once on which Barry scores should be released and Barry's YOTC got: 12 votes (0.3%). INFO. [Hummie Mann.]
- TRESPASS -- John Zorn & Jon Hassell. Zorn's Film Works Volume 2 has what is supposed to be all his score. INFO. [RY Cooder.]
1993
- BARBARIANS AT THE GATE (TV movie) -- Trevor Jones. The score, mostly electronic with some saxophone and clarient overdubs, now resides at the University of Leeds in the United Kingdom, after being donated by Jones himself. INFO . [Richard Gibbs.]
- DEADFALL -- David Shire & Jim Fox. Shire, handling the bulk of the scoring, came onboard as a favor (the film's director was the nephew of his former wife, Talia Shire), and together with Fox provided an evocative electronic score with haunting wordless solo female vocals. In a move which is ironic by today's standards, the higher ups wanted an orchestral score instead of electronic, and requested Shire to rescore the film. Shire declined, having other projects on the table, and beleiving he had provided a perfectly adequate score. On a tight budget and schedule, Fox did a new score with real musicians, using a small chamber orchestra. [Jim Fox.]
- HEARTS AND SOULS -- Maurice Jarre, R.I.P.. INFO (pending). [Marc Shaiman.]
- HOMEWARD BOUND: THE INCREDIBLE JOURNEY -- David Shire. HERE is a 1999 Interview FSM did. INFO. [Bruce Broughton.]
- JERSEY GIRL -- Christopher Young. One cue [15:58] titled: "Sparkle Road" on the 2CD promo set: Cinema Septet. INFO. [Steven Bedell, Misha Segal.]
- MR. JONES --Mike Figgs. Figgs said in an interview he did this film, which he thought was okay and also had a "stunning" performance by Gere, but then, as he says, it got "butchered"; someone came in, reshoots after reshoots were done, cutting, Figgs' score was tossed (and Nitzsche hired). Figgs comments it went on for over two years, and that he stole a copy of the film as he did it, and also has not -- at the time of the interview (pre 2003) -- seen the final version of the film. [Jack Nitsche, R.I.P..]
- MR. JONES -- Jack Nitsche, R.I.P.. Rescored after Figgs was axed. [Maurice Jarre.]
- JUDGMENT NIGHT -- Alan Silvestri. In response to a fan question at the Intrada Records message board -- the folks who released Silvestri's score (sold out) -- about the un-used electronic score bits, the reply was that Silvestri infact did an entire electronic score which was rejected; only three cues [9:52] were included on the CD with Silvestri's final score. [Alan Silvestri.]
- MR. WONDERFUL -- Maurice Jarre. INFO (pending). [Michael Gore.]
- POINT OF NO RETURN -- Gary Chang. On top of doing a score, Chang even re-wrote some cues at request. INFO. [Hans Zimmer; Nick Glennie-Smith, (additional).]
- SNIPER -- Gary Chang. Most of his score was rejected and replaced by Zimmer and Mancina. INFO. [Gary Chang (leftovers), Hans Zimmer (additional), Mark Mancina (additional).]
1994
- A GOOD MAN IN AFRICA -- Mario Lavista. This started with Lukas over at FSM making a post mentioning, but not recalling who, so I went to imdb.com and checked the credited composers and found Mr. Lavista. His contact info wasn't too hard to find and I asked him about his "additional music" credit at imdb.com; answer was his score was rejected, some just still happens to be in the film. Said Lavista, the director and producer couldn't agree on the score, so they sought a new one; Lavista had flown to American, seen the film, flew back home and recorded his score in a church and flew back six weeks later with it. If Georges Delerue hadn't passed away, he would have gotten the film. [John Du Prez; Mario Lavista (leftovers).]
- I LOVE TROUBLE -- Elmer Bernstein, R.I.P.. Bernstein is rumored to have told director Charles Shyer, "I'm too old and too rich to give a shit." However, this is a variation of a story told about William Goldman and Chevy Chase about the writing of Memoirs of an Invisible Man, so it may be apocryphal. A boot of his complete score is available. [David Newman; Chris Boardman (few cues on his site), William Kidd, Mark McKenzie, and Peter Tomashek (all additional) -- boot.]
- *INTERVIEW WITH THE VAMPIRE -- George Fenton. A promo with a bit over 26:39 minutes of his score is available. Just concert suites though. Producer's thought his score was way too slow and as moviemusic member "Hard Target" said: "Ironically it was reused and orchestrated for Mary Reilly". And some of his score was still retained, like a ballroom scene. INFO. [Elliot Goldenthal, Robert Elhai (additional).]
- COP TIPS WAITRESS $2 MILLION (AKA: It Could Happen To You) -- ?????. For what ever reason, the first composer's score was dumped and Burwell had about three weeks to do his score which was about 40mins total. The rumor is John Barry was first. The film's new name is rather apt, wouldn't you say? [Carter Burwell.]
- +IL POSTINO -- ?????. After some kind of disagreement/argument with the orchestra, the un-named composer walked off the recording, leaving little time for a new score. Various composers were in talks, and Morricone was asked to score it, but had to turn it down, but his suggestion for composer was ultimately used. [Luis Enríquez Bacalov .]
- LITTLE BIG LEAGUE -- Hummie Mann. [Stanley Clarke; Jeff Beck, Steve Cropper, and Booker T, Jones (all additional).]
- MONKEY TROUBLE -- Richard Robbins. Mancina tells in an FSM interview: "... Richard Robbins had done the score, it was extremely dark...". [Mark Mancia.]
- THE RIVER WILD -- Maurice Jarre. There is a bootleg with a handful of tracks. Back before his score was tossed, the CDs for a release had already been pressed (MCA Records); I assume they were destroyed. One cue, "The Vacation Begins" [9:13], was included on CD4 of the late 2010 Maurice Jarre box; the set also included a cue titled "After Tomorrow" [3:22] from an un-named rejected score by him -- I put it here since I don't know the film's name. INFO. [Jerry Goldsmith, R.I.P..]
- SIRENS -- Geoffrey Burgon, R.I.P.. INFO. [Rachel Portman.]
- SPEED -- Jerry Goldsmith, R.I.P.. INFO (empty for now). [Mark Mancinia & others.]
1995
- A WALK IN THE CLOUDS -- Lou Brouwer. Credited with a song in the end credits, and that song and another are on the CD (only featuring Jarre's score though). [Ray Folguera.]
- A WALK IN THE CLOUDS -- Ray Folguera. Maria Entraigues, vocals and assistant to composer. [Maurice Jarre.]
- ASSASSINS -- Michael Kamen INFO. [Mark Mancina, Don Harper, Jeff Rona, John Van Tongeren, & Christopher Ward (all additional) -- boot.]
- BABE -- Jerry Goldsmith. Dan Goldwasser of Soundtrack.net learned:
"Yeah, I was surprised when I heard that too, but it was Jerry himself sharing the story with us in the booth at the LOONEY TUNES scoring session. Apparently producer George Miller wanted the film to be SUPER dark, and Goldsmith's score wasn't meshing with what he wanted.... and the director kinda shifted sides and then Goldsmith walked."
He also said Goldsmith walked out mere weeks before the recording was to happen and that Jerry wrote 90% of the score AND that they cut a LOT of violent stuff from the film. I originally had this under "Demos" (because of Dan's statements) until an astute reader caught in a magazine where Goldsmith said he recorded it with the Melbourne Symphony Orchestra (they also did Nigel's score); way to go! (you know who you are). [Nigel Westlake.]
- CUTTHROAT ISLAND -- David Arnold. Debney, I read, was hired to improve on Arnold score (which was recorded with the Sinfonia of London). For what ever reason, the story goes that Arnold quit during a session, not finishing recording the score. This also fits nicely with the rumor I was told by another composer that Debney replaced someone on a film and helped jump start his career and so it did, Debney got a lot of stuff after Cutthroat Island. [John Debney - complete score.]
- DANGEROUS MINDS -- Mark Isham. The producers thought it was too "jazzy". The story was Isham had brought the two composers in to help revise his score, but this was false information passed around; Isham was flat-out being replaced. [Wendy & Lisa Coleman.]
- DIE HARD WITH A VENGEANCE -- Michael Kamen. Had what moviemusic.com member "Hard Target" said was "a ton" of new themes for the film. Ultimately John McTiernan had it rejected and him do original themes based on Kamen's own themes from the first film. [Michael Kamen, Chris Boardman (additional).]
- FAIR GAME -- Michael Kamen, R.I.P. & David Sanborn. David Sanborn did songs and is listed as a co-composer in the trailer. [Marl Mancina, Christopher Ward (additional), Don Harper (additional).]
- FEAST OF JULY -- Rachel Portman. A little less than a dozen cues are still left in the film. Two cues on the score CD are credited to Portman. [Zbigniew Presiner; Rachel Portman (leftovers).]
- +HEAT -- Michael Brook. After completing some score, Mann changed his mind. [Elliot Goldenthal.]
- THE INDIAN IN THE CUPBOARD -- Miles Goodman, R.I.P.. On his Film Music Volume 3 promo CD 9 minutes of his score is available. Said Goodman on his score: "I'm really excited about it--It'll be a big symphonic score with motifs from Native American music," said Goodman. He continued to express his excitement, mentioning the "little Indian flute" he planned to write the main theme on. Frank Oz wasn't happy the score was removed. INFO. [Randy Edleman.]
- JANE DOE (AKA: PICTURES OF JANE DOE) -- ?????. As happens from time-to-time, a picture is pushed back a few years, and for what ever reason, rescored. [Bill Wandel.]
- JOHNNY MNEMONIC -- Group: Black Rain. Before Danna (see "UN-USED"), the director asked them to score the film, but ended up not liking the score, but an alternate source -- an interview with one of the members (Stuart Argabright) said the financers wanted star power and got a star and decided the Black Rain score had to go. In the Japanese version of the film which contains Danna's score (see UN-USED section), a few cues from Black Rain are still retained. This CD supposedly contains most, if not all the score they did. [Mychael Danna, then Brad Fiedel.]
- THE SCARLET LETTER -- Elmer Bernstein, R.I.P.. Bernstein is rumored to have written star Demi Moore a letter, thanking her for throwing out his score so he could reuse the music on a better film after this one was panned; an excerpt of which I am told goes like this: "when I saw the reviews for the film I'm so glad you didn't use my music.....". On Bernstein's site, there is a poll asking which score you would be willing to pay 20 dollars for. Of the options, there is only one rejected score listed and it's Scarlet Letter -- which, on June 11, 2008 -- was released in limited edition with two other rejected scores. Poll HERE. Geoff Foster, Chief Sound engineer on the rejected score. Said the director on Bernstein's score, "musically accomplished ... what you'd expect from a man with enormous talent.". Barry said in an itnerview years ago that he actually had lunch with Bernstein in London while he was doing the score, and had no idea why it was replaced, being asked if five weeks was enough time to do a new score. INFO. [John Barry - CD.]
- STRANGE DAYS -- Michael Kamen, R.I.P.. Thanks to a reader who spotted an interview with Kamen in an old magazine where he said it was recorded and that he was moving on to "Die Hard 3" (also mentioned two scores he didn't do). [Deep Forest.]
- STRANGE DAYS -- Eric Mouquet & Michel Sanchez (As Deep Forest). Were originally scoring the film alone, but something happened. Still credited in the film for "Additional music". [Graeme Revell, Peter Gabriel (?), Deep Forest (leftovers).]
- TWO BITS -- Maurice Jarre. Notorious score rejector and studio head Harvey Weinstein, once again steps in and decides to rejected a score. The director tells in a later interview he was not happy with that and was pleased with Jarre's score, but liked what he heard from Burwell and ultimately thought Burwell's score was better. . Later in 2012, Tadlow will release a re-recording of various Jarre works, and included is the "End Credits" from this rejected score (see tracklist HERE). INFO. [Carter Burwell.]
- WELCOME TO THE DOLLHOUSE -- ?????. The director said the score did not work at all. [Jill Wisoff.]
- THE WEST SIDE WALTZ (TV movie) -- Leonard Rosenman, R.I.P.. INFO. [Patrick Williams.]
- WILD SIDE -- Jon Hassell. The late Jack Nitzsche recalls a extremely disturbing story that the studio hated Hassell's score, and when the director, Donald Cammell, stood up for it, they fired him. LAter that after noon he was found dead from a gunshot to the head by his own hands -- appearently not dying straight away and living for 40 minutes that way. INFO. [Ryuichi Sakamoto.]
1996
- BOX OF MOON LIGHT -- Devlin Z. When the director recants about the previous score, "The music came in sounding like it was written after a bad heroin fix.", you know things were not going so well. The director tells on his blog that he hired the composer instead of his normal collaborator, and found just a couple weeks in the music was too dark and sour; $80,000 & weeks later, he realizes the score had to go, so replacing it ended up shutting down production and bringing in his regular composer for less pay and little time (the pay coming out the director's own pocket). [Jim Farmer.]
- CARPOOL -- Bill Conti. You can watch a trailer on YouTube where he is still credited; no idea if any of the music in it is by him. INFO. [John Debney, John Beal (additional [not for either composer]).]
- ESCAPE FROM LA -- ?????. In a Soundtrack.net interview, John Carpenter says there wasn't much time to do the score; I believe I read somewhere else he said it was like three days. [John carpenter & Shirley Walker, R.I.P. - CD.]
- GATTACA -- Danny Elfman. INFO. [Michael Nyman.]
- THE ISLAND OF DR. MOREAU -- Zbigniew Preisner. Preisner recorded an unknown amount of score that was very interesting, but ultimately scared the director. Preisner wasn't the first choice either, replacing Wojciech Kilar; details on what Kilar did or did not do, are not known (like being on "The Truman Show" first). INFO (pending). [Gary Chang, Richard Whitfiled (additional).]
- LAST MAN STANDING -- Elmer Bernstein, R.I.P. Available from Varese Sarabande VSD-5755 CD. I think the title is Out Of Print though. Also try amazon.com New Line music department was happy with Bernstein's score, ironically. INFO. [Ry Cooder - CD.]
- MARIETTE IN ECSTASY -- Leonard Rosenman, R.I.P.. The director, how had moved on, was abscent from screening where Rosenman's score was dubbed in, and the producer didn't like it, rejecting it. Rosenman also replaced George Fenton (click to read more). INFO. [Christopher Klatman.]
- MARVIN'S ROOM -- Thomas Newman. INFO. [Rachel Portman.]
- +MISSION: IMPOSSIBLE -- Alan Silvestri. Boot. INFO+v. [Danny Elfman.]
- THE PEREZ FAMILY -- Zbigniew Preisner. Geoff Foster, Chief Sound engineer on the rejected score. [Alan Silvestri - boot.]
- PICTURE BRIDE -- Cliff Eidelman. A CD with some of his score was released by Varese Sarabande. Not sure if it was a promo ot not. [Mark Adler.]
- RANSOM -- Howard Shore. Appearently Mel gibson didn't like Shore's score, and Ron Howard suggested the man he's worked with before. Two different boots exists. One slightly longer than the other. INFO. [James Horner.]
- RUN FOR THE DREAM: THE GAIL DEVERS STORY (Limited shown TV special) -- Ronnie Laws. See "Love Songs - 1999". [Pete Anthony.]
- SPITFIRE GRILL -- Bennie Wallace. The score had originally been used at the Sundance Film Festival, but when it was decided to bring the movies to a national audience, the studio decided to have it rescored, despite the director loving the score. No better why to start a career off then to be replaced by a big shot at a studio's behest. [James Horner.]
- 2 DAYS IN THE VALLEY -- Jerry Goldsmith, R.I.P.. Goldsmith reused a theme from the score as "Willa's Theme" in "Fierce Creatures". The flim's director previously threw out Conti's "Two of a Kind" score, and later had "15 Minutes" half-rescored. A boot of Goldsmith's score is available. INFO. [Anthony Marinelli - One cue on a promo: "Helga".]
- +WHITE SQUALL -- Maurice Jarre. Jarre sued director Ridley Scott over the replacement of his score, claiming that Scott refused to pay him his full fee (of $450,000). Jarre copied the temp track so closey (unknown whether he was asked or did so of his own will), that the director was not very pleased at all. Vangelis may have done a score and it is rumored music from it is on his album "Oceanic". INFO. [Jeff Rona.]
- THE WINNER -- "Pray for Rain". Pray for no rejection, but it never rains anyway. Japanesse version still has their score intact. What I found -- via Google.com -- says that the producers edited the film so badly that Cox disowned it, and they also got rid of his score. The film seems to have two different years; probably held back some before it got released. Interview where Dan Woll talks about it. [Daniel Licht.]
1997
- +AIR FORCE ONE -- Randy Newman. .Several boots of his score are available. Only about half his score was recorded. While Goldsmith took the patriotic approach, Newman's theme sounds almost exactly like the theme from "The Brave Little Toaster" song: City of Lights. INFO. [Jerry Goldsmith, R.I.P., Joel McNeely (additional). CD + 2CD boot, plus 2CD boot with excellant sound on all tracks [missing one cue though].]
- BELOW UTOPIA -- Ice-T (Tracy Marrow). Yes, that rapper guy. It's on CD too -- officially on CD. I listened to a few samples at Amazon.com's page and it's synths with an 80's feel. [Joseph Williams (Son of John Williams, and member of the band Toto).]
- BREAKDOWN -- Basil Poledouris, R.I.P.. [Basil Poledouris, R.I.P..]
- BREAKDOWN -- Basil Poledouris, R.I.P.. For all intents and purposes, Basil essentiually wrote two scores which were rejected, though technically only just one, with the "second" being so many alternate and rescored cues it equaled a second score; previously all three scores were available only on bootlegs, but on June 7, 2011, La La Land Records released all of the scoring. [Basil Poledouris, R.I.P.; Richard Marvin (additional), Eric Colvin (additional).]
- BREAST MEN -- ?????. McCarthy comments in and interview he started at the night of one day writing it, then recording the next day -- less than 24 hours, saying that it's the kind of job where you are walking into wallls afterwards. [Dennis McCarthy.]
- BUFFY THE VAMPIRE SLAYER: "WHEN SHE WAS BAD" (Season 2 premiere) -- Walter Murphy. Joss wasn't happy with the show's scoring and gave Murphy another chance, but didn't like the effort. [Christophe Beck.]
- THE DISAPPEARANCE OF GARCIA LORCA -- Angel 'Cucco' Pena. In an interview (which I couldn't relocate) on the replacement composer's site, the mention is made of replacing the previous composer who was a friend of director, or something. [Mark McKenzie - CD.]
- DRIVE -- David C. Williams. The film encounters problems from the studio, and was re-cut and re-cut, and eventually they wanted the score replaced. The director lamented in a book how he prefered Williams' score. You can hear one long cue on his website; supposedly his score is re-instated in the "Director's Cut" DVD. [Walter Werzowa.]
- +FACE/OFF -- Mark Isham. Isham had finished almost 2/3 of his electronica-style score when he was fired by director John Woo (though an alternate source says about 20 minutes). About Powell's score Isham doesn't say much except that "it is quite different from what I had done." INFO (coming soon). [John Powell, Gavin Greenway (additional), Geoff Zanelli (additional).]
- FIERCE CREATURES -- John Du Prez (or DuPrez?). Ronan Browne worked on the theme with DuPrez. [Jerry Goldsmith.]
- THE GAMBLER -- Gerard Schurmann. Someone pointed out selections from both scores were on CD. I had accidently stumbled upon an interview where the composer stated the one before was rejected cause the studio thought his score wouldn't work overseas. [Brian Lock and Gerard Schurmann (leftovers?).]
- THE HOUSE OF YES -- ?????. In his book, The Reel World, I am told he mentions a composer before him did a score that was tossed. [Jeff Rona.]
- THE HOUSE OF YES -- Jeff Rona. I am told there are about eight pages in his book, The Reel World, on it. HERE are some clips on his site. [Rolfe Kent; Marc Shapiro, Mike Williams (additional).]
- IN THE GLOAMING (TV movie) -- Richard Robbins. [Dave Grusin.]
- KISS THE GIRLS -- Carter Burwell. .Burwell has put up clips at his site; LINK. [Mark Isham - CD.]
- MAD CITY -- Thomas Newman. Mr. Newman was the first composer on the picture. The director, who wanted Philippe Sarde at first, wasn't satisfied with some of Mr. Newman's score and hired Philippe Sarde to rescore some sections. Mr. Newman retains front-titles credit; the Varese Sarabande album features his music alone. Bill Bernstein was a music editor on Newman's score. [Thomas Newman, Philippe Sarde (additional).]
- NIGHT FALLS ON MANHATTAN -- Wynton Marsalis. Columbia Records was going to release it (if I recall correctly). Not a good year for the guy. INFO. [Mark Isham.]
- ROSEWOOD -- Wynton Marsalis. Marsalis later included 60:03 of his score on a CD called "Reeltime" INFO. [John Williams - CD, Wynton Marsalis (some source music left).]
- THE SIXTH MAN -- Randy Edelman. INFO. [Marcus Miller.]
- SNOWDEN ON ICE -- Joseph Vitarelli & Jorge del Barrio. INFO (more info pending). [Randy Goodrum.]
- THE WINGS OF THE DOVE -- Gabriel Yared. Wings of a Dove has been used as temp music by Miramax for a number of films since it was rejected. A couple cues may have actually appeared in Chocolat, which otherwise featured a score by Rachel Portman. (John Altman may have scored with Yared). Shearmur was actually the first composer on, but he was replaced by Yared, then brought back on. [Edward Shearmur - CD.]
1998
- A COOL, DRY PLACE -- Mike Mills (of REM). [Curt Sobel.]
- THE AVENGERS -- Michael Kamen (with Marius De-Vries). Kamen said, quote: "Buckets. Buckets and buckets and buckets, and I'll probably use it all at some point. It was good music, interesting, funny. God knows, I don't think there'll be an Avengers 2. (laughs) There was barely an Avengers 1!". INFO. [Joel MyNeely.]
- BRAM STOKER'S SHADOWBUILDER -- Guy Zerafa - According to the replacement composer, Zerafa wrote an entirely electronic score. [Eckart Seeber.]
- +DANGEROUS BEAUTY -- Rachel Portman. Though some of her score was retained and as a result she is listed as "Additional Score By" in the end Credits. Portman had to stop writing the score half-way through, because it was either that or give birth at the sound stage. The film had many name changes and two previous names were: "A Life of Her Own" and "The Honest Courtesan". INFO. [George Fenton, Rachel Portman (leftovers) - CD.]
- DENIAL -- Michael Bland & Rick Ziegler. Director rejected the score after it was finished, but ... didn't actually listen to it. INFO. [Tyler Bates, Billy White Acre (additional).]
- DOG PARK -- Christophe Beck. INFO (pending). [Craig Northey.]
- GODS AND MONSTERS -- Michael Convertino. In an interview excerpt HERE, the director discuses what happened to the score. He didn't give the first name, but gave a last name of "Burnett"; upon further research, this turned out to be false. The film temp was mainly from his score to "Mother Night", with some other stuff by Thomas Newman and Arvo Part. [Carter Burwell.]
- GOODBYE, LOVER -- John Barry. FSM had a poll once on which Barry scores should be released and Barry's score got: 11 votes (0.2%). [John Ottman - CD.]
- GOODNIGHT, JOSEPH PARKER -- Hummie Mann. Originally a film from 1998, the movie -- for whatever reason -- was shelved for years and finally, in 2004, when it came out, it did not retain Mr. Mann's score (Mr. Mann -- how cool a name is that?), and Mann even removed it from his site -- except an old page which he clearly missed. Mann has a suite from the score up on his site. [Toledo Diamond.]
- HALLOWEEN H20 -- John Ottman. Some of his score was rejected and Beltrami rescored the scenes -- the story and details of what is left in, is highly convoluted. Buy and listen to his score HERE. Interestingly enough, FSM also had this in their Upcoming Scores list as being for Christopher Young as well. [Marco Beltrami; John Ottman (apparently mostly still there).]
- HEAD ON -- Philips Brophy. One cue on this CD, and another CD I have listed, has multiple cues -- if not the whole score (paired with another Brophy score). [Ollie Olsen.]
- KINDERSTRANSPORT -- Michael Kamen, R.I.P.. INFO (pending). [Lee Holdridge.]
- THE KISS (AKA: LIVING OUT LOUD) -- Mervyn Warren. INFO. [George Fenton.]
- LES MISERABLES -- Gabriel Yared. INFO. [Basil Poledouris, R.I.P. - CD.]
- THE MINION -- Jean Corriveau. [David & Eric Wurst.]
- OUT OF SIGHT -- Cliff Martinez. Studio decision. INFO. [David Holmes - CD.]
- +LOST IN SPACE -- Mark Isham. After consideration of David Arnold, Jerry Goldsmith, Isham came in and did almost a full score in demo form, which I believe was done with a real orchestra. INFO (pending). [Bruce Broughton, Velton Ray Bunch (additional) -- CD.]
- ONE TOUGH COP -- Roger Bellon. An unknown amount of his score is still retained, but the score was not included when Intrada released Broughton's score on CD. [Bruce Broughton; Roger Bellon (leftoevers).]
- PLAYING BY HEART -- John Barry. According to FSM member, jamesluckard:
"A great deal of Playing By Heart was rejected as well and rescored at the last minute by Christopher Young.
Luckily, Barry's score album, which mixes in period jazz pieces that inspired the screenwriter/director, features the whole thing.
In addition, there are two concert suites of Barry's score on the soundtrack, which were recorded before the score because of the soundtrack's earlier deadline..."
[John Barry, Christopher Young - CD.]
- PRACTICAL MAGIC -- Michael Nyman. The first pressings of the Practical Magic CD included two Nyman cues, totaling 11:44. Later pressings featured two cues from the Alan Silvestri replacement score instead. Nyman also included one of the cues on his recent "The Very Best of Michael Nyman" CD. There is also a boot of Nyman's score, which also has the two cues from the official CD at the end. INFO. [Alan Silvestri - Boot: 47 tracks- 48:18.]
- +PRIMARY COLORS -- Carly Simon. Yeah, that singer/songwriter. Apparently (though unverifed), some of her score is still in the film. While looking it up on Google, I found this: "...Carly Simon apparently refused to score Primary Colors unless scenes of the Hilary character cavorting around were cut..." and they were not, even though score had been done and was going to be released on CD soon. She left, according to carlysimon.net, on March 1, 1998. [RY Cooder, Joachim Cooder (additional).]
- ROUNDERS -- Christopher Young. Replaced nearly every last bit of his original score, as told HERE. [Christopher Young.]
- THE SHADOW (AKA: SKYGGEN) -- Soren Hyldgaard. In an old 1998 Movie Score update by Mikael Carlsson, he wrote that Hyldgaard's score for the "Danish BLADE RUNNER-inspired cyber-techno thriller, has been dropped in favour of atmospheric techno/dance rhythms produced by a group of 9-10 musicians. Hyldgaard was composing a moody, transient, electronic score for the film directed by Thomas Borch Nielsen. "I am too professional to regret anything but the fact that they decided about the alternate schedule that late in the process", Soren Hyldgaard comments. "Oh, and then the fact that my few pieces of string music, performed by the players of the Czech Philharmonic, is undoubtedly the best string music I have written for anything so far". Hyldgaard's amibition is to present the SHADOW score on a future promo-CD." The promo seemingly never materialized; Carlsson went on to found the MovieScore Media CD label which, in April, 2012, release a compilation CD of scores by Hyldgaard (though none from this rejected score). [Arne Schultz and the other eight or nine guys -- assuming their score was kept.]
- SILVER -- Howard Shore. Again, another score where a lot was rejected and someone was called in. Christopher Young. He seems to do this quite a bit. [Christopher Young (additional), Howard Shore (leftovers).]
- STEPMOM -- Patrick Doyle. Doyle was recovering from leukemia when he scored this film about a woman dying of cancer and they still threw out his music, claiming he wasn't available to make changes. Isn't that what music editors are for?. Another story goes that Williams saw an early screening of the film and used his weight to take the picture from Doyle; two months time is what I have read for the replacement. Larry Ashmore, orchestrator. INFO. [John Williams - CD.]
- THEORY OF FLIGHT -- Stephen Warbeck. Second composer on the project, Warbeck was replacing a score by another composer (possibly Christopher Gunning). INFO. [Rolfe Kent.]
- WELCOME TO WOOP WOOP -- Stewart Copeland. Told that his score was still in when the film was shown at Cannes. Further search shows that he and his roadie, Jeff Seitz, are given "Special thanks" in the credits. [Guy Gross.]
- WHAT DREAMS MAY COME -- Ennio Morricone. A boot with 11 tracks of his score and not so great sound is around. Kamen had 6 days to compose the score. Following the link HERE, you can watch the film with all of the rejected score from the bootleg, restored; judge for yourself it the rejection was a wise decision. [Michael Kamen, Mark Snow (additional), Robert Elhai (additional), Alfred Shnitke (additional).]
- WING COMMANDER -- Robert O. Ragland. [Kevin Kiner & David Arnold, Dana Glover (additional). - CD.]
1999
- THE ADVENTURES OF ELMO IN GROUCHAND -- Graeme Revell. Possibly credited with additional score still, Revell worked on it until at least February of 1999, then the film got pushed back and Debney came onboard. Now, if you ask me, it seems more likely Revell also replaced a score; who picks a known horror film composer for Elmo? [John Debney.]
- ANYWHERE BUT HERE -- Again, Elfman had large portions rejected and not used. Elfman wanted to take his name off the movie, but didn't. Got me as to why. Just a 7min suite on CD, nothing else. [Danny Elfman.]
- B. MONKEY -- Luis Enriquez Bacalov. INFO. [Jennie Muskett - There is a "General Sampler" promo that may contain some of her score.]
- BLUE STREAK -- Randy Edelman. INFO. [Edward Shearmur.]
- BROKEDOWN PALACE -- Hummie Mann. Despite the little mention on imdb.com: "additional music: fight scene", the fact is that he was originally scoring it by himself -- not as an "additional" composer; FSM reports this as well. And if that isn't enough, you can go his official site and hear 12:44 of it (in suite form), titled "Director's Cut"-- I take that to mean that the director didn't reject the score, but rather the studio. Gee, this is the softest fight music ever! Was it in slow motion while they threw cotton balls at each other, and wore pink? No. It was rejected. But obviously we can take it to mean that one cue was retained (but the film has been removed from his site...). [David Newman, Hummie Mann (leftover cue).]
- CRUEL INTENSIONS -- John Ottman. A CD release featuring 10 of Ottman's tracks and cues from other scores he has done, was released. Released by Varese with other music he has done and there was also a 2CD promo entitled "Miscellaneous Projects"which contained his un-used music for the film, amongst other things, to quote "Majestyx". There is also a CD titled, "Cruel Intentions: The Scores Of John Ottman". Ottman was reportedly quite upset over his replacement. [Edward Sheamur - bootleg.]
- EATERS OF THE DEAD (THE 13TH WARRIOR) -- Graeme Revell. Several different boots are available. The original cut of the film if rumored to have been 3 to 4 hours long, but I am told it was actually 127 minutes. Poor Revell if he wrote that much. What's worse, the replacement director Michael Crichton took over, he didn't even bother listening to Revell's score -- he just tossed it and went with Jerry. INFO+v. [Jerry Goldsmith, R.I.P. - Several boots available +]
- +EYES WIDE SHUT -- Vivian Kubrick. Kubrick's daughter did a few cues, but Stanley found them inappropriate. [Jocelyn Pook.]
- IN THE WILD: "LEMURS WITH JOHN CLEESE" -- Martin Kiszko. Story HERE. [Debbie Wiseman.]
- THE INSIDER -- Craig Armstrong. Geoff Foster, chief sound engineer. First composer when the film was called "Tobacco Project" (typing that name, by the way, on imdb.com takes you straight to "The Insider"). [Graeme Revell.]
- THE INSIDER -- Graeme Revell. Some of his score retained and he received and "additional music" credit, I've read. imdb.com also shows this. The official CD features three of Revell's cues. Revell was the original composer, his name was replaced on the posters with Gerrard's name, despite Revell claiming in an interview that he did additional score. INFO. [Lisa Gerrard, David Darling, Patrick Cassidy & Peter Bourke.]
- INSPECTOR GADGET -- Marc Shaiman. INFO. [John Debney.]
- LIFE -- William Ross. Ross himself did some updating on his IMDB page, which included mentioning two rejected scores (see a few entries below). Having seen the film myself, there is barely any score at all to speak of; couldn't be more than three or four minutes, so I would guess the replacement composer's score was canned as well. INFO. [Wyclef Jean.]
- LOVE SONGS (TV) -- Ronnie Laws. According to composer Pete Anthony in an interview with soundtrack.net, I believe, he replaced a composer on this and another project (Run For The Dream 1996). Ronnie Laws is credited for both movies and only those movies, on imdb.com. [Pete Anthony.]
- MY LIFE SO FAR -- Colin Matthews. Blake tells on his site that one of the film's producers called him up and asked him to view the film; he did and notes that Colin Matthews did the score and used Beethoven; Blake felt this didn't work for the film, talked to them, and was hired to rescore. [Howard Blake.]
- MICKEY BLUE EYES -- Edward Bilous. Still seen on screen playing music. Go to his official site to hear two cues. [Wolfgang Hammerschmid.]
- MICKEY BLUE EYES -- Wolfgang Hammerschmid. Hammerschimid did his score at least half a year before Basil's, but the decision was made to replace most of his score; a few small pieces are retained, though. [Basil Poledouris, R.I.P., Wolfgang Hammerschmid (leftovers).]
- PLANESCAPE: TORMET -- Brian Williams ("Lustmord"). "I was working on a Lustmord album when approached by Interplay to compose music for their gamer "Planescape: Torment". Quite a few elements from that album ended up being used on Planescape (they liked it and wanted to use it). Later, after a new producer decided to change musical direction and didn't use the work that I'd done, some of that music ended up being reworked back into Lustmord again and about 10 minutes of it is in "Metavoid".". Reportedly only one week for the replacement score. [Mark Morgan.]
- PLAY IT TO THE BONE -- William Ross. [Alex Wurman.]
- THE OMEGA CODE -- ?????. Stating in an old interview he replaced a score by a previous composer, two weeks were all he had to score the film. [Henry Manfredini.]
- +THE SIXTH SENSE -- ?????. J.N.H. has said in two interviews he replaced a composer who wasn't working out. I was told it was Marco Beltrami who was first, but upon Beltrami being interviewed and asked about it, Beltrami said he did not. My assumptions are the composer Shyamalan used to use. [James Newton Howard - CD + Complete score boot.]
- STRAIGHT SHOOTER -- Peter Spilles. The German band member of the group Project Pitchfork. Recorded in October 1998. [Ulrich Reuter.]
- VIRUS -- Joel McNeely. Part of McNeely's music for VIRUS was rejected and was ask to write much more aggressive and loud music. Says McNeely, "I spent a great deal of time designing creepy synth samples with Judd Miller, a genius sound designer. We had whispers and creaks and groans that were truly creepy. Sadly, much of these tracks were rejected. I also had a choir, which I used in avant-garde fashion, but these tracks as well were mostly not used.". [Joel McNeely - boot.]
- WRONGFULLY ACCUSED -- David Bergeaud. Still has some score left in the film. [Bill Conti, David Bergeaud (leftovers) - boot.]
2000
- ALL THE PRETTY HORSES -- Daniel Lanois. 6:14 of Lanois' music is included on the soundtrack CD. Now, which cues are they? Here is a good little something from franz_conrad, scorereviews.com member:
"Noticed on your listing of All the Pretty Horses that you wonder which cues from Lanois survived in the final film. On the score CD, track 14 (Porque) and 15 (Waltz for Hope) are Lanois'. The former was a source cue being played by a Mexican band in one scene. The latter was used at least once in the film during the montage leading up to Matt Damon and Henry Thomas' arrest. It may have also been used a second time, but I'm not sure.
I suspect, though I have no proof, that Lanois wrote the moody 6 minute opening piece which uses themes from what was apparently a replacement score written by Stuart, Wilkison and Paxton. It seems very much in his style. This cue did not appear on the CD."
INFO. [Marty Stuart, Kirstin Wilkinson, Larry Paxton.]
- BUTTERFILES/ BUTTERFLY TONGUES -- Angel Illarramendi. AKA: Una Historia Reciente JMB Ediciones JMB SP 502 - 12 tracks - 36:51. [Alejandro Amenabar.]
- CHINESE COFFEE -- Howard Shore. FSM had mentioned it a couple of times or so, but I guess I never really paid attention. Kong can now have some coffee and chill. INFO. [Elmer Bernstein.]
- CIVILITY -- David Williams. The score was completed, mixed into the film, and a premiere was done, so Williams moved on. Afterward, though, the creators of the film brought in some new producers to help "sell" the film, and one of their suggestions was that "hip-hop" type music would help "sell" the film (clearly a dumb idea, but heck -- it's Hollywood). Wiliams' score sounds a little bit Thomas Newman-ish. [Brad Segal, Nic. tenBroek.]
- +KINGDOM OF THE SUN (AKA: THE EMPORER'S NEW GROOVE) -- Marc Shaiman. As you know, this used to be on the "Supposedly Rejected" list, until Shaiman decided to admit to it -- not to me, but rather some other place -- HERE. Shaiman was also quoted as saying, somewhere else (forget where): "I was done with 2/5 of the score when the filmmakers decided to move in a different direction ... away from me!". INFO. [John Debney, David Hartley(?).]
- IF THESE WALLS COULD TALK 2 (TV movie) -- ?????. [Basil Poledouris.]
- IN A HEARTBEAT: PILOT EPISODE -- Jon Stancer. Unsure of which pilot, and whether Stancer stayed onboard for the few episodes made. [Eckart Seeber.]
- IN A HEARTBEAT: PILOT EPISODE -- Eckart Seeber. All this time I had been under the impression, since there was no info to the contrary at the time years ago, that Seeber's had done the replacement pilot score; compounding this was that there are a couple samples still on his out0of-date site, but someone loaded the pilot to YouTube, and the composer credited... [Fred Mollin.]
- MISSION TO MARS -- Ryuichi Sakamoto. Morricone was called in after the previous score wasn't working out. Sakamoto had scored "Snake Eyes" and was asked to score "Mission: Impossible 1" (after Silvestri; see Supposedly), but not since for the director. INFO (pending). [Ennio Morricone.]
- ORDINARY DECENT CRIMINAL -- David Holmes. [Damon Albarn.]
- POLLOCK -- Donald Rubinstein. The promotional CD which had been for sale at his site is taken down, but Perseverance Records is now selling an official CD. INFO. [?????.]
- POLLOCK -- ?????. In an interview Beal, the replacement composer, said there were two scores before him. I don't know if Rubinstein was first or second, I'm just going on guesses; perhaps Tom Waits was the other guy. [Jeff Beal.]
- SUPERNOVA -- Burkhard Von Dallwitz. A CD-R Demo promo with 9 tracks and a total time of 17:28 exists. Supposedly some of the deleted scenes on DVD feature Burkhard's score. Danna was also attached, and Don Davis had a CD-R sent out; no word on whether they did anything. On Jnauary 4, 2010, Intrada released both scores. [David Williams - A promotional CD of his score is available. Burkhard Dallwitz (additional).]
2001
- 51ST STATE -- John Murphy. Ultimately the director and the the producers couldn't see eye to eye on the music and waited until after Murphy completed his score to replace it. A demo CD-R sent around about the time of the film, contains a few tracks from Murphy's score. INFO. [Casper Kedros; Darius Kedros, Headrillaz (additional score?).]
- BEHIND ENEMY LINES -- Paul Haslinger. INFO. [Don Davis.]
- CROSSFIRE TRAIL -- David Shire. Okay, story starts like this: Ford A. Thaxton said in a post that Colvin was called in five days till, when the score was dumped at the dubstage. I contacted Mr. Colvin to see if he knew anything and he said he had more than three weeks actually. So I did a Google.com search to see what I could find and it turns out Brigham Young University attended/recorded(?) an unknown amount of Shire's score. They list it as: Crossfire Trail, David Shire, composer, LA East, SLC, UT, January 2000. Said the irector, "an outdated approach, and dramatically over the top"; in other words, it was fantastic and the director didn't know squat. [Eric Colvin - CD.]
- +DOMESTIC DISTURBANCE -- Jerry Goldsmith, R.I.P.. Ultimately the score -- which is can be described as a cross between "U.S. Marshals" and Rambo percussion, with strings for tender moments -- was lost after a producer on the film was far too star-struck when John Travolta said, "what this picture needs is minimum score"; this, of course, is not what Jerry does (and it's also none of Travolta's damn business what the film's scoring needs are). Most of the score was recorded. The director had worked with Jerry twice before, and replaced a score another time by someone else. INFO (pending). [Mark Mancina, Marc & Steffan Fantini (additional), Dave Metzger (additional).]
- GLAM -- Andi Toma & Jan St. Werner (as Mouse On Mars). Story goes that after six weeks of working on the score, the director thought it wasn't "commercial" enough. Some tracks released on an LP that later made became a CD. [Josh Evans, Geoffrey Moore.]
- THE HAPPY COUPLE -- ?????. The composer was the son of one of the companies working on the film. More info later. [Peter James Armstrong.]
- JAMES DEAN (TV movie) -- Don Was. [John Frizzell.]
- THE MISTS OF AVALON (TV movie) -- ?????. Holdridge -- who was the third composer on the film -- was chosen after the first score was rejected for not being "Celtic" enough, and the second (don't know if a score was done) was also ditched. [Brad Fiedel.]
- +THE MISTS OF AVALON (TV movie) -- Brad Fiedel. [Lee Holdridge.]
- NOVACAINE -- Beck (Hansen). Odelay! His first rejected score. INFO. [Steve Bartek, Danny Elfman (theme).]
- PAVILION OF WOMEN -- ?????. In a 2001 Billboard magazine interview, Pope mentions his score was a replacement score because the director felt the one before Pope was not doing it and wanted the score to be more "western" in feel. Richard Horowitz is the only other composer I have found attached to the film before Pope, but it doesn't necessarily mean he was the composer, as the director had worked a few times with an overseas composer. [Conrap Pope.]
- RAT RACE -- Elmer Bernstein, R.I.P. INFO. [John Powell, James McKee Smith (additional), John Ashton Thomas (additional), Patrick Russ (additional). - CD.]
- ROMANTIC MORITZ (AKA: Chasing Amy) -- Jay Asher. INFO. [Michael Whalen.]
- SCARY MOVIE 2 -- George S. Clinton. A private edition with his score is around and a suite is available. Clinton recorded a little over 70 minutes of score. Even composers who were brought in had cues rejected. If someone were able to compile a CD of all those composers cues, it would be amazing. Two tracks by Manthei are available for download at his site: kmmproductions.com and two tracks from Torjussen are on a promotional CD of his. Jeff78 (Handle name) says that Beltrami was unhappy with the rush job and hence the quality of the cues he wrote and does not want to give them out. Two cues by Kevin Kliesch are on a promo CD. They are: "Catfight" and "Death of Hanson". INFO. [John Debney, Marco Beltrami, Kevin Manthei, Danny Lux (Interview), Michael McCuistion, Ceiri Torjussen, Buck Sanders, Benoit Grey, Christopher Guardino, Tom Hiel, Kevin Kliesch, James L. Venable, and Rossano Galante, Carlos Rodriguez. WHEW!!!]
- +SLEEPLESS -- Goran Bregovic. A description of his score from a website says:
"Bregovic's music is mostly a mixture of ethno and modern sounds. Sometimes he repeats himself and could be a bit dull but most of the time his music is exciting and fresh. One thing is certain, Bregovic's music is nothing like that of "Goblin". His music (at least so far) is much more serene and outgoing but he can get a little bit sinister when necessary!". [Goblin.]
- +TEXAS RANGERS -- Marco Beltrami. On a promotional CD with his score to The First 20 Million Is Always the Hardest. They are done in his studio, but a few cues were recorded with a big orchestra and are on one of his Film Music promo CDs. Music clip. [Trevor Rabin, Don Harper (additional). - boot.]
- TOMB RAIDER -- Greg Hale Jones. According to the composer's website, in November 2000 he started working on the score (with Peter Afterman). Originally he was doing source music and a little scoring, with Danny Elfman providing the opening cue, but Elfman's cue was shelved and Jones ended up doing 45 minutes of score. Jones states that the studio replaced the director and editor, and there went his score, in March 2001. [Michael Kamen, R.I.P..]
- TOMB RAIDER -- Michael Kamen, R.I.P.. Oh yes he did! Hope to have some facts up in the foreseeable future - 4-28-05. According the video game composer, Nathan McCree, he was invited tp "pitch" for the score, which he said he did (I assume that means demos). [Graeme Revell, Ray Colcord (additional). - CD.]
- TOWN & COUNTRY -- John Altman. As pointed out (not by name) by Kent in an interview. [Rolfe Kent.]
- WHAT'S THE WORST THAT COULD HAPPEN? -- Marc Shaiman. No kind of CD for either composer. Additional orchestrations by Larry Blank. Go to Shaiman's official site, and hear three cues from his rejected score. John Rodd, orchestral scoring recordist for Shaiman's score. INFO. [Tyler Bates; Marc Shaiman (leftovers).]
- ZOOLANDER -- B.T. Click HERE. INFO. [David Arnold, Randy Kerber (additional). - score promo; B.T. (leftovers).]
2002
- 2 BIRDS WITH 1 STONE -- Ken Lampl. [Bill Conti & Ashley Irwin; Pierre André (additional, apart from them), Michael Woolmans (additional, apart from them).]
- CHANGING LANES -- Dave Grusin. The cursed test audience strikes again. INFO (empty at the moment...). [David Arnold, Nicholas Dodd (additional).]
- CONFESSIONS OF A DANGEROUS MIND -- David Holmes. INFO. [Alex Wurman, Peter Thomas (additional).]
- DIRTY PRETTY THINGS -- Anne Dudley. Steve Price, main sound engineer on her score; likely recorded in London. Christian Henson, additional score. Movie might possibly still contain some of Dudley's score. [Nathan Larson - Some score on this CD.]
- D-TOX (AKA: EYE SEE YOU) -- John Powell. A lot of what he originally wrote was rejected and he came up with an almost entirely new score. A promotional CD with that original score is around and a 2CD sessions as well. With help, of course. Basil Poledouris, R.I.P. was attached to the film at one point a CD of "demos" surfaced; it's nothing but selected cues from previously scored movies. The basilpoledouris.com link doesn't work anymore and directs to a link that gives you a bunch of pop ups and tries to change you homepage settings -- don't go there. [John Powell, William Ross (additional/possibly leftovers), James McKee Smith (additional), Geoff Zanelli (additional).]
- DYSPHORIA: AN AMERICAN TRAGEDY -- Oliver Tuthill, Jr.. Tuthill -- the director of the still unreleased documentary film -- has composed the score to, it seems, all his films (in spite of stating he was in talks with Richard Band to do his latest, but Tuthill did anyway). Tuthill used musicians from a school band to perform on the score. The parent of one of the players got a little too proud of her child's accomplishment and caused some termoil, which pilled on top of non of the musicians being signed; the studio insisted on a new score. [David Jaedyn Conley.]
- THE GATHERING STORM (TV movie) -- Trevor Jones. [Howard Goodall.]
- HELLRAISER: HELLSEEKER (6th film) -- Raz Mesinai. Read that he did, so I contacted him from his site, and he said he did. Also read that about five minutes of his score was left in the movie. This CD features re-workings of his score. Some details HERE. [Stephen Edwards.]
- JOYRIDERS -- ?????. Lindes states in an interview he was originally hired to replace five cues of previous composer's score that wasn't working out, but then they asked him to replace all of it, and rushed to score his first film in ten days. IMDB also lists a composer named Tony Britten -- perhaps he was the original composer. [Hal Lindes.]
- MONK: "Pilot" (2 hour. TV SERIES) -- ?????. Beal states HERE he replaced someone else's score. I e-mailed Beal via his website and asked if he knew who. He would not say. I respect his opinion, really, but I don't agree with it :-). Anyway, he told me about something he said he had posted on a few other boards about being fired from Monk and Patrick Williams being brought on board for the beginning of season 2. Then Beal won an award and the producers wanted him back and they let go of Williams, instead using previous cues by Beal. Maybe Williams was the one who did the Pilot, also. Just guessing. A little known television composer by the name of Frankie Blue has a promotional CD with a "rejected" theme to "Monk" on it, leading me to believe he did the original score. [Jeff Beal.]
- ONCE UPON A TIME IN THE MIDLANDS -- Ted Barnes & Ali Friend. Barnes is noted for his work for Beth Orton. The CD release "Underbelly" contains cues from his score, some re-worked and such. [John Lunn.]
- PHONE BOOTH -- Nathan Larson. Still listed as "additional" score on imdb.com (and maybe the end credits?), but his original score was rejected; as Larson states on his site, he worked on it for a year, but the studio didn't like how it worked in the film, and dumped most of his score -- he watched it, found little left, and took it off his credits on his site (at least, said he was, but it was there last time I checked). One cue on this CD. INFO. [Harry Gregson-Williams, Toby Chu (additional), and who knows who else...]
- +ONE HOUR PHOTO -- Trent Reznor. Yeah, the "Nine Inch Nails" song-band guy. Apparently he's classically trained. The NIN CD, "Still", has two tracks which may original cues from the score: "Gone, Still" and "The Persistance of Loss" (both tracks you can hear a sample of, also there are two other instrumental tracks but no indication where they are from...). [Johnny Klimek & Reinhold Heil - CD.]
- THE SHAPE OF EVIL -- Aaron Marks. Still credited on IMDB as "additional music", on Marks' site he says he did an 85 minute score that was replaced due to "unforeseen circumstances" before the premiere of the film. The film's director -- who did pretty much of everything on that film, ended up scoring it, making it his second known score. [Marc Anthony Massimei; Aaron Marks (leftovers?).]
- SUEURS -- Sarry Long. A promo CD is available, but hard to find. [Pascal Lafa.]
- THE NEW GUY -- Nick Glennie-Smith. INFO. [Ralph Sall.]
- *THE HOURS -- Stephen Warbeck. INFO. [Michael Nyman.]
- *THE HOURS -- Michael Nyman. Nyman's demo score was recorded with 11 musicians and then rejected, thus never making it to a full orchestra; I included it here because it was not a computer moch up. INFO. [Philip Glass - Interview by Daniel Robert Epstein also on INFO page - CD.]
- ROLLERBALL -- B.T.. Was in the movie, but that may have been cut after rejection. [Eric Serra.]
- THE TUXEDO -- Christophe Beck. CD features some cues from both composers that go to the same scenes. In the end, some of Beck's score was kept in the movie. [John Debney, Christophe Beck (leftovers), Douglas Romayne Stevens (additional for Beck).]
- TILL HUMAN VOICES WAKE US -- Dale Cornelius. Cornelius' score was released on CD (Go to: On CD page), while Plessner's score was not. Plessner has a website in the works; may be a while. [Amotz Plessner.]
- HIGHLANDER: ENDGAME -- Nick Glennie-Smith. Isolated on DVD. Here are some words from Graziano. [Stephen Graziano & Nick Glennie-Smith (leftovers), Todd Wollon (additional), Rob Cairns (additional), Chris Neel (additional). - CD.]
2003
- AND STARRING PANCHO VILLA AS HIMSELF (TV) -- Stephen Endelman. INFO. [Jospeh Vitarelli.]
- +BAD BOYS 2 -- Mark Mancina. Even though Mancina and Rabin are friends, they were not working on the score together, but rather Rabin was called in to replace him; at first some score was to be left in, but all was dumped and Rabin took over. Supposedly "creative differences". Now, it's hard to tell who did additional score for whom, so help me out ... INFO. [Trevor Rabin; Trevor Morris, Steve Jablonsky, Toby Chu, Paul Linford, Mel Wesson, Clay Duncan (all additional); Mike Elizondo (additional for Dr. Dre), Dr. Dre (additional???) - promo CD.]
- DICKIE ROBERTS: FORMER CHILD STAR -- Waddy Wachtel. Read more HERE, from Bluntinstrument's Final Cue sheet/DVD analysis. [Christophe Beck.]
- FISH WITHOUT A BICYCLE -- Didier Rachou. Originally the other way around, I received an e-mail from the composer informing me of my error. [Kevin Blumenfeld.]
- FREAK OUT -- Aaryk Noctivagus. I e-mailed Mr. Noctivagus and he was more than helpful and even pointed out another rejected score and gave me tracklists and explanations for both! So, HERE. On his official MySpace page, you can listen to the whole "Main Title" piece. [Stuart Fox.]
- FREELANCER (Video Game score; iffy entry) -- ?????. Cato was asked at the last minute by the game's director to do additional score to replace that of the other composer (how much is unknown). musicbycato.com [Cato -- First name, or last name? A promo may feature some of it.]
- GIGLI -- Carter Burwell. You all let me know if I'm wrong, you hear? [John Powell, random others (additional).]
- I.D. (AKA: Identity) -- Angelo Badalamenti. With help from composer Phil Marshall. [Alan Silvestri.]
- THE WEDDING PARTY (AKA: THE IN-LAWS) -- Lalo Schifrin. At some point Danny Elfman was also attached, and another review of the film, from Variety as I recall, after Schifrin's rejection, had Vivian Kubrick listed as the new composer. [Some score from Francis Lai's "Un homme et une femme", pre-existing cues by Klaus Badelt and John Powell and possibly original score from James S. Levine.]
- MOST -- ?????. At the "Most" website, it's makes a short statement about Debney providing a new score. Didn't say who, even when I e-mailed them. [John Debney.]
- SHATTERED GLASS -- Johnny Klimek & Reinhold Heil. In an interview, Danna mentions replacing another score and a Google.com search only yields the composer duo as previously working on the film. [Mychael Danna.]
- SHOOTOUT -- Scott Benzie. INFO. [Graham Slack.]
- SOMETHING'S GOTTA GIVE -- Alan Silvestri. ESB, alan-silvestri.com runner, says he recorded a full score... INFO. [Hans Zimmer, Christopher Young (additional; click for explanation), Heitor Pereira (additional), Blake Neely (additional), Trevor Morris (additional), James S. Levine (additional), James Michael Dooley (additional), Ramin Djawadi (additional), Rolfe Kent (additional) - boot.]
- SHADE -- Christopher Young. Story and CD can be found HERE NOTE: The CD is now SOLD OUT, good luck with eBay! INFO. [James Johnzen.]
- TOMB RAIDER 2: CRADLE OF LIFE -- Craig Armstrong. Armstrong's score was rejected after it was recorded, according to Dan Goldwasser. But what isn't known is how much he recorded. At least one cue was retained in the movie and is often referred to as the "Lab Scene cue". INFO. [Alan Silvestri - CD.]
- MOLLY GUNN (AKA: UPTOWN GIRLS) -- Lesley Barber. The producer and director didn't agree on the score and eventually Barber had to leave. [Joel McNeely.]
- THE UTOPIAN SOCIETY -- Erik Godal. Shown at festival with score in tact, Warner Bros. decided to have it rescored (one can only assume who the guilty party is here...). [Eric Hester.]
- WE DON'T LIVE HERE ANYMORE -- Thomas Newman. INFO (pending). [Lesley Barber.]
- WE DON'T LIVE HERE ANYMORE -- Lesley Barber. In an FSM article, this was written:
"Normally, it's high profile, high pressure studio films which get rescored (and also Miramax/Dimension movies), but sometimes it happens to arthouse films. When Variety reviewed the infidelity drama WE DON'T LIVE HERE ANYMORE (starring Naomi Watts, Laura Dern, Mark Ruffalo and Peter Krause) early this year, critic Todd McCarthy mentioned composer Lesley Barber, "whose supple score is only marred by some obtrusive chanting in spots.". So imagine my surprise when I saw an advance screening of the film last weekend and the end title crawl included the credit "Music by Michael Convertino.". At any rate, it's nice having Mr. Convertino back scoring a film someone might actually have the chance to see.". [Michael Convertino, Lesley Barber (leftovers).]
2004
- THE BIG BOUNCE -- Jimmy Rip. Did a short score which was replaced. INFO. [George S. Clinton.]
- +BLADE 3: TRINITY -- Terence Blanchard. Vague rumors as to whether he did, but then I was informed via e-mail that two clips were up at a site of Terence's score and were at another site apparently as well. Also, in an interview, RZA stated he was "collaborating" on the score with Blanchard, but after Blanchard was gone, he started working with Djawadi. [Ramin Djawadi, RZA, Trevor Morris (additional).]
- CATCHING KRINGLE -- Shawn K. Clement (Sean Murray too?). Technically I wouldn't count a short film like this (15 minutes), but it was so good and Martinez's score was strong and realy fun; she will be missed. A short promotional .CD-R I got has some cues from his rejected score. [Linda Martinez, R.I.P..]
- ELLA ENCHANTED -- Shaun Davey. Was the original composer, then almost all his score was dumped; almost all. Was credited on the posters real close to the film's opening. INFO. [Nick Glennie-Smith, James Seymour Brett (additional), Shaun Davey (leftoevers).]
- EULOGY -- Richard Marvin (Q&A). In a Film Score Friday on 10/22/04 titled: DID THEY MENTION THE REJECTED SCORE BEFORE IT WAS REJECTED?, a quote from Variety writer Todd McCarthy on Marvin's score before it was rejected: "Capping everything off is an insufferably corny score.". It couldn't have been that bad. The Swedish DVD still has Marvin's name credited; whether that is a mistake, or Marvin's score is still there, I do not know (can someone check?). INFO. [George S. Clinton.]
- FEAR OF CLOWNS -- Evan Evans. Story HERE. Matt Gates, additional score. [Chad Seiter and a number of unidentified others.]
- FIVE CHILDREN AND IT -- ?????. Cornish mentioned in an itnerview replacing a score, but didn't say by who. [Jane Antonia Cornish.]
- HAIR SHOW (AKA: Beauty Shop) -- Kurt Farquhar. INFO (pending). [Kennard Ramsey.]
- I LOVE HUCKABEES (AKA: I Heart Huckabees) -- Stephen Endelman. The director, who you can see cursing and yelling and throwing things around on the set of the film in clips on YouTube, was unusually quite during the scoring and after the score was completed, decided he didn't think it was working. INFO (more later). [Jon Brion.]
- THE IDIOCY VICE -- Aaryk Noctivagus. Mr. Noctivagus was happy to share info and details. HERE Neither the movie, nor the movie's director have listings on imdb.com. See second rejection in "DEMOS" section. [Edward Lewis.]
- LESS LIKE ME -- ?????. From the trivia page of imdb.com:
"The original version of the score was composed during production of the film and didn't mesh with the final cut. It was thrown out and composer Garett Grow was given three weeks to write a new score." [Garett Grow.]
- LIMBO -- ?????. In an interview with the film's director, Thomas Ikimi, Ikimi stated the film already had a score by another composer, but it didn't work out, and that -- coincidently -- the previous composer was in fact the one who introduced him to the replacement composer. [Andrew David Daniels.]
- +MINDHUNTERS -- David Julyan. Someone posted info about this in my now dead Guestbook. The person brought up how a newspaper or magazine talked about how Julyan was fired during the first day of recording, at the sessions. Nasty. [Tuomas Kantelinen.]
- *THE PASSION OF THE CHRIST -- Lisa Gerrard & Patrick Cassidy. Yep, no doubt you've read posts by people asking about this. By accident (while googling), I stumbled upon a post in the lisagerrard.com forum (which I hadn't been to in a while), where a "in the know", if you know what I mean, member stated that Gerrard and Cassidy had indeed done a score, but time ran out for the changes Mel wanted, and for whatever reason, das boot! Insert laugh here. Anyway, I can't imagine why Mel would do it, if time was short, then why go for a whole new score, by a whole new composer? Anyway, I'm sure this must have been a beautiful score. One can only hope sound clips will be posted one day. Score rejected about January 28, 2004. INFO (both composers). [Jack Lenz.]
- *THE PASSION OF THE CHRIST -- Jack Lenz. Was researching ethnic instruments and source music for a year, while also scoring the film, but ultimately his score was replaced (this was after Rachel Portman's unknown involvement). About 36mins of score were available for download at his old website, and the Debney CD release has him credited as "additional", but I don't know if that's because they edited in some of his score or rather the researched instrument sounds he did are included. Unknown whether any of his score is retained in the film. [John Debney, Martin Tillman (additional), Gingger Shankar (additional), L. Shankar (additional) - CD. Jack Lenz (leftovers?).]
- SECRET WINDOW -- Philip Glass. Roughly ten minutes of his score is still in the movie. Glass's Main Title, a few cues in the beginning of the movie and some in the End Credits. A 22min promo for Zanelli. And another longer version with some of Glass's score. No official score release. Though so much replaced, Glass still maintains sole composer credit at the beginning, and Zanelli in the end credits as "Additional music by". Also, only Zanelli's orchestrator (Bruce Fowler) is credited. [Geoff Zanelli, Alan Elliott (additional), Phillip Glass (leftovers).]
- +TEAM AMERICA: WORLD POLICE -- Marc Shaiman. (Interview). As reported by Dan of soundtrack.net, only two songs done by Shaiman appear in the film and no score it seems. Shaiman's BLOG from the site is gone, but click on BLOG and see what he wrote. Shaiman reportedly wrote, and also said in his BLOG, a really dramatic score unlike anything he had previously done. There seems to be two different track lists for the score CD, which is supposedly all Shaiman. Here. Soundtrack.net visits a Shaiman session. INFO. [Harry Gregson-Williams, Steve Jablonsky (additional), Daimen Kaiser (additional), Stephen Barton (additional), Toby Chu (additional), James McKee Smith (additional). - CD.]
- +TROY -- Gabriel Yared. (Interview with Yared) Yared spent a year putting his heart into the score only to have a "Test Audience" decide it's fate. You used to be able to hear clips on Yared's site, but as of 6-9-04: Clips gone via order of WB. Here is a petition to get it released. A 77 minute promotional CD exists -- a non-mp3 version I might add. Yared's STORY [James Horner, 3CD set???, CD.]
- +WIMBLEDON -- Klaus Badelt. INFO. [Edward Shearmur.]
2005
- AEON FLUX -- Johnny Klimek & Reinhold Heil. I don't know much, other than what I have read. Apparently the makers were happy. I can only conclude that the studio or a Test Audience did the score in. Revell's score, as I read, has a small string section, so that must mean he's ventured into scary synth territory again. :-( [Graeme Revell, David Russo (additional) - CD; expanded boot.]
- AFTER INNOCENCE -- ?????. The director, whom in at least two interviews had no kind words for the rejected score, said in one:
"I had a composer before Charles whom I fired because he kept making it sound like prison clanking sounds."
Bernstein had three weeks to provide his score, with a limited budget. [Charles Bernstein.]
- AN UNFINISHED LIFE -- Christopher Young. Young had been working on the project for about over a year-and-a-half (from what I know), and demoed (I believe) the whole thing. As reported by MusicFromTheMovies.com, the rejection came late in the game. As reported by the unofficial Christopher Young website (which seems to have good contact with Young), some of Young's score will still be in the movie -- but not on the Lurie CD release. Thanks to the owner of that site, Dom, we have confirmation that Young's score was recorded in 2004. On June 26, 2006, Varese Sarabande release Young's score; if you blinked, you missed it -- it sold out that quickely. INFO. [Deborah Lurie - CD -- Rejected (SOLD OUT).]
- ANTHONY ZIMMER -- Bruno Coulais. In a 2006 interview, Coulais states he did a score for the film with a jazz trio and considered it some of best work, but it was not used. [Frederic Talgorn.]
- ASYLUM -- Craig Armstrong. Supposedly still in tact for early screenings overseas. INFO. [Mark Mancina, Marc & Steffan Fantini (additional for Mancina).]
- THE BROTHERS GRIMM -- Goran Bregovic. Seems the director, Terry Gilliam, says he did HERE (audio link). [Dario Marianelli.]
- DERAILED -- RZA. Yes, "rizzuh" scored it, and I think I read somewhere that he said he was doing songs as well, but a quick check of imdb.com shows that not only is he not credited with "additional score", but no songs are listed. However, his scenes in the film acting are still there. This was a late replacement score. INFO. [Edward Sheamur.]
- DREAMER -- Jan P. Kaczmarek. Apparently, as MFTM runner Mikel's source reports, they wanted a more typical "commercial" sound. Undoubtedly we got another "Troy" situation here. I contacted his official site, but never received a response. Dylan Maulucci, orchestrator -- who says he listens to it "all the time". INFO. [John Debney - CD + Promo (shorter).]
- FEAST OF THE GOAT -- Stephen Warbeck. INFO. [Jose Antonio Molina.]
- GLORY DAYS (AKA: THE LIFE OF THE PARTY) -- George S. Clinton. Clinton mentions on an old news update on his website that the score was completed. [Mark Adler.]
- HITCH -- George Fenton. The film originally had a score by Fenton, but it was temp tracked with a bunch of songs and when a test audience was shown it, it tested high, so painfully the director cut out Fenton's score. The DVD was supposed to have Fenton's rejected score restored, but the release made available early in some places, as told by member of the FSM score board, tell it to only have the first 15 minutes back in -- in the special feature -- and still with SFX. No CD release is known to be coming. INFO. [Crappy songs.]
- I OVERSEE THE MAINTENANCE OF A TOOLSHED -- Jesse Hopkins. HERE. Some information on what happened, HERE. [Vincent Pedulla.]
- +KING KONG -- Howard Shore. No, you didn't read incorrectly. And yes, he recorded the score, about 3/4 of it, with the New Zealand Symphony Orchestra. The CD of Shore's score that was for pre-order, has magically changed to reflect James Newton Howard's name, so you're not getting Shore's score -- what you paid for. J.N.H.'s score is almost done recording in LA. The kingkong.net originally, before Shore's rejection, had a video on how his score was going, and a small snip of the score. Now that is gone, and there is a video of J.N.H. and a small bit of his score and the rush to make it -- with no mention of Shore. There is all kinds of news on Shore's score, but I don't feel like compiling it. INFO. [James Newton Howard, Chris P. Bacon (additional), David Long (additional ambient music), Mel Wesson (additional), Blake Neely (additional) - CD.]
- MRS. HARRIS -- John Frizzell. Score completed in London. Temp track consisted of the songs: "True Love Waits", by Christopher O Riley; Radioheads piano covers and their song "No Surprises", to which Frizzell reported mimicked the instrumental parts of for his score. INFO (more details coming, but stuff now). [Alex Wurman.]
- NIGHT STALKER (Pilot) -- Mark Snow. [Michael Wandmacher.]
- OCTOBER MOON -- Sean Lambrecht (as "Frankel"). There was talk from him a few years ago that he was going to release his rejected score on his own label, titled "The Harbor Rats", but I don't think that ever happened. He plays a lead character in the film, too. [Red Clark, II.]
- OCTOBER MOON -- Red Clark, II. My loose understanding is he didn't work with Lambrecht. During 2007 I had also found, via an internet search, yet another composer claiming the film: Carrol Rayne, but I can't find anything else on this person since. [Jamey Sewell; Red Clark, II (leftovers), Sean Lambrecht (leftovers).]
- THE PINK PANTHER (revisioning, not a prequel or remake). David Newman. Originally, Christophe Beck was onboard, then he was rejected and then in January Newman was rejected and Beck was back onboard. Maybe Newman backed out after it wasn't working and took on Serenity. Just a guess. Newman couldn't have recorded much. [Christophe Beck.]
- RODNEY (TV SERIES) -- Eric Hester. Scored the Pilot episode, but they didn't use it. And they didn't bother telling him either. [Steve Dorff.]
- RUNAWAY -- Drew Stiles. Received an "additional music by" credit. [Jason Morphew.]
- RUNAWAY -- Jason Morphew. Refused to share credit with another composer. While scoring it, he was told another composer, with a first or last name of Anton, was now doing the score (and might have done one) after the director had supposedly quit, but they went back to Mr. Morphew (this was his first film score). Read more of this Tale of Horror. A CD with songs and rejected score can be purchased at Morphew's site, HERE. [Robert Miller and I assume other guys/gals.]
- STEALTH -- Randy Edelman. At one point he was listed as co-composer, then word spread from B.T.'s PR people that B.T. was the only composer on the project. And a member of FSM says he recorded the film in his country, off TV, and that it has them both listed. I think it's likely Edelman was the original composer, not ever a co-composer. That was probably a nice way of covering up his rejection. INFO. [Brian Wayne Transeau (B.T.) / Randy Edelman additional score in other countries(?).]
- THE WEDDING DATE -- Debbie Wiseman. Instead of typing and rewording, here is a quote from moviemusic.com member:
BMikeJ:
"Ok, this is the scuttlebutt I was told about the composer shuffle on this project... Debbie Wiseman did indeed record a score with a large orchestra. Apparently, the producers were not pleased with the final cut of the film and decided to recut the film without the director's participation. This re-editing necessitated having a new score written for the film and that's where Blake Neely came in."
Some of her scored may still be retained. buysoundtrax.com released Neely's score. No word on Wiseman's effort, but apparently she doesn't care if it's released (shame really). INFO. [Blake Neely, Stuart M. Thomas (additional); Debbie Wiseman (leftovers?).]
- ZOEY 101 (TV SERIES) -- Eric Hester. New TV series, just started this January and already rejection has occured. His Pilot score retained, but episodes 2, 3 and 4's scores by Hester, rejected and replaced. [Michael Corcorone (Corcoran?) -- he's ripping off Mr. Hester, I am told.]
2006
- A GOOD YEAR -- Dario Marianelli. Quote the orchestrator on his official site (from an old News blurb, since pushed out; Nick Ingman):
"It was also a great pleasure to work on the new Ridley Scott film, "A Good Year" starring Russell Crowe, with a very touching score by Dario Marianelli". [Marc Streitenfeld.]
- AKEELA AND THE BEE -- Terrance Blanchard. Working on the score, Blanchard found it and his studio destroyed when hurricane Catrina hit; he moved over to Los Angeles, finished the score, and unfortunately had it replaced. INFO. [Aaron Zigman.]
- BONNEVILLE -- Shie Rozow. Critics weren't too fond of the film and the film couldn't (and still can't) find a distributor, and when that happened they decided to do some changes, which including replacing the score. The sound clips on his site (A Love In Pictures, Ashes To Water, Pacific Coast Highway, I Hope You Find Your Father, Farewell to Joe, On The Road, 'L' For Lucsious, and Vibrating Bed) are from the score. A frequent music editor on Elfman projects, I can't help but feel his score was a good choice. INFO. [Jeff Cardoni.]
- THE DARWIN AWARDS -- Graeme Revell. INFO. [David Kitay.]
- DISTORTION -- ?????. In post on the replacement composer group's site (which is now gone with the site re-design), mention was made of replacing a score and a bunch of people having to work to finish up a new one. [Anreas Helmle, Francesco Tortora & Tom Botay.]
- THE EX (AKA: FAST TRACK) -- Nathan Larson. INFO (Q&As). [Edward Shearmur.]
- FREEDOM WRITERS -- RZA. From an online interview, it seemed he was excited to score the film, started back as far as June. [Mark Isham.]
- GHOST FACTORY -- Pauli Houseman. Is being produced by Paul Freeman. The CD "Minor Thrills" contains selections from the score. No listing on imdb.com yet and it appears the film is in "developement hell". [Nathan Lanier (A music editor on Lord of the Rings).]
- *THE GOOD GERMAN -- David Holmes. Holmes initially did a score is Belfast, Ireland, but it was rejected (not a completed score). So then he completed a score in LA; temped with Morricone 70's like scores, Soderberg loved & approved the whole thing, but it was thought it conflicted with the era of the film. I'm told the score is best described as a cross between David Bowie and Philip Glass, and is different from what Holmes has normally done; also fusing electronic and classical. Some of his rejected score is re-used in the short he scored called, "The 18th Electricity Plan", and a 2009 film Holmes was being considered to score ("The Girlfriend Experience"). INFO. [Thomas Newman - CD.]
- THE GUTTER DIARIES -- Jesse Waldman. With only three weeks to write and record his score, Mayrand finished, yet not all his score was used in the end. Four samples of his score are on his site. Waldman does not appear to have a website. [Alain Mayrand; Jesse Waldman (leftovers).]
- HAPPILY N' EVER AFTER -- James L. Venable. INFO. [Paul Buckley; Andy Carroll, Nick Amour, Phil Sawyer & Will Johnstone (all additional).]
- THE LAKE HOUSE -- Paul M. van Brugge. Call me lazy all you want, but this was pointed out to me over at the now defunct scorereviews.com; I didn't find a way to reach him (easily, though the wheel is in motion), so just take their word for it: the movie press junket did not list him at all, so I guess none of his score made it in the final cut. [Rachel Portman.]
- MARIGOLD -- David Newman. Now this one is messy. I originally read that Newman was only the music supervisor and that Shankar Mahadevan, Loy Mendonsa and Ehsaan Noorani were going to score it. Then one of those people said in an interview that they were doing the songs and that Newman was using the themes. [Graeme Revell.]
- +MIAMI VICE -- RZA (Robert Diggs). "Rizzah" as he likes to say it -- among his many names -- did a whole score, even song(s). But that changed and John Murphy (who has most of his score left in), replaced him. About a month before the film opened, imdb.com still had him listed for one song, but now that is gone as well; I assume nothing of his score is left. A couple years after the incident, RZA had this short comment when asked about it: "Yeah that got cancelled". [Klaus Badelt; Mark Batson (additional), Ian Honeyman (additional), John Murphy (survivor), King Britt & Tim Motzer (six additional score cues), Tommy Coster (four cues; unsure if left in) and who knows who else... - CD.]
- NACHO LIBRE -- Beck (singer/songwriter, not Christophe Beck, composer, big fluffy beard composer extraordinaire). Two turn-tables and a second rejected score (insert little David Spade snicker). Yes, the singer/song writer. When asked about whether replacement composer Danny Elfman was still going to have his name removed from the film, Elfman's agent said no (though it's only cues in the end credits list). Also, the agent said there are 2/3 Elfman score in the film, the rest is from Beck's rejected score. Elfman replaced him so late that his name didn't appear on any posters. Elfman came onboard sometime in late April I believe. INFO. [Danny Elfman; Beck (leftovers).]
- +NIGHT AT THE MUSEUM -- John Ottman. Just a difference between the director and Ottman. INFO. [Alan Silvestri (for now).]
- PREY (video game) -- ?????. In an interview the replacement composer mentions having three months to replace a previous score. [Jeremy Soule; Julian Soule, Nick Murray, Cara Wong (additional).]
- +THE QUEEN -- Nathan Larson. INFO (Q&As). [Alexander Desplat.]
- THE REAPING -- Philip Glass & Ravi Shamkar. INFO. No chance of a possible future release, saldy, according to Orange Mountain Music :-( . [John Frizzell (so far).]
- REDLINE -- Wyclef Jean. Scored the movie and also made a cameo in it; probably not left in. [Klaus Badelt and a yet to be named army.]
- STORMBREAKER -- Trevor Jones. INFO. [Alan Parker.]
- THERAPEUTIC TOUCH -- Glen Stark. While none of the score was left in the film, Stark received a credit in thanks, and if you click on his name you'll be taken to a page with two cues. INFO (coming). [Kevin Fox & Jason Greenberg.]
- YOU, ME, AND DUPREE -- Rolfe Kent. Soundtrack.net attended the session. The reason for rejection can be found on Kent's official site. Just incase Soundtrack.net removes the page, I'd made all details available here: INFO. [Theodore Shapiro.]
- THE WOODS -- Jayne Barnes Luckett. Officially released by La La Land Records. [John Frizzell.]
- +ZOOM -- Rupert Gregson-Williams. INFO. [Christophe Beck.]
2007
- AFGHAN KNIGHTS -- Stu Goldberg. None of Goldberg's score remains in the film. [Jon Lee.]
- A L'INTERIEUR -- Raphael Gesqua. Ten cues can be heard on his MySpace (separate) page HERE. [Francois Eudes.]
- ARCTIC TALE -- Alex Wurman. INFO (pending). [Joby Talbot.]
- BALLS OF FURY -- Craig Weirden. This FilmMusicWeekly online magazine review asks him about his score, which he said he did, but the studio didn't like. INFO. [Randy Edelman.]
- BEFORE THE DEVIL KNOWS YOU'RE DEAD -- Richard Rodney Bennett. On Burwell's site he mentions he replaced a score. Didn't say who. [Carter Burwell, possibly others?]
- BORDERLINE -- Dan Redfeld. A press release for a broadway musical -- before the rejection -- mentions he completed scoring the film. [Andrew Kaiser.]
- CHARLIE WILSON'S WAR -- RY Cooder & Jon Hassell. INFO (empty for now). [James Newton Howard and probably others; that means you, Stuart M. Thomas.]
- COUNTING BACKWARDS -- Kieran MacManus (Elvis Costello's brother). Some score may be left in the film. The replacement composer tells in an interview that the previous score was a beautiful piano work, but apparently the film was changing from what it originally was, and he had little time to do a new score. [Marc Jackson; Zoo Street Music (additional).]
- FAR NORTH -- Michael Nyman. Originally brought onboard himself to replace Marianelli, Nyman recorded his score but for what ever reason they switched back to Dario. INFO. [Dario Marianelli.]
- FEAST OF LOVE -- Rachel Portman. [Stephen Trask.]
- FRED CLAUS -- Rolfe Kent. Kent reported on his site that his score was replaced. INFO. [Christophe Beck.]
- GRACE IS GONE -- Max Richter. And so is social graces, as Eastwood saw the movie in January '07, and offered to score the film; obviously he must have not noticed the film was already scored. Way to take someone's chance, Clint -- now he's the man with no name. If you or someone you know has a cut of the movie with Richter's score (I don't care how you got it), could you please write down and e-mail me anything from the end credits pertaining to Richter's score (orchestrator, orchestra, music editor, so forth). [Clint Eastwood.]
- I COULD NEVER BE YOUR WOMAN -- Mike Hedges. His first film score; completed and recorded, according to an old agency blurb. [David Kitay (according to his now under re-design website).]
- JERICHO (Video game) -- Allister Brimble & Anthony Putson. According to the replacement composer in an interview, Clive Barker didn't like the score that was done, leaving not a lot of time to do a new one. [Chris Velasco.]
- THE KILLING OF JOHN LENNON -- Makana. According to a MusicFromtheMovies article, about 90% of his score was replaced and only a little left in. Sadly, this appears to be his first film score. [Martin Kiszko; Lorne Balfe, Rhett Brewer, Tony Clark (additional).]
- KILLSHOT -- Stephen Warbeck. INFO. [Klaus Badelt and an unknown army.]
- MANOLETE -- Matthew Herbert. His new CD, Score, contains two cues from his rejected score. The score uses altered sample of blood, hair, bulls, and what not to make something quite different. INFO. [Gabriel Yared.]
- MY BLUEBERRY NIGHTS -- RY Cooder. The guitar flavored score, which got some positive mentions in early screenings, has -- it seems -- been replaced after a few negative comments. As I recall, Mr. Umebayashi had this listed on his website during the time, but with Cooder having cues on the soundtrack, it would seem his score was kept; if somebody can watch the openign credits and see who is credited, that would help clear this one up. INFO (empty for now, as it appears Cooder's score may have been re-instated). [Shigeru Umebayashi.]
- MR. MAGORIUM'S WONDER EMPORIUM -- Alexandre Desplat. Details to come, but supposedly the score was completed last year. INFO (empty for now). [Patrick Doyle.]
- MR. MAGORIUM'S WONDER EMPORIUM -- Patrick Doyle. Unknown whether Desplat is having to do an entire new score or if some of ths was replaced once Doyle was let go and asked Zigman to help. INFO. [Alexandre Desplat, Aaron Zigman (co-composer).]
- MUST READ AFTER MY DEATH -- Albrecht Kunze. An article on the film's troubled production went on to describe what happened in some detail:
Lipsky hated the sound quality of the film and offered to pay to have the soundtrack cleaned up and remixed. Gigantic also found a new composer to rescore the film. Morgan liked the original score but felt it didn’t fit.
Festival crowds were even less enthusiastic—at a Q&A at IFDA, Morgan had asked who in the audience didn’t like the score, and 90% of the crowd raised their hands.
[Paul Damian Hogan.]
- OCEAN OF PEARLS -- Joseph LoDuca. [Pinar Toprak.]
- +THE OTHER BOLEYN GIRL -- Edward Shearmur. INFO. [Paul Cantelon.]
- 7EVENTY 5IVE -- Wyclef Jean. [Vincent Gillioz.]
- STARDUST -- John Ottman. The story goes like this: Eshkeri was scoring it first, but then Ottman came in an recorded a score in February 2007; none of Ottman's was retained. [Ilan Eshkeri.]
- +STONE'S WAR -- Titas Petrikis. Tuomas Kantelinen was also credited at some sites for this before Titas. Titas didn't get to finish recording his score when production moved away from his country. Rejected on November 25 (what a lousey Thanksgiving Day gift, eh?). INFO. [Joel Goldsmith, R.I.P..]
- WHY DID I GET MARRIED? -- Brian McKnight. Originally scored it, and had a small small role in it too (left in I believe); on top of that, he also scored another movie in 2007 ("Daddy's Little Girls"), marking the beginning of his scoring career from his usual songs. [Aaron Zigman.]
- THE WORLD UNSEEN -- Shigeru Umebayashi. Umebayashi talked briefly about his score, before it was replaced, in an interview, saying it was difficult to do. [Richard Blackford.]
- WRITE & WRONG (TV movie) -- Jonathan Grossman. A song/score like Goldsmith's "Legend". [David Schwartz.]
2008
- THE BLACK WATERS OF ECHO'S POND -- Marcello De Francisci. One cue still up on his MySpace page. [Henry Manfredini.]
- CARRIERS -- David Julyan. INFO. [Peter Nashel.]
- CHINAMAN'S CHANCE (AKA: I AM SOMEBODY: NO CHANCE IN HELL) -- Tom Erba. Mr. Kellogg's second score, previously just being a supervisor. Kellogg is the fourth composer on the film. [Greg Kellogg.]
- CROSSING OVER -- John Murphy. John Barry turned down the film twice -- wise move, if you've read the reviews... INFO. [Mark Isham.]
- THE CURSED -- Charles Bernstein. Bernstein recorded all his score and apparently was the second composer on the film; first one is not known at this time. [Deane Ogden.]
- THE CURSED -- Deane Ogden. [Anthony Flynn.]
- DISGRACE -- Cezary Skubiszewski. INFO. [Antony Partos.]
- THE EXPRESS -- Peter Afterman. INFO. [Mark Isham.]
- THE EX LIST: "PILOT" -- Matt Messina. [Kelly & Kamille Rudisill.]
- THE EYE -- Angelo Badalamenti. The film changed directors and out went Badalamenti's score. [Marco Beltrami.]
- FRINGE (Pilot) -- Michael Giacchino. Originally a darker score in a different style was done, but not liked, so a new more friendly score was made. [Michael Giacchino.]
- GEARS OF WAR 2 (video game) -- Kevin Reipl. Though the credit still remains on Reipl's site, the page with samples and info has been removed (even from a Google cache). There is a lengthy bootleg of Reipl's score around. [Steve Jablonsky; Kevin Reipl (some leftover "atmospheric" pieces).]
- GOMORRA -- Matthew Herbert. Herbert did a score which was not used; one cut appears on the CD soundtrack. [No original score.]
- INCENDIARY -- Barrington Pheloug. INFO. [Shigeru Umebayashi.]
- +THE INFORMERS -- Clint Mansell & Justin Meldal-Johnsen. JM-J wrote on his site he was scoring the film with Mansell. While doing an internet search comes up with him doing songs, on his personal website he said he was co-scoring also. This is/was JM-J's only known scoring credit. Rejection of the score came approximately late March/early April, best I can tell. [Christopher Young.]
- KANDISHA -- Richard Horowitz. INFO. [Kenneth Lampl.]
- KIT KITTRIDGE: AN AMERICAN GIRL -- Lesley Barber. Mrs. Barber has been kind enough to post a handful of cues from her score on her website. INFO. [Joseph Vitarelli; Lesley Barber (leftovers).]
- THE MEERKATS -- Dario Marianelli. INFO. [Sarah Class, Klaus Badelt (additional).]
- ORANGES -- Dean Ogden. Written as a last-minute replacement score; Mr. Ogden had, as I recalled, a post on his MySpace page about rejected scores, but it is gone now. [Jon Lee, Dean Ogden (leftovers).]
- +THE PARDON -- John Novello. INFO (pending). [Ashley Irwin.]
- PUNISHER: WAR ZONE -- Christopher Franke. The director, Lexi Alexander, was fired even after the film was done being shot, and along with replacing him, they replaced the score. John Debney may have done a score in between the two as well. [Michael Wandmacher.]
- SAY HELLO TO STAN TALMADGE -- Marco D'Ambrosio. [Jeff Cardoni.]
- THE SEVENTH CIRCLE -- Weston Woodbury. [Peter Toth & Peter Erdelyi.]
- SPACE CHIMPS -- Dave A. Stewart. Sweet dreams aren't made of this, I suppose. INFO. [Chrispy Bacon; Chris Dyas, Matt Goldman, Todd Perlmutter, Phil Stanton, Jeff Turlik & Chris Wink (additional).]
- TENNESSEE -- Scott Bomar. "Bomar said he created an intimate score for the film, playing most of the instruments himself and recording mainly at his home Electrophonic studio.". [Mario Grigorov.]
- WHITEOUT -- Atli Orvarsson. INFO (pending). [John Frizzell.]
2009
- 500 DAYS OF SUMMER -- Andrea von Foerster. Would have been her(?) second known film score. [Mychael Danna & Rob Simonsen.]
- ANGELS AT SEA -- Luc Sicard. [Olivier Struye.]
- ANOTHER HARVEST MOON -- Kenny Barron. INFO (pending). [Rick Garcia & William V. Malpede.]
- BROOKLYN'S FINEST -- Antonio Pinto. INFO (pending). [Marcelo Zarvos.]
- CITY OF EMBER -- Douglas Pipes. Some still left in. [Andrew Lockington; Douglas Pipes (leftovers).]
- THE CITY OF YOUR FINAL DESTINATION -- Richard Robbins. For whatever reason the film got pushed back from 2007 to the point of being shown in 2009. Reportedly Robbins was not in good health and couldn't finish his score. [Jorge Drexler.]
- CHILLED IN MIAMI (AKA: NEW IN TOWN) -- Unknown music group. Described -- before the rejection -- as something like: "the best music group you've never heard of" and that this was going to be the break out gig; sadly the group was not named. [John Swihart.]
- EDGE OF DARKNESS -- John Corigliano. INFO. [Howard Shore.]
- LA PREMIERE ETOILE -- Anne Consigny. [Erwann Kermorvant.]
- THE MERRY GENTLEMAN -- Jon Sadoff & Sean Douglas. The 2008 festival premiere still had their score in tact. One agency promo for Sadoff contains one cue from the score. Shearmur started recording his score in late 2008. [Edward Shearmur.]
- NINE -- Maury Yeston. On top of scoring the musical which the film was based on, Yeston recorded a full score for the film months back, and song(s) (unknown if those will be retained). INFO. [Andrea Guerra.]
- PIG HUNT -- Les Claypool (of Primus). Variety.com's note about the score in a review, before the rejection:
"Score by Les Claypool of Primus adds to hipster cachet; he and blues mouth harpist Charlie Musselwhite contribute cameo roles.". [David E. Russo.]
- POWDER BLUE -- Aaron Zigman. Rachou had a little over two weeks to replace the previous score, as mentioned on his site. INFO. [Didier Rachou; Aaron Zigman (leftovers).]
- SEE YOU IN SEPTEMBER -- Jeff Cardoni. Said Cardoni on his site:
"Had a great time on this little romantic comedy out of NYC. Turned out being a really small, scaled down score with acoustic guitar, upright bass, bells (of course), electric guitars, and a bit of smal strings.". There are six cues (12:53) still on his site to listen to. [David A. Austin.]
- SHANGHAI -- Alex Heffes. Heffes originally replaced Gabriel Yared who did not do a score and had to leave the film to work on another project. INFO. [Klaus Badelt.]
- THE TOURNAMENT -- George Acogny. The first I have ever seen, Acogny -- despite having been replaced, has a "Additional Music By" in the film's trailer, after Karpman's credit. [Laura Karpman, James Edward Baker (additional); George Acogny (leftovers).]
- THE YOUNG VICTORIA -- Sigur Ros. Did a score, but the studio had it replaced. Ros receives a "special thanks" in the end credits; maybe something is retained? The film was shown at early festivels with Ros' score in it. [Ilan Eshkeri.]
2010
- A GOOD OLD FASHIONED ORGY -- Sam Cardon. As I write this, it appears an equal amount of both scores will be left in the film, that could of course could change. [Jane Antonia Cornish; Sam Cardon (leftovers, at the time).]
- A GOOD OLD FASHIONED ORGY -- Jane Antonia Cornish. When I contacted Cornish, she said it appeared an equal amount of both scores would be left in, but the film got pushed back and then... [Jon Sadoff.]
- BEYOND THE MAT -- Christopher Wong. Shown various times at festivals with Wong's score, as I understand, an even got some mention of the score, but for what ever reason a year or so later for national release, it's been rescored; go figure. [Shawn K. Clement.]
- BEYOND THE MAT -- Shawn K. Clemet. A year after all was said and done with Clemet's score, suddenly (in 2011; decided to list it with the other entry) the film has been rescored again. [Joel J. Richard.]
- CAMPAMENTO FLIPY -- Fernando Velazquez. INFO. [Jorge Magaz.]
- CA$H -- Tim Truman. INFO. [Jesse Voccia.]
- +CLASH OF THE TITANS -- Craig Armstrong & Neil Davidge. Davidge reported on his site that Hans Zimmer had replaced Armstrong (though IMDB.com listed Ramin Djawadi), and that Davidge was still working on his score cues for the film (so apparently, while working with Armstrong, his score material was going to be independent of Armstrong's themes). I don't know at this time how much of Armstrong's (very non Rosenthal) score was recorded, but some was. [Ramin Djawadi.]
- EXTRAORDINARY MEASURES -- Alex Wurman. INFO. [Andrea Guerra.]
- JONAH HEX -- Mastodon (& John Powell; adapting, placing, and assisting). Said the band on the score before replacement:
"The resulting music is about an hour long in total, all instrumental, including five full songs and many smaller musical themes adapted throughout. Upon finishing, it was then given to composer John Powell (Shrek, The Bourne Identity), who will paste the music to the movie. Some of the material, Sanders said, will likely be adapted for the London Orchestra for particularly epic scenes. "We wrote variations on themes for each character, different variables for a bunch of riffs: faster, slower, heavier, lighter," Sanders said. "It's the Darth Vader approach."
iTunes has, as I recall, about 35 minutes of "score" for the film, which it's listed as being by Masterdon, so I'm guessing that's some of their rejected score -- if you are a member, or know a member of that band, please feel free to correct this. [Marco Beltrami.]
- THE KARATE KID -- Atli Orvarsson. INFO (pending). [James Horner.]
- KICK-ASS -- Ilan Eshkeri. In a article about a new assignment, it was mentioned Eshkeri would do this score before the upcoming "From Time to Time", and since that film score was recorded just recently, I am forced to conclude this was too. [Marius De Vries.]
- KICK-ASS -- Marius De Vries. At the time I type this, word is from MovieScoreMagazine.com that the film -- so far -- will have scored from both rejected scores, in mixed in (no word on whether Murphy's now rejected score, will join the mix or if any of the first three rejected scores will be in the film when it opens); in other words: a huge mess. It was reported the composers worked together in a collaborative effort, but the problem is I saw the Twitter/Myspace/website announces when they were hired and having done their scores, and it wasn't all at once, with at least two months difference; maybe they came back in and worked on cues by other composers to touch up or finish, but the dates and comments they made at hiring, just don’t ad up. [John Murphy.]
- KICK-ASS -- John Murphy. INFO (for all three). [Henry Jackman.]
- THE KIDS ARE ALL RIGHT -- Craig Wedren & Nathan Larson. With completed score, the film aired at Sundance. In a BMI interview-ette, Wedren mentions how good the score was and that it was "magical". Interestingly enough, he and Larson were replacements themselves (click HERE for first composers). For what ever reason, the film was rescored for national release. [Carter Burwell.]
- KILLER BY NATURE -- Kurt Oldman. [Veigar Margeirsson.]
- LONDON BOULEVARD -- Howard Shore. INFO. [Sergio Pizzorno.]
- PEEP WORLD -- Nathan Barr. INFO. [Jeff Cardoni.]
- RABBIT HOLE -- Owen Pallett. Abel Korzeniowski originally replaced Pallett, but then himself was replaced (don't know if he did anything or not). [Anton Sanko.]
- THE TOURIST -- Gabriel Yared. Yared recorded his score earlier 2010 in London. The Varese Sarabande CD release contained one cue from Yared's score. [James Newton Howard.]
- THE WOLFMAN -- Paul Haslinger. The film's director said he was going to basically let Elfman run loose and do what he wanted, and what Elfman did was a large gothic, fantastic score. The film had troubles from the get-go, getting pushed back several times, loosing it's original director early on, and of course a test screening that did not go well at all. All this led to, as reported in late 2009, the rejected of Elfman's score (with Haslinger as the replacement), but in early January, 2010, an FSM article indicated Elfman's score has been re-instated, after Haslinger completed his. INFO. [Danny Elfman; Conrad Pope (additional; not for Elfman), Edward shearmur (additional), T.J. Lindgren (additional); and if that wasn't enough, the film may still have small portions of Haslinger's score in it... (leftovers?).]
- YOUR HIGHNESS -- Paul Englishby. INFO. [Steve Jablonsky.]
2011  (Click for start of list)
- 30 MINUTES OR LESS -- Nathan Barr. INFO. [Ludwig Goransson.]
- ARTHUR CHRISTMAS -- Michael Giacchino & Adam Cohen. I can't confirm it, but FilmTracks reports that Giacchino left over creative differences and only completely around 50% of the score, which is not all too different from what I had understood. [Harry Gregson-Williams.]
- BUNRAKU -- David Torn. INFO. [Terrence Blanchard.]
- THE CHAGE-UP -- Theodore Shapiro. A CD-R with 21 tracks and 40:00 contains six cues by Shapiro. [John Debney; Tony Morales (additional); Theodore Shapire (leftovers?).]
- THE CONVINCER -- Alex Wurman. Reviews that mentioned the score, as the film was shown at places like Sundance with Wurman' score in tact, ranged from "suitable" to "worked wonders". INFO. [Jeff Danna.]
- DOROTHY OF OZ -- James Michael Dooley. Back in May, a website that interviewed Dooley and a few other composers, said he had just finished his music for the film. [Deborah Lurie; James Michael Dooley (songs).]
- DRIVE -- Johnny Jewel. The instrumental/song artist said he had done a full score for the film, but it was not used; and said in a recent interview there was no bad blood, as the director has asked him if he wants to score the upcoming planned remake of "Logan's Run". [Angelo Badalamenti.]
- DRIVE -- Angelo Badalamenti. There is an early cut of the film floating around with Badalamenti credited as the composer. A website made a review, describing the score in the film. [Cliff Martinez.]
- EXTREMELY LOUD AND INCREDIBLY CLOSE -- Nico Muhly. [Alexandre Desplat.]
- GAME OF THRONES -- Stephen Warbeck. I was unable to relocate where I had read it, but I recalled reading some score was recorded (no idea how many episodes -- I assume just the initial, since orchestras and studio time cost big money). [Ramin Djawadi.]
- THE GREATEST MIRACLE -- ?????. In a May, 2011 interview conducted by John Mansell over at Run Movies, McKenzie said he was asked to replace a score. [Mark McKenzie.]
- HOLIDAY BEACH -- Ryan Rapsys. You can hear three cues from his score on his website; hired in early 2010. [Paul Hartwig.]
- I DON'T KNOW HOW SHE DOES IT -- Rachel Portman. INFO (pending). [Aaron Zigman.]
- JOCK -- Marius Bouwer. The film got pushed back over two years; I would assume this is a case of changing the score later on after too much time to think about it. INFO. [Klaus Badelt, Ian Honeyman, Tommy Coaster; Marius Bouwer (leftovers).]
- KILLER JOE -- CC Adcock. INFO. [Tyler Bates.]
- LIMITLESS -- Nico Muly. According to the replacement composer in an interview, Muhly did a more classical score, while the producers told Morgan they wanted people to leave the theater thinking about what a "fucked up soundtrack" it had. Three and a half weeks to do it. [Paul Leonard-Morgan.]
- THE LINCOLN LAWYER -- John Frizzell. Hired to take over for Mansell, Frizzell's replacement score -- which even one of the last new trailers had his name in it -- was in turn replaced and Martinez's re-inserted. . [Cliff Martinez.]
- MY WEEK WITH MARILYN -- Stephen Warbeck. INFO. [Conrad Pope, Alexandre Desplat (theme).]
- THE ORANGES -- Grant Lee Phillips. [Klaus Badelt.]
- THE PRODIGIES -- Craig Armstong. INFO. [Klaus Badelt; Christopher Carmichael (additional score).]
- SANCTUM -- John Gray. INFO. [David Hirschfelder.]
- SEVEN DAYS IN UTOPIA -- William Ross. INFO. [Klaus Badelt.]
- SHOUTING SECRETS -- Zeljko Marasovich. [Matthias Weber & Lisbeth Scott.]
- THE SMURFS -- John Powell. I believe this was the film Patrick Doyle, a friend who Powell used to work with, said in a recent interview Powell ended up having to do a complete new score; apparently that didn't work out. INFO. [Heitor Pereira.]
- TINKER, TAILOR, SOLDIER, SPY -- Michael Price. INFO (coming). [Alberto Iglesias.]
- THE VOW -- Rachel Portman. On July 9, Film Music Reporter reported Brook was "co-scoring" the film, but Portman had recorded her score a few months earlier in London. INFO. [Michael Brook; Rachel Portman (possibly leftovers).]
2012
- BEL AMI -- Rachel Portman. This is a hard one to pin down and may end up being removed. Portman recorded her score late Summer 2011; in August Saram mentioned in and interview he finished his score, saying it was "72 pages" -- a typical length of a full film score (and makes no mention of Portman or involvement of another composer). The film's trailer lists both composers for the music, and Varese Sarabande released the CD, with cues from both composers, with symbols by who did what. [Rachel Poartman (leftovers?), Lakshman Joseph de Saram.]
- UPSIDE DOWN -- Benoit Charset. As FilmMusicReporter.com reports, it's unknown if any of his score will be left in. INFO. [Mark Isham.]
Well, this new section was inevitable. As good as I am at finding stuff, sometimes I fail. But these are special failures, in that I know who was rejected ... but don't know the name of the film! Feel free to help fill in the gaps.
This list last updated: May 29, 2010 (Click to "jump" to title)
(.)
- ????? -- George Bassman. In an interview with another composer, the composer states Dankworth quite the scoring business in the early '70's after having a score replaced by a pop group. [?????.]
- ????? -- Quincy Jones. In an interview, Bill Perkins was on the subject of rejected scores, and while mentioning Bernstein, he said it has also happened to Jones. [?????.]
- ????? -- Danny Elfman. Someone stated, at the FSM board I believe, that they had attended something, and composer Philip Glass said Elfman had been rejected from a film recently. [?????.]
- ????? -- Rachel Portman. In a BBC News interview she mentions having a couple of rejected scores early on. Now, "Dangerous Beauty", isn't "early on"... [?????.]
- ????? -- Rachel Portman. In a BBC News interview she mentions having a couple of rejected scores early on. Now, "Dangerous Beauty", isn't "early on"... [?????.]
- ????? -- Hanzi Zimmer. In an old interview, Zimmer says during his early career, he had a score rejected, then when a new producer (or director) was brought on board for trhe film, they put some of his score back in. [?????.]
- ????? -- Andre Previn. In Previn's book, No Minor Chords, he briefly mentions having a score replaced by Goodwin. [Ron Goodwin.]
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