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Supposedly Rejected Scores   TITS
Fixed design.  Still bask in awe, you continuous cur.
     It happens -- a composer is attached to a project, like John Williams and "Titanic", and you even see them listed on the movie posters, but come time for movie viewing (or checking out musicfromthemovies.com), you find out someone else is scoring the film.  So immediately, if you know what's good for you, you come to my website to find out what the fudge is wrong.  Ummm ... fudge...
Anyway, the following list is for rumors, was attached to reports, and possible rejected scores (unsolved mysteries).  When what happened is finally found, the title is striked out, and the answer put in bold red.
Click HR lines to go back to the top of the page; "HR lines" are the semi translucent lines at the top of each year.

This list last updated:  April 21, 2012  (Click to "jump" to title)
(Vivaldi, Journey 2: The Mysterious Island, Intouchables, The Rivers, Private Peaceful.
Slightly older updates: The Hunger Games, Sweapt Away, Journey to the End of the Night.
Older updates: All That Jazz, Six Weeks, Snow White and the Huntsman, The Iron Giant [twice], WarGames [twice], Arbitrage, M.A.N.T.I.S. [two entries].
)


KEY:
ORIGINAL NAME OF THE FILM (AKA: Name of the film when shown) --  Rejected composer.  [Replacement composer.]

    1933
  1. FIGHTERS --  Hanns Eisler.  [Dmitri Shostakovich.]
  2. FIGHTERS --  Dmitri Shostakovich.  A book explains production dragged on for a few years, and eventually he was unable to score the film.  [Hans Hauska.]
  3. I MARRIED AN ANGEL --  Richard Rogers.  A university that has some of his tapes and paper work, has papers for a score and songs to this film, and lists Lorenz Hart as the lyricist.  The film is from 1942, the the paper work indicates 1933.  [Herbert Stothart.]
    1934
  4. THE GAY DIVORCEE --  Cole Porter, R.I.P..  [Various.]
    1937
  5. THE GOOD EARTH --  Arnold Schoenberg, R.I.P..  [Herbert Stothart.]
    1937
  6. THE WIZARD OF OZ --  Jerome Kern, R.I.P..  ."MGM had originally wanted Jerome Kern to score the film but Kern's doctor vetoed the idea, having prescribed rest to the songwriter who was recuperating from a recent heart attack."  [Herbert Stothart.]
    1939
  7. BABES IN ARMS --  Richard Rogers.  A university that has some of his tapes and paper work, has papers for a score and songs to this film.  [Nacio Herb Brown.]
  8. GONE WITH THE WIND --  Herbert Stothart.  Not beliving Steiner could complete the score in time, as it wasn't going very quickly, he asked Stothart to do a score just in case; while I have no idea if Stothart recorded anything, he did write score.  He appearently gloated about the assignment around town, and word of that got to Steiner, and that effectively ended Herbert's employ.  [Franz Waxman.]
  9. GONE WITH THE WIND --  Franz Waxman.  Still worried about Steiner, he then asked Waxman to do it.  Now this is where it gets confusing, because normally I would say I have no idea if he recorded anything, but he's credited for additional music on the film -- did he or was that stock from some other score he did?  Steiner finally got it together, realizing he needed to get the score done, and cranked it out; several other composers, according to IMDB, as listed as "additional".  [Max Steiner; IMDB credited "additional" folk: Adolph Deutsch, Hugo Friedhofer, Heinz Roemheld, and of course Waxman (inspite of IMDB listing it as "stock").  William Axt (stock music).]
    1941
  10. SOLITUDINE --  Unsure.  imdb.com lists both Mario Nascimbene and Ettore Montanaro  [Unsure.]
    1942
  11. THE COMMANDOS STRIKE AT DAWN --  Igor Stravinsky.  Stravinsky quietly recycled the music as Four Norwegian Moods.  The first time he composed a movie score and they rejected it.  Supposedly recording the score before even seeing the movie.  [Louis Gruenberg, John Leipold.]
  12. JANE EYRE --  Igor Stravinsky.  Negotiations failed..  [Bernard Herrmann.]
    1943
  13. A GUY NAMED JOE --  Kaper.  An old news blurb mentioned he was doing the score.  [Herbert Stothart.]
  14. FOR WHOM THE BELL TOLLS --  Francisco Avellan.  An old news article said he was hired to score the film.  [Victor Young.]
  15. STORMY WEATHER --  William Grant Still.  Was hired to score the film.  [Cyril J. Mockridge.]
    1944
  16. LAURA --  Alred Newman / Bernard Herrmann.  Newman didn't have the time and Herrmann turned it down; I wonder if the last one involved cursing....  [David Raksin.]
  17. SONG OF BERNADETTE --  Found: "Ironically, Newman replaced the famous composer Igor Stravinsky on the film, and the second movement of Stravinskys Symphony in Three Movements evolved from his original unused score."  [Alfred Newman.]
    1945
  18. BEAU BRUMMELL --  Miklos Rozsa.  Supposedly did an entire score, with only bits -- like the end credits, left in.

    CORRECTION:
    Here's an excerpt from Rozsa's autobiography, Double Life:

    "The only other occasion when I let myself in for rewriting part of someone else's score was in the 1950s when I was on the Music staff at MGM. Producer Sam Zimbalist came back from London with a picture called Beau Brummel, dissatisfied with the music provided by an English composer. He felt that the whole beginning and end were wrond, and asked me to provide new music. My contract with MGM specified that I should not interfere with any other composer's music, nor should anyone interfere with mine. However, since Zimbalist was a personal friend, I agreed to make an exception in this case, on condition that I received no screen credit. Now that the composer whose music I replaced is dead, there seems no harm in saying that the whole of the final scene, where Beau Brummel takes his leave of the dying king, is mine."   [Richard Addinsell, Miklos rozsa (leftovers?).]
  19. THE TRUE GLORY --  Marc Blitzstein.  Alwyn's book tells that the original composer fell ill.  [William Alwyn.]
    1946
  20. BECAUSE OF HIM --  Hans J. Salter.  An old news blurb mentioned he was doing the score.  [Miklos Rozsa, R.I.P..]
    1947
  21. THE OCTOBER MAN --  Kenneth Pakeman.  Alwyn's book tells: "The score was assigned to Kenneth Pakeman, whose film experience was a couple documentaries for Rotha and another for Greenpark. Pakeman wrote three sketches before the film went into production, but his music was dropped, ...".  [William Alwyn.]
  22. TIME OUT OF MIND --  Ferde Grofe.  Wrote a score which was not used, unknown if any of it was recorded.  [Miklos Rozsa, Mario Castelnuovo-Tedesco (stock music?).]
    1948
  23. PORTRAIT OF JENNIE --  Bernard Herrmann.  imdb.com lists him as uncredited.  Did some cues and a song, but only the song remained; he was going to score the whole film and arrange music, but the film's production got pushed back and Herrmann had other committments.  [Dimitri Tiomkin.]
    1948
  24. OUTRAGE (AKA: THE LAWLESS) --  Paul Sawtell.  An old news blurb said he was signed to do the score.  [Mahlon Merrick.]
    1949
  25. CALAMITY JANE AND SAM BASS --  Walter Scharf.  An old news blurb mentioned he was doing the score.  [Milton Schwarzwald.]
    1950
  26. BRIGHT LEAF --  Dimitri Tiomkin.  An old news blurb mentioned he was doing the score.  [Victor Young.]
  27. COUNTY FAIR --  Edward J. Kay.  An old article on the film (back in 1945) said a news reported claimed he was hired to score it, but it was unconfirmed.  [Ozzie Caswell.]
  28. GUILTY OF TREASON --  Dimitri Tiomkin.  An old article on the film said Tiomkin had been orginally signed.  [Emil Newman, Hugo Freidhofer.]
  29. LAWLESS --  Arthor Morton.  [.]
  30. MY FRIEND IRMA --  Leigh Harline.  An old news blurb mentioned he was doing the score..  [Roy Webb.]
    1953
  31. KNIGHTS OF THE ROUND TABLE --  Clifton Parker.  A brief cue by Parker, source music in the castle, retained.  [Miklos Rozsa.]
  32. TONGA TIKA --  Unsure.  imdb.com lists both Victor Young and Les Baxter.  [Unsure]
    1955
  33. THE KENTUCKIAN --  Roy Webb?  UA's press book in UK says Webb was the composer. Obviously not, but he did score MARTY for the same producers the year before.   Was he just penciled in as possible composer, or did he actually compose a rejected score?  [Bernard Herrmann.]
  34. THE QUATERMASS XPERIMENT --  John Hotchkis.  Supposedly Hotchkis became ill and couldn't do the score.  [James Bernard.]
    1956
  35. THE SWAN --  Miklos Rozsa.  [Bronislau Kaper.]
  36. THE TEN COMMANDMENTS --  Victor Young.  Mr. Young's "Overture" still exists on some release prints.  But it is also said he only got as far as sketching some dance music.  Contrary to popular knowledge, Young did write some music for the film; he did a couple source music cues, which -- best of any information I could find -- were not recorded (even in a demo recording form).  [Elmer Bernstein - 2CD boot.]
    1957
  37. A FAREWELL TO ARMS --  Max Steiner.  According to score boards member Joe Caps (who never replied to me .. Mr. Capps..., and who also mistakinly listed Alfred Newman and "Anne Frank"), "A Suymmer Place" uses two of the themes.  Steiner didn't do a score though.  [Mario Nascimbene.]
  38. THE VINTAGE --  Bronislau Kaper.  FSM notes that, when releasing Raksin's score, they found Kaper possibly scored the film, but paper work and tapes are missing.  [David Raksin.]
    1958
  39. THE DEFIENT ONES --  George Antheil.  Was going to do the score it, but right before the music was to be done (no idea if he started writing), he died of a heart attack.  [Ernest Gold.]
  40. TEACHER'S PET --  Irvin Talbot.  An old news blurb mentioned he was doing the score.  [Roy Webb.]
  41. TOO MUCH, TOO SOON --  Albert Glasser.  An old news blurb mentioned he was doing the score..  [Ernest Gold.]
    1959
  42. ON THE BEACH --  George Antheil.  Was going to do the score, but could not.  [Ernest Gold.]
  43. THE REDEEMER --  ?????.  Raksin tells in an interview, "they had a score written for it, but it turned out badly", but doesnt' say who or if it was recorded.  IMDB.com lists a foreign composer with Raksin.  [David Raksin.]
  44. SIGN OF THE GLADIATOR --  Angelo F. Lavagnino.  Was this a rescore for U.S. prints?  [Dominic Frontiere?]
  45. SOLOMON AND SHEBA --  Malcolm Arnold.  Arnold did a couple cues for the film later after the director changed his mind on leaving two without score; Mario, for what ever reason, did not do it.  [Mario Nascimbene.]
    1960
  46. BELLS ARE RINGING --  Jule Styne.  An old news blurb mentioned he was doing the score.  [Andre Previn.]
  47. THE CRIMINAL --  Richard Lester (yes, the director).  Lester had already scored one film, and was asked to score this -- according to himself -- but had to drop out for unspecified reasons.  [John Dankworth.]
  48. WHERE THE BOYS ARE --  Joe Sherman (composer of some episode of the series "In the Heat of the Night").  [George Stoll, Calvin Jackson, Pete Rugolo (additional).]
    1961
  49. LOLA --  Quincy Jones.  Was hired (in1959) to score the film, but three days later -- after viewing it, had to back out.  [Michel Legrand.]
    1962
  50. DAMON AND PYTHIAS --  Frank Loesser.  An old news blurb mentioned he was doing the score.  [Angelo F. .]
  51. EVA --  Miles Davis, R.I.P..  First choice.  [Michel Legrand.]
  52. THE FOUR HORSEMEN OF THE APOCALYPSE --  Alex North, R.I.P.. [Andre Previn.]
  53. HOW THE WEST WAS WON --  Tiomkin:
    "While How The West Was Won was still in the planning stages, producer Bernard Smith envisioned it should have a score by Dimitri Tiomkin. Initially, Tiomkin had expressed interest, but he was forced to bow out of the project following eye surgery, and Alfred Newman was brought in as a replacement."; the reality is, however, that he was replaced as composer and sued MGM over being replaced.
  54. HATARI --  Dimitri Tiomkin, R.I.P..  Tiomkin was hired by the director to score the film and he said no strings, along with another order on scoring; two or three days later Dimitri called him asking if he was serious, and the director fired him right there over the phone.  [Hoagy Carmichael, R.I.P..]
  55. IPNOSI --  Francesco De Masi, R.I.P..  [Angelo Francesco Lavagnino, Roman Vlad (together?).]
  56. LAWRENCE OF ARABIA --  Richard Rodgers.  May have recorded, but at least a dozen cues were written.  [Three guys.]
  57. LAWRENCE OF ARABIA --  Walton (for the marches), Khatchaturian (arabic music) & Arnold (the rest).  Wanted too long to score it supposedly, but according to one of them in an interview, upon watching the film, they found they hated it.  [Benjamin Britten.]
  58. LAWRENCE OF ARABIA --  Benjamin Britten.  Wanted too long to score it as well.  [Maurice Jarre.]
  59. LE SETTE SPADE DEL VENDICATORE --  Francesco De Masi, R.I.P..  [Franco Mannino.]
  60. SODOM AND GOMORRAH --  Dimitri Tiomkin.  An old news blurb mentions Tiomkin dropped out to do an "eye operation".  [Miklos Rozsa.]
    1963
  61. THE RUNNING MAN --  Ron Grainer.  Grainer redid the main theme only.  [Alwyn.]
    1964
  62. THE COOL WORLD --  Dizzy Gillespie.  An old news article said Dizzy was hired to score the film, but appearently later on he turned it down for some reason, yet he did play on Waldron's score, and an LP by the name of the film, with instrumental scoring not of Waldron's doing, was released.  [Mal Waldron.]
  63. MARY POPPINS --  Nelson Riddle.  In the biographal book, September In the Rain, it says Riddle was offered, but turned down scoring the film.  [Irwin Kostal.]
  64. THE NIGHT OF THE IGUANA --  Alex North, R.I.P..  Turned down scoring the picture and didn't care for it.  [Benjamin Frankel.]
  65. THE PAWNBROKER --  John Cage / John Lewis.  Reportedly the director wanted either of these two (not known whether he got any of them before Jones).  [Gil Evans.]
  66. THE PAWNBROKER --  Gil Evans.  Evans turned it down and suggested Jones.  [Quincy Jones.]
    1965
  67. A RAGE TO LIVE --  Dominic Frontiere.  An old Billboard article said he scored it (with Diahann Lampert on the song).  [Nelson Riddle.]
  68. JULIET OF SPIRITS --  Morton Gould, R.I.P..  [Nina Rota.]
  69. MISTER MOSES --  Dominic Frontiere.  An old Billboard article said he scored it (with Ferrante & Teicher on the song).  The tapes for Barry's score are missing (maybe destroyed), so if Frontiere did do a score, one would assume unless recorded elsewhere, his score is gone, too.  [John Barry.]
  70. THE SPY WHO CAME IN FROM THE COLD --  Ray Martin.  An old news blurb mentioned he was doing the score.  [Sol Kaplan, R.I.P..]
  71. THE TRAIN--  Leroy Holmes.  An old Billboard article said he scored it (with Noel Sherman on the song).  There is a 7" LP promo with one piece called the "theme" from "The Train" -- one would assume, if not a song, this is a score cue from his rejected score (anybody have that and can confirm?).  [Maurice Jarre.]
    1966
  72. A FINE MADNESS --  ?????.  Among some changes to the film, according to one source, was a new score.  [John Addison.]
  73. BRIDES OF FU MANCHU --  Johnny Douglas.  Dropped out; don't know if he did anything or not.  [Bruce Montgomery, Douglas Gamely (additional).]
  74. CAST A GIANT SHADOW --  Dov Seltzer.  An old news blurb mentioned he was doing the score.  [Elmer Bernstein, R.I.P..]
  75. THE FAMILY WAY --  Bernard Herrmann.  Turned it down when offered.  [Paul McCartney.]
  76. GRAND PRIX --  Jerry Goldsmith.  Information from Deconstructing Goldsmith:
    EVIDENCE: July 11th 1995 - Jerry Goldsmith interview on America On Line (AOL Online Host).

    Question: Jerrald, I've listened to and admired your work for many, many years. THE SAND PEBBLES is a personal favorite. Were there any unique challenges, or anecdotes about doing that score?
    GoldsmithJ: Yes. Originally I was supposed to do GRAND PRIX, but I was under contract to 20th Century Fox at that time and Alex North was supposed to do THE SAND PEBBLES, but he got sick, so Fox preempted me out of GRAND PRIX, and to my good fortune, I got to do THE SAND PEBBLES. It was my first time working with Robert Wise and it was a great experience.
  77. THE MOVING TARGET (AKA: HARPER) --  Andre Previn.  Appearently a fairly late replacement, as many sources were still citing Previn as having done the score.  At least one song in the film is credited to Previn; it was also stated he was starting to write it right after finishing "Inside Daisy Clover".  [Johnny Mandel.]
  78. NO TOYS FOR CHRISTMAS (AKA: ONCE BEFORE I DIE) --  Richard LaSalle.  An old news blurb mentioned he was doing the score..  [Emmanual Vardi.]
  79. THE SAND PEBBLES --  Alex North.  North became sick and had to drop out.  Didn't find out whether he has begun recording.  [Jerry Goldsmith.]
  80. SECONDS --  Quincy Jones.  In a interview with Jones, mention was made that he'd completed "The Pawnbroker" and was preparing to score this film.  [Jerry Goldsmith.]
  81. YOU'RE A BIG BOY NOW --  John Sebastian (the film composer, not the long-gone classical composer).  An old news blurb mentioned he was doing the score.  [Robert Prince.]
    1967
  82. BONNIE AND CLYDE --  Earl Scruggs.  Hired to score the film and his band was going to perform it; don't know if it was done.  Charles Strouse.]
  83. BONNIE AND CLYDE --  Charles Strouse.  FSM:  EUGENE IEMOLA:
    "the rejected score to BONNIE AND CLYDE by Charles Strouse. The trailer has some of it and the Exit music exists on the DVD, but what of the rest of the score?"
    The answer being he didn't do any score than that really.
  84. LUV --  Burt Bachrach.  Was assigned to score the film, but had to back out to finish scoring "Casino Royale".  [Gerry Mulligan.]
  85. MIDWAY --  John Cacavas.  In a book, Cacavas says the director wanted him to score the film, but Williams was hot at that time.  [John Williams.]
  86. TOBRUK --  Quincy Jones.  Was hired to score the film.  [Bronislau Kaper.]
  87. SADISMO/MONDO SADISMO --  ?????.  Baxter scored US prints only.   Original composer?  [Les Baxter.]
  88. IN COLD BLOOD --  Leonard Bernstein.  One of the studio people clashed over Jones scoring the film just because he was black, as Jones recants in a story, and that they wanted Leonard Bernstein to score it.  [Quincy Jones.]
    1968
  89. BOOM! --  John Dankworth.  Don Black did songs.  [John Barry.]
  90. THE DEVIL'S BRIGADE --  Elmer Bernstein.  Billboard reported Bernstein had scored the film, and their track record -- at least for every assignement I read in their papers -- has been 100% accurate, with rejections listed as well.  [Alex North.]
  91. HELLFIGHTERS --  John Williams.  According to Rosenman, Williams was supposed to score it, but Williams got appendicitis (seems to me there must be a lot of appendicitis doctors in Hollywood...).  [Leonard Rosenman.]
  92. ICE STATION ZEBRA --  Jerry Goldsmith.  Turned it down to score PLANET OF THE APES.  [Michael Legrand.]
  93. KILLERS THREE --  Merle Haggard.  An old news blurb mentioned that he would do the score, on top of the song for the film.  [Mike Curb, Harley Hatcher, Jerry Styner.]
  94. L'ODISSEA (mini series) --  ?????.  Rustichelli explains in an interview he had very little time to score each episode because he came on late, taking over for an un-named composer who he said turned out to not be up to the task (he makes no word on whether anything had been recorded).  [Carlo Rustichelli.]
  95. LATIGO --  The Nitty Gritty Dirt Band.  Along with a song, were also hired to score the film.  [Jeff Alexander.]
  96. THE LOST CONTINENT --  Nino Rota, R.i.P..  Letters were sent to Rota and he was asked to score the film; I have no idea what happened after that.  [Frankel (rejected); Gerard Schurmann; Howard blake (source music -- I will of course inquire further on if he also did a score which was not used...).]
  97. THE SWEET RIDE --  Lee Hazelwood.  An old article mentioned he was hired to score the film, and also have an acting role.  [Pete Rugolo.]
  98. THE PICASSO SUMMER --  Randy Newman.  An old article mentioned he was hired to "compose, arrange and score" the film, along with providing the title song.  [Michel Legrand.]
    1969
  99. 80 STEPS TO JONAH.  David White & Erik Faulkner.  An old Billboard article said they not only did the songs, but the score as well.  [George Shearing.]
  100. THE APRIL FOOLS --  Burt Bacharach.  An old news blurb mentioned he was doing the score; ASCAP lists registered cues.  [Marvin Hamlisch.]
  101. THE ARRANGEMENT --  Manos Hadijidakis, R.I.P..  An old news blurb mentioned he was doing the score.  [David Amram.]
  102. CAMILLE 2000 --  Armondo Trovajoli.  Supposedly dropped out at the last minute.  [Piero Piccioni.]
  103. DAVID COPPERFIELD --  John Williams.  Scheduling conflict with "Goodbye, Mr. Chips".  [Malcolm Arnold.]
  104. THE MAGIC CHRISTIAN --  Paul McCartney.  Mention was made McCartney was asked to score the film, but wasn't excited about doing it.  Another source said Lennon was writing the score with him.  [Ken Thorne.]
  105. MAROONED --  Wendy & Lisa Coleman.  Were originally hired to score the film (I can't recall the story if they did or didn't).  [No original score.]
  106. THE WILD BUNCH --  Lalo Schifrin.  Feldman had wanted Schifrin, but Peckinpah wanted Feidling.  [Jerry Feilding.]
    1970
  107. THE BATTLE OF NERETVA --  Vladimir Kraus-Rajteric.  Herrmann scored the English language version. The USSR print of this Yugoslav picture was wholly or partially rescored by Soviet composer(s).  [Bernard Herrmann.]
  108. BENEATH THE PLANET OF THE APES --  Jerry Goldsmith.
    EVIDENCE: 1996 - Jerry Goldsmith interview for the Special Edition LaserDisc release of PATTON.

    At one point in the interview Jerry Goldsmith mentions that he was originally the composer signed to write the score to BENEATH THE PLANET OF THE APES; however, Frank Schaffner went to the Fox brass and insisted that Goldsmith do PATTON instead. Also in his discussion, Goldsmith alludes to the fact that he had already started his BENEATH THE PLANET OF THE APES score...
  109. MYRA BRECKINRIDGE --  Rod McKuen.  An old news blurb said he had been signed to do the score.  [John Phillips.]
  110. PERFORMANCE --  Randy Newman.  [Jack Nitzsche.]
  111. DIAL HOT LINE --  Stanley Wilson.  [Oliver Nelson.]
  112. THE MOONSHINE WAR --  Neal Hefti?  [Fred Karger, Hefti]
    Credited to Karger, but with additional music by Hefti. As Hefti scored four previously for director Richard Quine, I assume he was first choice for this one, but MGM had Karger rescore most of it. True?
  113. UPON THIS ROCK (TV movie) --  William Walton.  As the Lewis tells in an old interview, Walton was offered the film, but turned it down; after the "Battle of Britain", he was no longer interested in scoring movies.  [Michael J. Lewis.]
    1971
  114. CLAY PIGEON --  Tommy Boyce & Bobby Hart.  An old artilce says they were going to score the film.  [.]
  115. DR. JECKYLL & SISTER HYDE --  Harry Robinson.  Whitaker mentions in an old interview he was asked to score the film, replacing a composer who was having disagreements with the director; Robinson said in an interview he did not like the movie and asked to be let go.  Before leaving, he suggested Whitaker as a replacement.  [David Whitaker.]
  116. HAPPY BIRTHDAY, WANDA JUNE --  Duke Ellington.  An old news blurb mentioned he was doing the score.  [Hal Schuler.]
  117. THE KREMLIN LETTER --  Toshiro Mayuzumi.  Many listings have him along side Drasnin as composer, and he had worked twice before with the director.  I can't confirm this, as I don't own the CD, but appearently the linear notes for Drasnin's score infact mention Mayuzumi in fact having done a score, but goes into no further detail.  [Robert Drasnin.]
  118. PSYCHOMANIA --  David Whitaker.  [John Cameron.]
    1972
  119. BROTHER SUN, SISTER MOON --  Leonard Bernstein.  Was chosen to score it, but don't know if he did or didn't.  [Riz Ortolani (overseas) / Ken Thorne (U.S.).]
  120. COME BACK, CHARLESTON BLUE --  Quincy Jones.  An old artilce says Jones was hired to do the score; two or three months later the same magazine reported the replacement composer as being hired.  [Donny Hathaway.]
  121. THE REVENGERS --  Pino Calvi.  Shot in Mexico, and presumably scored there. The Calvi version played in UK. Did Matz rescore the US print? [Peter Matz?]
  122. LAW AND DISORDER --  Aaron Copland, R.I.P..  In an interview, Badalamenti says this:
    "... He'd just finished Law and Disorder for them, a cop movie starring Carroll O'Connor and Ernest Borgnine. Id read the script, which was floating around the office, and was inspired enough to write some music for it on spec. So I caught Ivan as he was about to go out the door and told him how much I loved the script. Then I said, "Ivan, I'd like to play something for you." And he said, "Oh, I've got to go down and mail a letter. But I tell you what. Why don't you play me this music before I go?" So I played the themes for Carroll and Ernest, then showed Ivan how I could make the themes work together. Ivan really flipped over the music and asked me to score the film. I'd never done a movie before and immediately said yes. Then Ivan said, "You're lucky I didn't mail this letter." I asked him why, and Ivan took the letter out of his coat pocket. It was addressed to a composer he wanted named Aaron Copland! Ivan ripped the letter up and threw it in the garbage. ..."

    [Angelo Badalamenti.]
    1973
  123. CLEOPATRA JONES --  Joe Simon.  An old issue of JET says Simon was going to do the film's score, "joining the ranks" of songwriters who had crossed over to scoring.  [J.J. Johnson.]
  124. THE EXORCIST --  George Crumb.  Recalls in an interview he was asked to the score the film, but declined as he wasn't interested in scoring films.  [Lalo Schifrin (rejected), then Jack Nitesche (rejected), no original score.]
  125. PAT GARRETT & BILLY THE KID --  Jerry Fielding, R.I.P..  Supposedly backed out.  [Bo Dylan.]
  126. THE STING --  Joshua Rifkin.  Was asked to score it, but had prior committments.  [Marvin Hamlisch.]
    1974
  127. THE GIRL FROM PETROVKA --  Roy Budd.  An old news blurb mentioned he was doing the score.  [Henry Mancini.]
  128. THE GREAT GATSBY --  Andre Previn.  Was asked to score it, but turned it down.  [Nelson Riddle.]
  129. THE HAPPY PRINCE --  Howard Blake.  Blake says on his website that after being hired, writing a theme for the bird, and a song, he called the director and found out they hired Goodwin.  Calling Goodwin up, he got a terese reply on the situation.  [Ron Goodwin.]
  130. NEWMAN'S LAW --  Billy Goldenberg.  An old news blurb mentioned scores that would be recorded at Universal's stage in the next "four weeks", and this was one of them; Goldenberg was noted to also conduct the score, too.  [Robert Prince.]
    1975
  131. BARRY LYNDON --  Howard Blake.  In an interview Blake said he was asked to score the film, but he turned it down to continue on a piano quartet he was doing.  [Leonard Rosenman, R.I.P..]
  132. THE TAKING OF PELHAM ONE TWO THREE --  Jack Nitzsche.  Offered, but declined.  [David Shire.]
    1976
  133. A STAR IS BORN --  Richard Perry.  A book on the actress, singer, says he was hired to score the film, but quit.  [Rupert Holmes.]
  134. A STAR IS BORN --  Rupert Holmes.  A book on the actress, singer, says he was hired to score the film, but quite.  [Rupert Holmes.]
  135. A STAR IS BORN --  Rupert Holmes.  Various reports say he was working on the score, and some cite songs; he did at least two songs which were not used.  [Roger Kellaway.]
  136. BAROCCO --  Ennio Morricone.  [Philippe Sarde.]
  137. CARRIE --  Bernard Herrmann.  Obviously not rejected, but was set to score the film until his death.  [Pino Donaggio.]
  138. FAMILY PLOT --  ?????.  In a news article from 1996, the following story was recanted:
    He was not the first to have been assigned that job and remembers asking the old boy why it hadn't worked out with the previous composer. "Well," said Hitchcock, "he kept writing this oppressive, lugubrious music." "But surely that's appropriate in a movie about murder?" replied Williams. "No, Mr Williams, you must understand - murder can be fun."

    [John Williams.]
  139. GOD TOLD ME TO --  Miklos Rozsa, R.I.P..  When the director asked him, he replied: "God told me not to.".  [Bernard Herrmann, R.I.P..]
  140. GOD TOLD ME TO --  Bernard Herrmann.  Met up with the director (after finishing scoring "Taxi Driver"), watched the film, mades notes on how he was going to score it, then died less than 24 hours later.  [Frank Cordell.]
  141. ROBIN AND MARIAN --  Maurice Jarre.  Turned it down after finding out Legrand had been rejected.
  142. ROCKY --  David Shire.  In an interview, Shire states if was too busy working on two other films at the same time (one "The Big Bus"), that he had to turn this offer down; totally regrets it.  [Bill Conti.]
  143. THE SEVEN PERCENT SOLUTION --  Bernard Herrmann.  An old news blurb mentions he was signed to do the score, but he passed away before he could (or did he?).  [John Addison.]
    1977
  144. ????? --  David Bowie.  Bowie's site mentions in late 1977, he attended a screening for a film he was asked to score, but IMDB shows no scoring projects that early for him.  [?????.]
  145. THE DEEP --  John Williams.  An old news blurb mentioned that Williams would do the score.  [John Barry.]
  146. GULLIVER'S TRAVELS --  Peter Hunt mentioned in an interview that John Barry and Black had written a substantial amount, but when the film went into financial hiatus, and was effectively locked up, the whole project got shelved.  When the finance came back, Hunt contacted Barry and Black, but Barry had withdrawn his music by then.  Did he record anything though?  [Michel Legrand.]
  147. THE HILLS HAVE EYES --  Martin Heller.  An old news article reported he had been hired to score the film.  Hitchcock Media Records released the replacement score, they also released the replacement score to "The People Under the Stairs", and not the rejected score, so there's a chance Heller did his score.  [Don Peake.]
  148. MATI (AKA: BEYOND REASON) --  John Cacavas.  An old report stated Koch, one of the producers, had hired Cacavas to do the score.  [Robert Randles.]
  149. MIDNIGHT EXPRESS --  Vangelis.  In a DVD commentary, the director reveals he wanted Vangelis to score the film, but the studio felt otherwise; he points out now, Vangelis is famous (yet, for all 11 films later, he did not hire Vangelis).  [Giorgio Moroder.]
  150. PETE'S DRAGON --  Al Kaska & Joel Hirschoen.  An old news blurb said they were doing the songs, and score; the article was just lacking a more informative explination - the two did the songs and the general score, and Kostal did score arrangements.  [Irwin Kostal.]
  151. THE SENTINEL --  John Williams.  Supposedly backed out at the last minute.  [Gil Melle, R.I.P..]
  152. TWILIGHT'S LAST GLEAMING --  Frank DeVol.  Had to bow out at the last minute because of health issues, supposedly.  [Jerry Goldsmith.]
    1978
  153. THE FURY --  Bernard Herrmann.  Not rejected, but according to Varese Sarabande, "...would have been scored by the legendary Bernard Herrmann, if not for his untimely passing...".  [John Williams.]
  154. THE GREAT BRAIN --  Don Costa.  An old news blurb said he had been signed to do the score.  [Merrill B. Jenson.]
  155. KING OF THE GYPSIES --  Jimmie Haskell.  [David Grisman, Mike Marshall and John Carlini(additional); Jimmie Haskell (leftovers?).]
  156. SIX WEEKS --  Marvin Hamlisch.  An old news report said David Seltzer would being doing a film based on the Fred Stewarts book, and that Hamlisch was scoring it; based on the plot and checking IMDB, there is no film matching this; I have no idea if it was shelved or never made.  [Marvin Hamlisch?]
  157. SUPERMAN --  Jerry Goldsmith.
    EVIDENCE: 2001 - Richard Donner interview for the Special Edition DVD release of "Superman, The Movie".

    Richard Donner revealed that Jerry Goldsmith was in line to score the movie first but due to scheduling difficulties during 1977-78 had to pass on the assignment. John Williams also nearly missed out for the same reason and the project again was offered to Goldsmith. But further scheduling prevented Goldsmith working on the film and Williams was finally able to score it.
  158. SOLAMENTO NERO --  Goblin.  Supposedly a contractional dissagreement had them leave.  [Stelvio Cipriano.]
    1979
  159. ALIEN --  Howard Blake.  Ridley asked Blake if he wanted to score the film, but studio heads were planning otherwise....  [Isao Tomita.]
  160. ALIEN --  Isao Tomita.  Ridley wanted Tomita to score the film, the studio felt completely different, suggesting Goldsmith or Williams.  [Jerry Goldsmith, R.I.P.]
  161. ALL THAT JAZZ --  Allan Ferguson.  An old news blurb said he had been hired to score this.  [Ralph Burns.]
  162. THE BLACK STALLION --  Bill Russo.  [?????.]
  163. THE BLACK STALLION --  ?????.  In an interview, Walker tells the story:
    "You know, Carmine was not Carroll Ballard's choice as the composer. Carroll had hired a composer who was in academia.

    The man had his own notation system. I looked at it and thought, he isn't going to put this in front of a studio orchestra in Los Angeles and have it come out the way he thinks it's going to come out. He had this whole smoke-and-mirrors number because he was having trouble interfacing with the commercial work. And, in fact, the music of his that Carroll Ballard had heard and loved, when I heard it, I realized it was stuff that a harmonica player had improvised. Maybe we shouldn't remember this guy's name. So, he was out. Who was next? Oh, God, I wish I could remember the names. I'm so sorry that I can't. There was another composer who then came into the picture.

    But, ultimately, Carmine got the job. Carroll had struck out twice. Carroll arranged to have me work in the studio with Nyle Steiner, the creator of the Electronic Valve Instrument, improvising to picture under Carroll's direction. We would improvise stuff, refine it a little bit, record it to picture in Richard Beggs' studio, and then give it to Carmine to write into his film score. I was so stupid -- I didn't get it that there was absolutely no way that Carmine was going to like any of it or use any of it in what he wrote for the film score. We're talking territory here. That was sort of the beginning of a strain in my relationship with Carmine. (TS)

    Principally I was an orchestrator for Carmine. When his score was finished, Carroll Ballard then decided he was unhappy with certain elements of Carmine's score. He wanted to actually bring in another composer at that stage to do rewrites. Particularly the island portions of the film, where he was the most dissatisfied."

    [Carmine Coppola & Shirley Walker.]
  164. BREAKING UP IS HARD TO DO --  Richard Bellis  Arranged songs; never did a score.  [Gereld Fried.]
  165. BUTCH & SUNDANCE:  THE EARLY YEARS --  Jerry Goldsmith.  Script conflicts.
  166. THE CHAMP --  Marvin Hamlisch.  Song by Hamlisch. Did he write a rejected score -- he was hired?  [Dave Grusin.]
  167. THE CHINA SYNDROME --  Jack Nitzsche.  [Then Michael Small, then nobody went in and it went scoreless.]
  168. DOCTOR DEATH: SOUL SEEKER --  William Tasker.  An old news blurb mentions he was signed to do the score.  [Richard LaSalle.]
  169. ESCAPE TO ATHENA --  Jerry Goldsmith.  Script conflicts.
  170. THE GLOVE --  Robert O. Ragland.  Soundtrackcollector lists the score as not being used, yet IMDB still lists him.
  171. THE HOUSE ON GERIBALDI STREET --  ?????.  Just speculation, since Bernstein said in an interview he wrote the score in six days; typically schedules like this only happen when replacing a score.  [Charles Bernstein.]
  172. HURRICANE --  Bill Conti.  An old news blurb mentions he was doing the score; the picture was still being filmed.  [Nina Rota.]
  173. EISENHOWER (AKA: IKE: THE WAR YEARS, mini series) --  Leonard Rosenman, R.I.P..  An old issue of Bernstein's "Film Music Notebook" reports that this was one of hisnext assignments; the mini series was originally six hours, and cut down to four instead.  One would assume that at that poin, if he did a score, it no longer fit.  This would have been one of his next scores, if not the very next, after completing "Lord of the Rings" -- if that gives any idea of what it might have been along the lines of.  [Fred Karlin.]
  174. JUST YOU AND ME, KID --  Sammy Fain.  An old news blurb mentions the signing to do the score.  [Jack Elliot.]
  175. THE MAGICIAN OF LUBLIN --  Don Seltzer.  An old news blurb mentioned he was doing the score.  [Maurice Jarre.]
    1980
  176. AIRPLANE! --  Miklos Rozsa, R.I.P..  Was offered the film and read the script, but couldn't tell if it was a comedy or serious from reading it, and ultimately passed on it, but thought Bernstein did a good job.  [Elmer Bernstein, R.I.P..]
  177. CARNY --  Robbie Robertson.  Only did songs and was never engadged to do the score.  [Alex North.]
  178. THE CONTENDER (mini series) --  Leonard Rosenman, R.I.P..  [James Di Pasquale.]
  179. CURLILAND (AKA: WHY WOULD I LIE?) --  Billy Goldenberg.  An old news blurb mentioned he was doing the score..  [Charles Fox.]
  180. FLASH GORDON --  Pink Floyd.  [Howard Blake.]
  181. NIGHT OF THE JUGGLER --  Jerry Goldsmith.  Script conflicts.
    1980
  182. HIDE IN PLAIN SIGHT --  Michael Small, R.I.P..  An old news article in April the previous year, reports Small had been signed to score the film, and a listing on SoundtrackCollector.com says he had a score that wasn't used.  March 2, 2011, FSM released Rosenman's score; curious, I contacted Lukas; their search couldn't turn up Small having done one either.  Whomever you are out there that added that listing to SoundtrackCollector, if you know better or even have tapes/know someone who does, for Small, please contact me (see home/index page for e-mail).  [Leonard Rosenman.]
    1981
  183. ALL NIGHT LONG --  Dave Grusin.  An old article on the film stated Grusin was doing the music, and if you've read the various films she did on "Rejected", you know it's a problem if you are the first compsoer on any of her films...  [Ira Newborn, Richard Hazzard.]
  184. BODY HEAT --  Miklos Rozsa, R.I.P..  Was offered the film, but when he read the script, he found it "disgusting".  [John Barry.]
  185. THE COMING --  Arthur Kempel?  [Dana Kaproff]
  186. THE DEVIL AND MAX DEVLIN --  Marvin Hamlisch.  An old news blurb said Hamlisch was scoring the film.  [Buddy Baker.]
  187. HEARTBEEPS --  Ira Newborn.  An old article on the film stated Newborn was doing the music.  [John Williams.]
  188. KENT STATE (TV movie) --  Ken Lauber.  Director said he ultimately dropped about 92% of the composer's score since each time it was put to it, it made the film lose the documentary feel.  [Ken Lauber (leftovers).]
  189. LOOKER --  Jerry Goldsmith.  Script conflicts.
  190. OUTLAND --  James Horner.  Here is an interesting post I found.  Very interesting:  (I forget who made the post)
    In 1986 there was an interview published in "Start Trek: Movies Files - The Wrath of Khan" (Ed Gross - Files magazine ? 1986 By PSI FI Movie Press, inc.), in where the writer does a Q&A with Horner about his career and his score for the Trek films. At some point Horner mentions that he had done some work on the film "OUTLAND," commenting that it was his first "A" picture.  Here is a bit of the snipped interview where Horner talks about his contribution to "Outland".
    This part comes after having talked about his big break into film scoring with Roger Corman:

    "Ed Gross - Q: "Would you consider Corman to be your big break?"

    Horner: - A:  "I look at my career in terms of milestones. At the time I'm sure I felt it was an important advance. Then I did some work for Orion pictures on OUTLAND, which was my first "A" picture, if you consider that an "A" picture. It was my first big budgeted film. From there I did several other films, and I guess that my next big milestone was STAR TREK II. Now I've gone beyond that by doing such films as GORKY PARK, The DRESSER, UNCOMMON VALOR and TESTAMENT. Thank God I did TESTAMENT." "
  191. SPHINX --  Jerry Goldsmith.  Script conflicts.
  192. TRUE CONFESSIONS --  Bill Conti.  Supposedly the film got pushed back and Conti wasn't avaiable, scoring the Bond picture.  [Georges Delerue.]
    1982
  193. ANNIE --  Ralph Burns.  An old news blurb mentions he was signed to do the score.  [Charles Strouse.]
  194. DANCE OF THE DWARFS --  John Barry.  [Perry Botkin, Jr.]
  195. DEATHWISH II --  Isaac Hayes.  Page had two weeks to do his score, usually a sign a previous composer did their score...  [Jimmy Page.]
  196. GANDHI --  ?????.  In a recent bio on Fenton for a concert performance, the statement was Fenton was called in to score the film after the previous composer supposedly dropped out.  [George Fenton & Ravi Shankar.]
  197. GREASE 2 --  Charles Fox.  Appearently didnt' see eye-to-eye with the director.  [Louis St. Louis.]
  198. THE NEIGHBORHOOD --  John Cacavas.  [Richard Markowitz.]
  199. THE THING --  Jerry Goldsmith.  Decided to do "Poltergeist" instead.  [Ennio Morricone (who had most of his score dropped), then the director -- John Carpenter -- scored it.]
  200. TIR GOUPE --  Philippe Sarde.  A listing on SoundtrackCollector.com says so.  [Yvan Sullien, Hubert Rostaing.]
  201. YES, GIORGIO --  Jerry Goldsmith.  Script conflicts.
    EVIDENCE FOR 4 TO 9: March 4th 1981 - Jerry Goldsmith interview on OUTLAND by Allan Bryce.

    Allan Bryce:  "One of the more interesting of your telefilms was PURSUIT. Do you remember that one?"
    Jerry Goldsmith:  "That was the first time I worked with Michael Chrichton. It wasn't called PURSUIT in the States, it was called BINARY. (In fact it was based on Chrichton's novel BINARY, written under a pseudonym). I've since done COMA and THE GREAT TRAIN ROBBERY. I'm not doing LOOKER with him though, because I'm doing this picture now [OUTLAND], which is a direct conflict. I would be scoring LOOKER in three weeks if I had accepted it, whichis virtually impossible since I'm not done with this one yet. I will do his next film, CONGO." [Which Schaffner didn't film after all]
    Allan Bryce:  "Everyone thought you would be doing SPHINX."
    Jerry Goldsmith:  "That was a conflict also, with OMEN 3 - THE FINAL CONFLICT. I'm doing Schaffner's next picture, with Pavarotti." [YES, GIORGIO, which he obviously didn't]
    Allan Bryce:  "Will that mean you?re going to be writing a lot of opera?"
    Jerry Goldsmith:  "No, I don't think so -- the script's at home, I haven't read it yet."
    Allan Bryce:  "Sometimes you duck out of some films for various reasons... Can I try these on you? BUTCH AND SUNDANCE: THE EARLY YEARS?"
    Jerry Goldsmith:  "I did MAGIC for Fox instead."
    Allan Bryce:  "NIGHT OF THE JUGGLER?"
    Jerry Goldsmith:  "I took that but I didn't like the script. I liked the book, but that was something different."
    Allan Bryce:  "ESCAPE TO ATHENA?"
    Jerry Goldsmith:  "I didn't like the script for that either."
    1983
  202. LOVESICK --  Stanley Silverman.  Am told he didn't do a score.  [Philippe Sarde.]
  203. JAWS 3 --  John Williams.  Didn't, for what ever reason.[Alan Parker.]
  204. NEVER SAY NEVER AGAIN --  ?????.  In the book The Complete James Bond Movie Encyclopedia, which I do not have and am only using an excert from, the producer (Jack Schwartzman) was not happy with Legrand's score, and brought in another composer.  The excerpt does not name who, but says he had wanted James Horner, but Sean Connery vetoed that idea (coincidently just two years later Horner scored a film Connery starred in).  [Michel Legrand.]
  205. LAST RIVER TO CROSS/THE EIGHT (AKA: UNCOMMON VALOR) --  ?????.  Milius hired a composer, Katzenberg -- angry about not being consulted -- threw Milius off the Paramount lot, and refused to let the composer do a score.  Basil Poledouris was hired to score the film, and paid, but in spite of his working relationship with Milius, it doesn't necessarily mean he was the one the story refers to (if you know otherwise, please inform me).  A common title requested by Horner fans for release, the master tapes are currently missing.  [James Horner.]
  206. WARGAMES --  John Williams.  [Marvin Hamlisch.]
  207. WARGAMES --  Marvin Hamlisch.  Both composers were being considered for the score before Rubinstein, but as nothing was on the Intrada CD, my guess is neither did anything.  [Arthur B. Rubinstein.]
  208. WITHOUT A TRACE --  Bill Conti  [Jack Nitzsche.]
    1984
  209. BOLERO --  Alex North.  Did not like violent films and when offered to score the film, turned it down.  [Peter Bernstein.]
  210. MICKI + MAUDE --  Michel Legrand.  Supposedly became unavailable, but a song by him still appears in the film.  [Lee Holdridge.]
  211. OH, GOD! YOU DEVIL --  Mike Post.  A version of the film rental from Netflix (maybe the same version available everywhere else), still has Post credited; I was not able to see the film myself to find out what the credit reads.  [David Shire.]
  212. OXFORD BLUES --  George Romanis.  [John DuPrez.]
  213. THE TERMINATOR --  Tony Banks.  When in talks to score, Mr. Fiedel was told they had a British composer who would score the film for free; unknown to him was that Cameron had sent Banks a copy of the script, wanting him to compose, and that desperate for the work and experience, Banks was offering to take on scoring projects for free; ultimately Banks was tied up on "2010" (see "DEMOS") and had to turn down the film.  [Brad "BOOM BOOM Boom BA Boom" Fidel - CD.]
  214. TOP SECRET --  Elmer Bernstein - For some reason, this looks like one he probably did.  It just seems like something he would have been rejected from.  Plus, Jarre's score sounds like a replacement anyway.  [Maurice Jarre - CD.]
    1985
  215. A CHRISTMAS PRESENT--  Nick Bicat.  [Mark Isham.]
  216. BRAZIL --  Michael Kamen.  "...Brilliant orchestral, symphonic score...".  Supposedly a lot of his score was not used and replaced with songs to make it more "hip" to young people.  [Michael Kamen.]
  217. FLETCH --  Charles Gross.  This was nothing more than an inaccurate rumor that ended up being passed along until no one was sure.  [Henry Mancini.]
  218. FLETCH --  Henry Mancini, R.I.P..  [Tom Scott.]
  219. FLETCH --  Tom Scott.  Supposedly a noir styled score.  [Harold Faltermeyer.]
  220. JAGGED EDGE --  Brad Fiedel.  Was asked to rescore scenes in the film, but declined.  [John Barry.]
  221. THE GOONIES --  Jerry Goldsmith.  Since Varese Sarabande CD Club released Grusin's complete score in 2010 (as I write this, it has not sold out yet), and there's simply no way they would pass up a Goldsmith score, it then goes without saying Jerry did not do a score for the film, but "why" ... is still unknown.  [Dave Grusin.]
  222. LADYHAWKE --  Gerard Schurmann.  Originally going to score it, but the producers changed their mind; a mistake if you ask me...  [Andrew Powell.]
  223. LIFEFORCE --  James Horner.  Horner was the original choice, but he ended up not being available.  [Henri Mancini.]
  224. SWEET DREAMS --  Stanley Myers.  [Charles Gross.]
    1986
  225. CLUB PARADISE --  Van Dyke Parks.  Mansfield co-scored with Mr. Parks.  [David Mansfield.]
  226. ENTERTAINING ANGLES:  THE DOROTHY DAY STORY --  Elmer Bernstein, R.I.P..  Listed on imdb.com has having an "unused score".  I spoke to the film's director, and he said that Bernstein was in fact asked to score the film, but it soon became clear that his son would be doing most of the score, and he moved on to another composer.  So, I guess it should read: Peter Bernstein.  [Bill Conti, Ashley Irwin (additional).]
  227. FIREFIGHTER --  John Addison.  [Dana Kaproff.]
  228. NIGHT OF THE CREEPS --  Elmer Bernstein, R.I.P..  Was going to score it and use the ondes martenot, but for what ever reason he didn't score it.  [Barry De Vorzon.]
  229. SALVADOR --  ?????.  The composer on the film originally, quit and so Stone hired Delerue --- whom he had worked with before (which begs the question: why not hire Delerue in the first place?).  [Georges Delerue, R.I.P..]
  230. THERESE AND ISABELLE --  Georges Delerue, R.I.P..  Was hired to score the film, but some kind of personal problem arose and he had to back out.  [Georges Auric.]
  231. THE TRIAL OF THE TIME LORD (AKA: Mindwrap -- Doctor Who) --  Dick Mills.  [Richard Hartley.]
  232. WHEN THE WIND BLOWS --  David Bowie.  Was asked to score the film, but appearently -- from what I read -- he was in too poor of shape from a bad drug habit.  [Roger Waters (of Pink Floyd).]
    1987
  233. FLOWERS IN THE ATTIC --  David Shire.  Was originally going to hire him, but for what ever reason supposedly didn't.  [Christopher Young.]
  234. EXTREME PREJUDICE --  RY Cooder.  [Jerry Goldsmith.]
  235. THE SECRET OF MY SUCCESS --  John Williams? [David Foster.]
  236. QUICKSILVER --  Thomas Newman.  Credited with additional music at the end of the film; no word on whether that was leftovers from a rejected score, or just supplementing.  [Tony Banks; Thomas Newman (aditional; leftovers?).]
    1988
  237. CASUAL SEX? --  Carter Burwell.  Listed on SoundtrackCollector.com as "(score not used)".  [Van Dyke Parks.]
  238. CHILL FACTOR --  John Tatgenhorst.  [John Ross.]
  239. THE DECIEVERS --  Richard Robbins.  The director wanted/possibly hired him, but there were disputes over who would do the score; ultimately I don't know if Robbins did or did not.  [John Scott
  240. FRIDAY THE 13TH PART VII: THE NEW BLOOD --  Harry Manfredini.  Not rejected, but unavailable.  [Fred Mollin with music from Manfredini's scores to Parts 1, 2, 5, & 6]
  241. LITTLE NIKITA --  James Horner.  [Marvin Hamlisch.]
  242. MYSTIC PIZZA --  Barry Coffing.  [David McHugh.]
  243. NIGHTMARE AT NOON --  Author Kempel, R.I.P..  According to record producer, offender extraordinaire, Ford A. Thaxton, Kempel was the first composer and made him "music supervisor"; Ford retains the credit (even on IMDB), though he was not involved with the final score.  And he hasn't exactly corrected it either, so...  [Stanley Myres & Hans Zimmer.]
  244. POLTERGEIST III --  Jerry Goldsmith.  Before he found out the budget.  [Joe Renzetti.]
  245. TUCKER: A MAN AND HIS DREAM --  John Williams.  Originally doing the score.  [Leonard Bernstein.]
  246. TUCKER: A MAN AND HIS DREAM --  Leonard Bernstein.  Hired and were discussing it (Bernstein even brought up being careful about it, lest another "Apocolypse Now"), but the studio interfered; Bernstein had written one song, I understand, before being shoved out.  [Joe Jackson.]
  247. SCROOGED --  John Williams.  A listing of scores recently recorded (London Symphony Orchestra; Elfman used the Hollywood Symphony Orchestra), had this among it; all the other entries were accurate; surely this can't be right...  [Danny Elfman.]
  248. SHERLOCK AND ME (AKA: WITHOUT A CLUE) --  John Williams.  A listing of scores recently recorded listed this amongst the titles (London Symphony Orchestra).  [Heny Mancini, R.I.P..]
    1989
  249. A GRAND DAY OUT WITH WALLACE AND GROMIT --  ?????.  In an interview, Nott says someone else was going to score it.  [Julian Nott.]
  250. THREE FUGITIVES --  Charles Gross.  David McHugh, the final composer on the project, was replaced by Gross.  Then they decided they wanted McHugh again...  [RY Cooder.]
  251. THREE FUGITIVES --  RY Cooder.  Once again they replaced McHugh and asked RY Cooder, but Cooder wasn't available and turned it down.  [David McHugh.]
  252. MISS FIRECRACKER --  Composer/Music Editor Joseph S. DeBeasi was Music editor on the rescore, but imdb.com lists two composers, not saying who did which.  I tried DeBeasi at his website and he didn't reply.  It's either Homer Denison or David Mansfield.  I've had success reaching Mansfield, so I will try him again.  [?????.]  Bad choice of words is all; Mansfield wasn't available for some changes and Denison came in and provided a little etra help.
  253. ONE FOR SORROW, TWO FOR JOY (AKA: Signs of Life) --  Richard Einhorn.  In a 1989 Soundtrack! magazine interview, he says he's just been hired to score the film, and about what the score will be, he says: "The score will be a real change of pace: all of it will be Portuguese music!".  I contacted Mr. Einhorn and he said he did not do a score in the end.  [Howard Shore.]
  254. THE RED KING, WHITE KNIGHT (TV movie) --  ?????.  Speculation, as Scott said he wrote the score in ten days, a schedule that usually only happens when replacing another score.  [John Scott.]
  255. TO KILL A PREIST --  Zbignew Preisner.  [Georges Delerue, R.I.P..]
  256. TURNER & HOOCH --  James Horner.  [Charles Gross.]
  257. WHY ME? --  Basil Poledouris.  [Phil Marshall.]
    1990
  258. CHILD'S PLAY 2 --  Danny Elfman.  Supposedly, he was unhappy with the finished film.  Don't know how far he got, but he at least wrote a theme; Revell took the job on the condition that he could use it.  Note from me, Justin:  There is a boot that has Elfman's recorded theme.  [Graeme Revell.]
  259. DANCES WITH WOLVES --  Peter Buffet.  In his 2010 book, Buyffet explains Coster asked him if he would want to score the film, but Buffest elaborates he didn't actually know how to score and didn't know any of the basics, and contacted some composers/orchestrators for a crash course, but the studio nixed him; the "Firedance" cue in the film, on the two Barry scores CDs, is a piece writen for the film afterwards, at Costner's behest (which Barry did not want on the CD).  [Basil Poledouris.]
  260. DANCES WITH WOLVES --  Basil Poledouris.  Backed out to score FLIGHT OF THE INTRUDER.  [John Barry.]
  261. DICK TRACY --  Stephan Sondheim.  Was asked to score the film on top of doing some songs, but turned down the offer to score it.  [Alan Silvestri.]
  262. DICK TRACY --  Alan Silvestri.  In an book where he was interviewed, it said he had already started work on the score.  Silvestri also mentions not having a score rejected up to that point, so if he recorded for this -- it would be his first rejected score.  [Danny Elfman.]
  263. EXORCIST III --  Christopher Young.  The film was re-cut heavily and DeVorzon's score was going to be replaced, for a good while, but the budget did not allow for it, and Young backed out (I am assuming he did not write anything either).  [Barry DeVorzon.]
  264. HOME ALONE --  Bruce Broughton.  Supposedly a scheduling conflict with "Rescurers Down Under" that ran a month over and Broughton turned it down.  [Jonathan Sheffer.]
  265. HOME ALONE --  Jonathan Sheffer.  fter Broughton, Sheffer was picked, but when Williams expressed interest...  [John Williams.]
  266. LES ENFANTS DU PARADIS (AKA: Lacenaire) --  Georges Delerue, R.I.P..  In an Soundtrack! magazine interview, Delerue says he might score the film.  [Laurent Petitgirard.]
  267. LIONHEART --  ?????.  Another speculation on my part because someone said Scott did the score is less than two weeks.  [John Scott.]
  268. MOON 44 --  Christopher Young.  Turned it down for unknown reasons.  [Another composer, then Joel Goldsmith.]
  269. TIE ME UP! TIE ME DOWN! --  Miles Davis.  The director states in an interview he wanted Davis (doesn't state if that happened), and only hired Morricone because he was available, and also says all Morricone did was rip his theme off from "Frantic", and mentiones he only used half of Morricone's score.  [Ennio Morricone.]
  270. TOTAL RECALL --  Basil Poledouris.  Basil once said:
    "BP: When Paul asked me to score Total Recall I had already The Hunt For Red October. It nearly killed me but I had to refuse the assignment, as I don't score two films at once feeling it to be a great disservice to both pictures. His choice of Jerry was perfect and Jerry has provided him with wonderful soundtracks. Paul is loyal but is willing to cast composers like he would any other of his films. He once told me that he utilized Jerry for a more intellectual approach and me for a more emotional approach. It made perfect sense at the time and still does."
    But the problem with this being that these films were seperated by two or three years, and Basil was on TR for at least six months.  Conflicting.  [Jerry Goldsmith.]
    1991
  271. BACKDRAFT --  James Horner.  Wanted Horner, but supposedly Horner wasn't available; Zimmer says it was always him onboard.  [Hanzi Zimmer.]
  272. HIGHLANDER II: THE QUICKENING --  Ennio Morricone.  In a 1990 Soundtrack! magazine assignments listing, this is listed; all other assignemtns listed were accurate except one film which never got made (sorry, Elfman).  [Stewart Copeland.]
  273. LIVIN' LARGE! --  Kurt Farquhar.  An old article says he had scored it.  [Herbie Hancock.]
  274. RETURN TO BLUE LAGOON --  Gary Chang.  [Basil Poledouris.]
  275. SUPER MARIO BROS. --  Jerry Goldsmith.  Back when the film was being directed by Greg Beeman, Goldsmith had been signed on to score it.  The film came out in 1993, and was directed by somebody else.  [Alan Silvestri.]
  276. TRUE COLORS --  Georges Delerue, R.I.P..  In an Soundtrack! magazine interview, Delerue says he would be scoring the film.  [Trevor Jones.]
    1992
  277. CITY OF JOY --  Richard Blackford.  Provided additional scoring, not for Morricone, but was never the full comopser for the film.  [Ennio Morricone.]
  278. THE DEAD LIQUER --  Stamatis Spaanoudakis.  [Nikos Kypourgos.]
  279. 1492 --  John Barry.  Supposedly was asked to score it; no idea what happened.  [Hans Zimmer.]
  280. 1492 --  Hans Zimmer.  Said in an interview he was signed to score it.  [Vangelis.]
  281. INDIANA JED (Video) --  ?????  [imdb.com lists David Wurst, Marc & Michael Linn as doing the new score.  Reused cues from David's library.]
  282. MIDDLE AGES (mini series) --  James Newton Howard and/or Jack Nitzsche?  [James Newton Howard and/or Jack Nitzsche?]
  283. NEWSIES --  Alan Menken & Jack Feldman.  [J.A.C. Redford.]
  284. SCENT OF A WOMAN --  Danny Elfman.  Appearently the recent Elfman Box states in the linear notes that Elfman was going to do the film, but turned it down, and suggested a composer he was a fan of, Thomas Newman.  [Thomas Newman.]
  285. TRESPASS --  James Horner.  [John Zorn (rejected), then RY Cooder.]
    1993
  286. A BRONX TALE --  Bobby Watson.  As reported by FSM.  [Butch Barbella.]
  287. BENNY AND JOON --  ?????  Someone posted at a board mentioning that the Special Edition LaserDisc had as an option, an alternate score that was rejected.  I do not know who, but imdb.com lists Charlie Reid.  I have no confirmation.  [Rachel Portman.]
    The LaserDisc features an option to see a different version of the film, or something like that and the beginning of the film uses Portman's un-used score piece, which was replaced by the song "500 Miles".  They say it's a wonderful cue too.  Maybe more.
  288. FALLING DOWN --  Graeme Revell.  I went ahead and checked his imdb.com listing and 1993 films.  He did 7.  I can only now assume it was a scheduling conflict.  Unless he was just that good.  [James Newton Howard.]
  289. HOCUS POCUS --  .  James Horner.  "Sara's Theme" is credited to Horner, who was the original composer (no idea if he went any further); when he couldn't do the score, he initially suggested somebody else.  [Rachel Portman.]
  290. HOCUS POCUS --  Rachel Portman.  Eventually Portman turned the film down, unable to figure out how to meet the scoring needs.  Again, Horner suggested Debney..  [John Debney.]
  291. THE NIGHTMARE BEFORE CHRISTMAS --  Giorgio Mororder.  [Danny Elfman.]
  292. ROMEO IS BLEEDING --  In an interview, Michael Kamen said he didn't.  [Mark Isham.]
  293. SLEEPLESS IN SEATTLE --  John Barry.  Offered the movie, read the script, was going to do, but according to himself in an FSM interview, found out there was a music supervisor attached; inquired about the song use, found out there was 20 pages of songs to be used, dropped out.  [Marc Shaiman.]
  294. SWING KIDS --  Jerry Goldsmith, R.I.P..  Supposedly a scheduling conflict.  [Georges Delerue, R.I.P..]
  295. SWING KIDS --  Georges Delerue, R.I.P..  Started writing the score, but passed away.  [James Horner.]
  296. THE VANISHING --  Carly Simon.  Simon was asked, but he had no interest in scoring movies at that time, again.  [Jerry Goldsmith.]
    1994
  297. A LOW DOWN DIRTY SHAME --  Bill Conti.  [Marcus Miller.]
  298. ANGIE --  Elmer Bernstein, R.I.P..  In a 1993 interview, Bernstein said this was his next film, working again with the director.  Appearently Bernstein was assuming he would, as I am told he was never going to score this film, and Goldsmith was the only choice.  [Jerry Goldsmith, R.I.P..]
  299. COPS AND ROBBERSONS --  Bill Conti.  [Alan Silvestri.]
  300. COPS AND ROBBERSONS -- Alan Silvestri.  Was hired to score the film.  [William Ross.]
  301. THE CLIENT --  Hans Zimmer.  Someone asked me if it was true if Zimmer had rejected stuff and was replaced by Shore.  Don't know.  And now someone else has asked that.  [Howard Shore]
  302. CLIFFORD --  Howard Shore.  Was never on the film; old magazine listing was incorrect.  [Richard Gibbs.]
  303. THE CRUSADES (TV movie) --  Jerry Goldsmith.  [Jose Nieto.]
  304. ED WOOD --  Henry Mancini.  [Howard Shore.]
  305. M.A.N.T.I.S.: "Pilot" --  Terence Blanchard.  Blanchard was originally announced as the composer for the pilot, even joking in an interview he had no idea who the director was, but he was flying out to score it.  [Joseph LoDuca.]
  306. M.A.N.T.I.S.: "(unknown episode; possibly the Pilot)" --  Shirley Walker, R.I.P..  Walker's website used to list this was being a score that wasn't used; it has been since amended and just shows the credit only.  She is not credited with any episode score. [Since I don't know which episode, I can't name the replacement composer; series composers: HERE.]
  307. MILK MONEY --  Richard Robbins.  [Michael Convertino]
  308. MY BEST FRIEND'S WEDDING --  Alan Silvestri.  Was attached (don't know if officially) for at least four months.  [James Newton Howard.]
  309. THE JUNGLE BOOK --  Jerry Goldsmith.  The film was delayed and Jerry moved on, ironically, to Judge Dredd, after Dredd went through two composers.  [Bruce Broughton.]
  310. THE JUNGLE BOOK --  Bruce Broughton.  According to a magazine article (which I'll have later), he was working on the score.  Hopefully the article will clear up whether he recorded it.  [Basil Poledouris.]
  311. PONTIAC MOON --  In an interview, Michael Kamen said he didn't.  [Randy Edleman.]
  312. READY-TO-WEAR --  Thomas Newman.  [Michael Legrand.]
  313. SONIC THE HEDGHOG 3 --  Michael Jackson.  Was hired to do the game, but the child molestations news broke. 
  314. SPEED --  Michael Kamen, R.I.P..  The studio was trying to hire Kamen, after Mancina was hired; no idea if they succeeded.  [Jerry Goldsmith (rejected), then Mark Mancina.]
  315. SUGAR HILL --  Jack Nitzche, R.I.P..  [Terrance Blanchard.]
  316. THE OUTLAWS:  LEGEND OF O.B. TAGGART --  Larry Gatlin.  [David Mansfield.]  Gatlin and the other guy did songs; no rejected score.
  317. THE QUICK AND THE DEAD --  Trevor Jones.  Was fired; don't know if he recorded anything.  [Alan Silvestri.]
  318. THE RIVER WILD --  Trevor Jones.  In an interview, Jarre states Jones was on the project, but didn't record anything.  [Maurice Jarre.  Rejected.  Then Jerry Goldsmith.]
  319. WOLF --  John Williams.  As reported by FSM.  [Ennio Morricone.]
    1995
  320. BABY'S DAY OUT --  Jerry Goldsmith, R.I.P..  As reported by FSM.  [Bruce Broughton.]
  321. CASINO --  Elmer Bernstein, R.I.P..  An old news blurb mentioned he was doing the score.  [No original score.]
  322. CONGO --  James Newton Howard.  Was hired to do the score, but supposedly had to back out over a conflict with another score.  [Jerry Goldsmith.]
  323. COPYCAT --  James Newton Howard.  As the director puts it: "Several weeks into the process, he unceremoniously dumped our movie because he had been offered a large sum of money to do the score for Waterworld.".  [Christopher Young.]
  324. FIRST KNIGHT --  Maurice Jarre.  [Jerry Goldsmith.]
  325. FREE WILLY 2 --  Nathan Wang.  [Basil Poledouris.]
  326. GOLDENEYE --  Elliot Goldenthal.  This was a false rumor and Goldenthal was never involved.  [Robert Folk.]
  327. GOLDENEYE --  Robert Folk.  [Eric Serra.]
  328. THE GRASS HARP --  John Barry.  Studio interference; the studio didn't think Barry was right for the job and never hired him.  [Elmer Berstein.]
  329. THE GRASS HARP --  Elmer Bernstein, R.I.P..  Just heresay, as Bernstein was never onboard.  [Patrick Williams.]
  330. THE JOURNEY OF THE AUGUST KING --  Carter Burwell.  [Stephen Endelman.]
  331. LORD OF ILLUSIONS --  Christopher Young.  "creative differences"  [Simon Boswell.]
  332.  MONEY TRAIN --  Brad Fiedel.  FSM reported in an old issue the same story they did with "Sgt. Bilko": the previous composer wasn't avaiable because of a scheduling conflict, and Fiedel was taking over; while Mr. Fiedel had worked for the director before, this news from FSM was false and he was never onboard or in talks.  [Mark Mancina.]
  333. OPERATION DUMBO DROP --  Basil Poledouris.  [David Newman.]
  334. POWDER --  Bennett Salvay.  Not that I'm not glad he chose Jerry instead.  [Goldsmith.]
  335. SHOWGIRLS --  Jerry Goldsmith.  [David A. Stewart & Rena Riffel.]
  336. THE SCARLET LETTER --  Ennio Morricone.  (Before Bernstein).  [John Barry.]
  337. SOMETHING TO TALK ABOUT --  Randy Newman.  [Hans Zimmer, Graham Preskett.]
  338. TWELVE MONKEYS --  George Fenton.  [Paul Buckmaster.]
  339. THE USUAL SUSPECTS --  ?????.  [John Ottman.]
  340. THE VIKING SAGAS --  George Fenton.  [George S. Clinton.]
  341. WAITING TO EXHALE --  Quincy Jones.  [Kenneth Edmonds.]
    1996
  342. A TIME TO KILL --  Jesse Johnson.  Singer/songwriter Johnson has occassionally broken into film scoring.  [Elliot Goldenthal.]
  343. THE CRAFT --  Thomas Newman  [Graeme Revell.]
  344. DRAGONHEART --  Jerry Goldsmith.  See post HERE.  [Randy Edelman.]
  345. EXECUTIVE DECISION --  Basil Poledouris, R.I.P..  An old news blurb mentioned he was doing the score.  [Jerry Goldsmith.]
  346. FAITHFUL --  David Newman.  As reported by FSM.  [Phillip Johnston.]
  347. THE GHOST AND THE DARKNESS --  David Newman.  BMI or ASCAP lists cues for Newman, but I am unaware of any stock music in the film being by him.  [James Newton Howard.]
  348. THE GHOST AND THE DARKNESS --  James Newton Howard  According to Alex Kitman Ho, Howard never got to do the score because there was a conflict with his agency and the money.  Kitman wanted Howard and not Goldsmith..  [Jerry Goldsmith.]
  349. THE JUROR --  John Barry (FSM reported this).  [James Newton Howard.]
  350. HOMEWARD BOUND 2 --  Joel McNeely (FSM reported this).  Broughton, I am told, was on the film from the get-go, and that McNeely was never involved, but this was a mistake on the part of the person I spoke with, because McNeely was onboard before that person, and was going to score it but didn't in the end.  [Bruce Broughton.]
  351. MARS ATTACKS! --  Howard Shore.  Did not record a score.  [Danny Elfman.]
  352. MISSION: IMPOSSIBLE 1 --  Ryuichi Sakamoto.  Was aksed to score the film (later doing "Snake Eyes" for the director), but was busy; the directo asked him to drop whatever he was doing and score the film anyway, but Sakamoto declined.  [Alan Silvestri (rejected), then Danny Elfman.]
  353. MOJAVE MOON --  Scott Grusin.  [Johnny Caruseo.]
  354. NICKLE AND DIME (AKA: LARGER THAN LIFE) --  Mark Isham (FSM reported this).  [Miles Goodman, R.I.P..]
  355. THE ISLAND OF DR. MOREAU --  Wojciech Kilar.  [Then Zbigniew Preisner (who did), then Gary Chang.]
  356. LA CELESTINA --  Ennio Morricone.  [Patrick Doyle.]
  357. LA CELESTINA --  Patrick Doyle.  [Alejandro Masso.]
  358. LOCH NESS --  Rachel Portman.  As reported by FSM.  Supposedly production took longer than needed and when it was tiem for Portman to do her score, she wasn't available (isn't that what a contract is for?); I don't rule out that she may have done demos though.  [Trevor Jones.]
  359.  MARIETTE IN ECSTASY --  George Fenton.  Fenton was the initial choice of composer and was going to do the score, but production went on far longer than expected and when it was time for the score, Fenton was not available.  [Leonard Rosenman, R.I.P..]
  360. THE PROTRAIT OF THE LADY --  Michael Nyman.  [Woljciech Kilar.]
  361. PRIMAL FEAR --  Thomas Newman.  [James Newton Howard, J. Peter Robinson (additional).]
  362. THE QUEST --  Woljciech Kilar.  [Randy Edleman.]
  363. THE ROCK --  ?????.  Wasn't working out.  [Others.]
  364. TRIGGER EFFECT --  Jerry Goldsmith.  There was supposedly a bootleg for download from illegal file sharing programs, but someone downloaded it and informned me it's nothing more than his "2 Days In the Valley".  [James Newton Howard.]
  365. WHITE SQUALL --  James Horner.  [Vangelis.]
  366. WHITE SQUALL --  Vangelis.  Did not according to Ridley Scott.  [Jeff Rona.]
    1997
  367. A FURTHER GESTURE --  Three composer are associated with the film and I don't know who the final composer was: Shaun Davey / Harald Kloser / John M. Keane (not the same Keane from CSI).  [?????.]
  368. A SIMPLE WISH --  John Barry.  [Bruce Broughton.]
  369. CATS DON"T DANCE --  Randy Newman.  Was doing the songs and score, but only the songs were still in the film; don't know if he did the score.  (FSM reported this).  [Steve Goldstein.]
  370. COMMANDMENTS (TV mini series) --  Danny Elfman.  [Joseph Vitarelli.]
  371. COP LAND --  Terrence Blanchard.  Blanchard stated in an interview he was asked to do the score, and met with the direcore and saw the film; he then said he went on to describe how he saw the film, being in four different parts, and how the scoring should go, and that the director had this blank look on his face.  The director admitted later, he was surprised Blanchard "Got it", and was surprised by the comments, so this begs the question: why did Shore score the film, and not Blanchard?  [Howard Shore.]
  372. THE 18th ANGEL --  Simon Boswell.  MovieMusicUk interview where Boswell taks a bit about it what happened.  In an interview I did with him (see Interviews page), he said it was not recorded.  [Starr Parodi & Jeff Edan Fair - a promo of score exists.]
  373.  FACE/OFF --  Hanzi Zimmer.  [Mark Isham (rejected), then: John Powell.]
  374. HOME BEFORE DARK --  Mason Daring.  Mason was too busy and recommended Cowen.  [Jeanine Cowen.]
  375. HOPE --  Dave Grusin.  [Steve Porcaro.]
  376. LA CONFIDENTIAL --  Elmer Bernstein.  [Jerry Goldsmith.]
  377. THE SAINT --  Maurice Jarre.  Contacted the director, Phillip Noce, and he said Jarre was never involved..  Yet Revell's score sounds like a CLEAR replacement score to me.  [Graeme Revell.]
  378. STARSHIP TROOPERS --  Jerry Goldsmith.  [Basil Poledouris.]
  379. THAT OLD FEELING --  Marc Shaiman.  An old news blurb mentioned he was doing the score.  [Patrick Williams.]
  380. THE WRONG GUY --  Steven Page (of The Bare Naked Ladies).  Apparently Dave Foley was talking to them about it, but the studio wanted a name composer.  The BNL did a song for the film, though.  [Lawrence Shragge.]
    1998
  381. A BUG'S LIFE --  Bruce Broughton.  [Randy Newman.]
  382. A CIVIL ACTION --  Ennio Morricone.  [Danny Elfman.]
  383. BLACK CAT RUN (TV movie) --  Hummie Mann.  Was set to score it, as FSM also listed.  [Jeff Rona.]
  384. CAN'T HARDLY WAIT --  IMDB lists both David Kitay and Matthew Sweet -- both recorded scores.  Film came on TV, both compsoers are credited together.  [David Kitay & Matthew Sweet.]
  385. EATING L.A. --  Brice Martin.  [Rick Butler, Randall Derchan, & Matthew Solomon.]
  386.  DANCING AT LUGHNASA --  Zbigniew Preisner .  [Bill Whelan.]
  387. DEAD MAN ON CAMPUS --  Dust Bros..  Was set to score it, as FSM also listed.  [Mark Mothersbaugh.]
  388. DEEP IMPACT --  Hanzi Zimmer.  [James Horner.]
  389. ENEMY OF THE STATE --  Hans Zimmer.  [Harry Gregson-Williams, Trevor Rabin, Tim Heintz (additional), Paul Linford (additional).]
  390. MULAN --  Rachel Portman.  FSM reported this as far back as January 1996.  Portman claims she didn't have time, with the birth of her child, but she was also doing "Dangerous Beauty", and she recorded score for that, so ... plus she had time before.  [Jerry Goldsmith.]
  391. ONE HELL OF A GUY (TV Movie) --  Russ Landau.  [Michael Whalen.]
  392. ORGAZMO --  The Dust Bros.  [Paul Robb.]
  393. RONIN --  Jerry Goldsmith, R.I.P..  Faced with a film full of car chases, Goldsmith didn't know what to do for it, so turned it down.  [Elia Cmiral.]
  394. HEART OF THE STORM --  Larry Groupe.  Pushed back to 2004.  [Richard Bellis.]
  395. THE TRUMAN SHOW --  Philip Glass.  Received and "additional" credit, but is said to have recorded a full score.  Kilar was also on the project at some point.  [Burkhard Van Dallwitz]
  396. QUEST FOR CAMELOT --  David Newman  While FSM listed it for Newman, the director said Newman wasn't onboard.  I am told in an old issue of FSM, it's mentioned that Doyle -- still in the hospital from Lukemia, did the score from his hospital bed.  [Patrick Doyle.]
  397. SHAKING ALL OVER --  David May.  Was set to score it, as FSM also listed.  [Larry Groupe.]
  398. THE UNKNOWN CYCLIST --  Hummie Mann.  Was set to score it, as FSM also listed.  [Donald Markowitz, Sydney Forest.]
  399. THE VELOCITY OF GARY --  Harry Gregson-Williams.  Decided to help score "Ants" instead.  [Peitor Angell.]
    1999
  400. ANALYZE THIS --  Trevor Jones.  IMDB used to report it.  [Howard Shore.]
  401. ANIMAL FARM --  Trevor Jones.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  [Richard Harvey.]
  402. THE BEST MAN --  Terence Blanchard.  [Stanley Clarke.]
  403. BICENTENNIAL MAN --  John Williams.  Left the project to score THE PHANTOM MENACE.  Now, though not clear, I have heard Williams actually started recording some before he "left".  [James Horner.]
  404. BUDDY BOY --  Michael Brook.  FSM reported him as the composer.  IMDB shows him, Brian Eno, and Revell.  I have no idea what kind of mess was created here.  [Graeme Revell.]
  405. 8MM --  Elliot Goldenthal.  [Danna.]
  406. END OF DAYS --  Mark Isham  Wanted Isham, but he was scoring another film.  [John Debney.]
  407. FANTASIA 2000 --  Bruce Broughton  [Classical music and one original piece.]
  408. FIGHT CLUB --  Howard Shore.  [Dust Brothers.]
  409. HOOF BEETS (Later RUNNING FREE) --  Danny Elfman.  FSM reported it, and SoundtrackCollector.com has him as a rejected score.  [Nicola Piovani.]
  410. THE IRON GIANT --  Danny Elfman.  [Michael Kamen.]
  411. THE IRON GIANT --  John Williams.  Both were being considered.  [Michael Kamen.]
  412. THE IRON GIANT --  Nicholas Pike.  There is a promo CD with two demo cues for it [4:43].  [Michael Kamen.]
  413. JAKOB THE LIAR --  (From another site) Zbigniew Preisner.  All of a sudden, Preisner was gone and king of the re-writes Edward Shearmur was brought in to score Robin Williams' shameless cash-in on the Life Is Beautiful style World War 2 comedy genre. Never saw the film, never heard either score, but you can bet there would have been lots of pauses in Preisner's.  [Edward Shearmur.]
  414. JESUS: THE EPIC MINI SERIES --  Ennio Morricone.  In an old interview they asked Williams about Morricone being before him, and he didn't know about it; Morricone had worked with the director before.  I seem to recall some listings saying Morricone provided the theme (maybe the only retained piece?).  [Patrick Williams.]
  415. KIMBERLY --  Larry Groupe.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  [Basil Poledouris with additional music by Eric Colvin.]
  416. LIGHT IT UP --  Quincy Jones III (son).  FSM listed this in the "Upcoming Assignments" section.  [Harry Gregson-Williams, John E. Rhone(?).]
  417. LOVE STINKS --  Ira Newborn.  Vol. 4, No. 3 of FSM listed this in the "Upcoming Assignments" section, but in the end Newborn did not do any score.  [Bennett Salvay.]
  418. MAN ON THE MOON --  Thomas Newman.  According to CineMusic.net, September 17.  [Norman Henry Mamey, Mike Mills, Michael Stipe (R.E.M.).]
  419. MICKEY BlUE EYES --  Joseph Vitarelli.  MMUK had reported back then: "Before either Basil Poledouris & Wolfgang Hammerschmid came together to write the music for Hugh Grant's gangster comedy, young New Yorker Joe Vitarelli was attached to this project -- something of a departure for a composer with a track record that includes thrillers such as The Last Seduction. No one really knows how much music Vitarelli wrote before he was dumped, but it couldn't have been much worse than the banal Nino Rota pastiches the film was ultimately saddled with."; Vitarelli did in fact write score, but it ended up not making it to the recording stage as the film sufferend problems with folks in charge butting heads.  [Two other composers -- both of which rejected (See "Rejected" page), then finally Basil Poledouris.]
  420. A MIDSUMMER NIGHT'S DREAM --  Ennio Morricone.  [Wojciech Kilar.]
  421. A MIDSUMMER NIGHT'S DREAM --  Wojciech Kilar.  An unusual choice in the first place, Kilar's could have turned Shakespeare's light and summery comedy of errors into something more approaching Greek tragedy, but it would have been interesting to hear. Simon Boswell eventually worked on this project, and made a great job of it.  (Listed in his "Other works" IMDB page as "unused", but I have completely failed in a way to reach him).  [From MMUK]
  422. MAGNOLIA --  Aimee Mann.  Was set to score it, as FSM also listed.  [Jon Brion.]
  423. MY FAVORITE MARTIAN --  Joel McNeely.  There is a demo CD-R, but it's unclear as to whether this is a compilation for submission, or an actual rejected score.  [John Debney.]
  424. MY FRIEND PAUL --  Tom Waits.  The director said Waits did the score, in an old bio about the film before it opened.  [Robert Musso.]
  425. MUPPETS IN SPACE --  Richard Gibbs.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  Was never on the film; old magazine listing was incorrect.  [Jamshied Sharifi with additional music by Rupert Gregson-Williams.]
  426. ONEGIN --  Zbiganew Preisner.  According to somebody who worked on the film, the choice of composer had come down to him, Anne Dudley, and the used composer; the director said she consulted an "oracle" on the composer, and Presiner was the winner.  The "oracle" later turned out to be her dead mother.  No word on whether Preisner did anything...  [Magnis Fiennes.]
  427. PLUNKETT & MACLAINE --  Trevor Jones.  [Craig Armstrong.]
  428. TEACHING MRS. TINGLE --  Christopher Young.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  Not sure how far he got, but somebody on eBay claimed to have a bootleg of Young's rejected score.  [John Frizzell.]
  429. THE 13th WARRIOR --  Lisa Gerrard.  [Eventually went to Goldsmith]- Did vocals for Revell's score, but didn't do her own -- at least, that's what I am told.
    2000
  430. A TASTE OF SUNSHINE --  Hans Zimmer.  Jarre was the initial composer, then Zimmer took over, then they went back with Jarre.  [Maurice Jarre.]
  431. THE ADVENTURES OF ROCKY & BULLWINKLE --  Michael Kamen.  As someone said in a moviemusic.com post, Kamen confirmed he was still scoring the movie, but that doesn't necessarily mean he recorded anything, though if you look at all the orchestrators Mark used (Not all of which are credited on imdb.com), I think that says something about how many people ghostwrote...   [Mark Mothersbaugh.]
  432. AFFECTION --  Graeme Revell.  Released later in 2002 with a different composer.  [.]
  433. AMERICAN PSYCHO --  Danny Elfman.  Was on the project.  [John Cale.]
  434. BEDAZZLED --  George Fenton.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  [David Newman.]
  435. CHOCOLAT --  Luis Bacalov.  Portman was the first composer, but for reasons not fully disclosed, she was dropped and they went to Luis -- whom they had scratched off the list of potential composers earlier; Mr. Bacalov played some beautiful piano ideas (unsure if they were recorded) but ultimately Portman was brought back in before Bacalov recorded any of his score.  [Rachel Portman.]
  436. THE CONTENDER --  Trevor Rabin.  [Larry Groupe.]
  437. DOLPHINS --  Sting.  Besides the song.  [Steve Wood.]
  438. THE FAMILY --  David Holmes & Primal Scream (Andrew Innes).  I have no idea what happened to the film, if it wasn't shot, or got shelved, but Don Murphy and Susan Montcord were directing.  [.]
  439. HIGH FIDELITY --  Carter Burwell (some score left in).  [Howard Shore.]
  440. LABOR PAINS --  John DuPrez.  Was in talks, but might have not moved further than that.  [Michael Whalen.]
  441. LABOR PAINS --  Michael Whalen.  Contacted Mr. Whalen, and he said he didn't; didn't want to pay him enough..  [Brian Kirk.]
  442. MISSION: IMPOSSIBLE 2 --  Danny Elfman.  Elfman was hired to score the sequel, even saying so in at least one interview, but much like Silvestri ... he vanished.  Not that I hope he had a rejected score, but I LOVE his score to the first film, so even if he onlyu recorded a little, that would still be great news to me and other fans of his score to the first film.  [Hans Zimmer.]
  443. O BROTHER, WHERE ART THOU? --  Carter Burwell (some score left in).  [T-Bone Burnett.]
  444. 102 DALMATIONS --  Richard Gibbs.  Wrong film.  [David Newman.]
  445. RED PLANET --  David Bergeaud.  There is a Demo CD, but I can't find any info as to whether it's a compilation of various score cues or original Demos.  [Graeme Revell, Melissa R. Kaplan (additional).]
  446. THE REPLACEMENTS --  Alan Silvestri.  Was set to score it, as FSM also listed.  [John Debney.]
  447. THOMAS AND THE MAGIC RAILROAD --  John Barry.  Barry was on the film and Don Black was doing the songs with him, then something happened and Barry took Black and left.  [Hummie Mann.]
  448. THE 6TH DAY --  David Arnold.  [Trevor Rabin.]
  449. TITAN A.E. --  David Newman.  Was going to score it, but the studio wanted a different composer, and someone suggested Revell.  [Graeme Revell.]
  450. WHSIPERERS: AN ELEPHANT'S TALE --  Mark Adler.  Was being considered, but Disney was really keen on Rabin for what ever reason.  [Jay Chattaway.]
  451. WHSIPERERS: AN ELEPHANT'S TALE --  Jay Chattaway.  Didn't end up doing a score.  [Trevor Rabin.]
  452. THE YARDS --  Jerry Goldsmith.  Definately was, but probably did't do anything.  [Howard Shore.]
    2001
  453. A DAY WITHOUT A MEXICAN --  Sergio Arau.  In a BMI news letter, they stated the director was scoring his movie (BMI has never once, that I have seen, inccorectly listed a composer/film title).  [Juan Colomer.]
  454. A KNIGHT'S TALE --  Jerry Goldsmith, R.I.P..  According to FSM.  [Carter Burwell.]
  455. ALONG CAME A SPIDER --  Basil Poledouris, R.I.P.  The film got pushed back for reshoots (don't know if that was during or after Basil); perhaps this is what lead to the possible rejections or bowing out when it crossed paths with other asignments.  [Mark Isham.]
  456.  ALONG CAME A SPIDER --  Mark Isham.  According to a press junket for another film he was doing, this was among his upcoming scores.  [Jerry Goldsmith, R.I.P..]
  457. ALTERED SPECIES --  Will Richter.  [Evan Evens.]
  458. AMELIE --  Michael Nyman.  Wanted Nyman, but he was busy elsewhere.  [Yann Tiersen.]
  459. OUTLAWS (AKA: BANDITS) --  Ennio Morricone.  [Hans Zimmer.]
  460. OUTLAWS (AKA: BANDITS) --  Hans Zimmer.  Was still scoring two films, but the director offered to push the film back for Zimmer, who declined.  [Moby.]
  461. OUTLAWS --  Moby.  Was too busy to do it.  As you can see, Morricone must have not been the director's decision, because the other two sucked.  [Christopher Young.]
  462. BEYOND CITY LIMITS --  Tyler Bates.  [Billy White Acre.]
  463. CROCODILE DUNDEE IN LOS ANGELES --  Peter Best.  [Basil Poledouris, R.I.P..]
  464. DR. DOLITTLE 2 --  Terrance Blanchard.  Was being considered.  [David Newman.]
  465. EVOLUTION --  George Fenton.  Was set to score when the film was still GHOSTBUSTERS III.  Note from me:  FSM reported this too - and listed it as "Ghostbusters III"; no wonder the movie had a "Ghostbusters" like feeling ending...  [John Powell.]
  466. GABRIELA --  Alf Clausen.  [Craig Stuart Garfinkle, Leo Marchildon.]
  467. THE HEIST (AKA: THE SCORE) --  David Newman.  [Howard Shore.]
  468. KATE & LEOPOLD --  Alan Silvestri.  [Rolfe Kent]
  469. LAST ORDERS --  Jerry Goldsmith - Appendicitis?  [Paul Grabowsky, again!]
  470. THE LORD OF THE RINGS --  Wojciech Kilar.  Info:
    Back in 1999, when "The Lord of the Rings" went into the pre-production stage, Peter Jackson called Wojciech Kilar and asked him to score the movie... this was reported on Tolkienian sites, e.g.
    (LINK)

    A while later Kilar was quoted as saying: "I have some initial themes, so far only in my head".  Then there was a long period of tap-dancing, and eventually the producers rejected him, and Jackson went for Shore.

    Now, this is the curiosity: a while ago I read a piece on Kilar in a magazine, and it contained a mention of "scraps of his unused compositions for the hit film, LotR...", indicating that he *may* have written something after all.  Whether he did or not, and if he did, how much of that remains -- that seems unknown right now
    (I'm sorry, but I don't remember who e-mailed this to me)  [Howard Shore]
  471. THE MUSKETEER --  Jerry Goldsmith, R.I.P..  [Bruce Broughton.]
  472. THE MUSKETEER --  Bruce Broughton.  [John Debney.]
  473. THE MUSKETEER --  John Debney.  In an interview Debney states there was a contractual obligation that the score, regardless of who did it, had to be recorded overseason (and it was in the end), and Debney was unable to do so and had to leave the project.  [?????.]
  474. THE MUSKETEER --  ?????.  In an old interview conducted with Arnold, the interviewer talks briefly about the composer changes and along with all the composers above, also states two other composers -- not named -- were also in there "somewhere".  [?????.]
  475. THE MUSKETEER --  ?????.  [David Arnold.]
  476. THE BIJOU (AKA: THE MAJESTIC) --  Thomas Newman.  [Mark Isham.]
  477. 3000 MILES TO GRACELAND --  Mark Isham.  The film opened in February 2001, but as close as October 24, 2000, Isham was scoring it; Mike Simpsons, half the The Dust Bros., was supposedly working with him (according to FSM); I contacted Simpson and he said he never got to do anything.  [George S. Clinton.]
  478. TO END ALL WARS --  Trevor Jones.  Was in talks for a while to score it, but ultimately negociations broke down.
  479. RAT RACE --  Jerry Goldsmith.  Appendicitis.  [John Powell.]
  480. RAT RACE --  Maurice Jarre.  David Maxx opinion:  Based on his relationship with Jerry Zucker, I have a feeling he was at least considered.  He was either busy with UPRISING or had already decided on retirement.  [John Powell.]
  481. THE FAST AND THE FURIOUS (AKA: REDLINE) --  Randy Edelman.  [B.T..]
  482. SCARY MOVIE 2 --  David Kitay  [George S. Clinton - who was rejected, then 15 composers did it.]
  483. THE SHIPPING NEWS --  Jerry Goldsmith.  When Fred Shepisi was still attached as the director; don't know if he got de-attached before, during, or after shooting (all of which happen to films sometimes).  [Christopher Young.]
  484. SUPERNOVA --  Mychel Danna.  Yes, another composer.  Again, reported by FSM, but in 2010 Intrada Records release both the final score and the rejected Dallwitz score, so one would assume Danna did nothing (unless Danna didn't want it out).  [David Williams, Burkhard Dallwitz (leftovers).]
  485. THIR13TEEN GHOSTS --  Christopher Young.  According to Dan of soundtrack.net, Young, "WAS" scoring the film, at least, "according to Varese".  Don Davis was on the project for a year -- maybe he recorded something; I don't list him seperately because I don't know who was first/second.  [John Frizzell.]
  486. TOMB RAIDER 1 --  John Powell.  [Then some composer which got rejected.]
  487. VALENTINE --  Jamie Blanks.  Along with directing the movie, in an interview he said he was trying to score the film and that it would be his first score, but Warner Bros. didn't feel the same.  [Don Davis.]
    2002
  488. BOKSHU, THE MYTH --  Todd Hayen.  Didn't end up doing a score.  [Louis Banks.]
  489. BREAK OF DAWN --  Both Philippe Sarde and Xavier Jamaux are listed.  [Unsure.]
  490. CHICAGO --  George Fenton.  Was set to score it, as FSM also listed.  [Danny Elfman.]
  491. COLLATERAL DAMAGE --  James Newton Howard.  [Graeme Revell.]
  492. DANCER UPSTAIRS --  Pedro Malgheas.  [Iglesis.]
  493. D-TOX --  Basil Poledouris.   There is a Demo CD, but it's just various cues from previous scores he has done.  [John Powell, James McKee Smith (additional), Geoff Zanelli (additional); William Ross (leftovers?).]
  494. HALLOWEEN: THE HOMECOMING (AKA: Halloween: Resurrection) --  Christopher Young.  As reported by FSM.  [Marco Beltrami, Danny Lux (leftovers).]
  495. HEIST (AKA: RIDERS) --  B5 Atomic.  [Andy Gray.]
  496. IMPRESSIONS UNDER WATER --  Giorgio Morodor.  Morodor co-composed.  [Daniel Walker & Giorgio Morodor.]
  497. MY BROTHER'S KEEPER --  John Willett.  [John Ottman.]
  498. LOCKDOWN --  John Frizzell.  [Tyler Bates.]
  499. LOVE, SEX, DRUGS AND MONEY (AKA: SWEAPT AWAY) --  ?????.  The director said in an interview the final composer was the third composer on the film, and the previously two were not working out.  [Angelo Badalamenti.]
  500. LOVE, SEX, DRUGS AND MONEY (AKA: SWEAPT AWAY) --  Angelo Badalamenti.  FSM reported in an old upcoming assignments list this film.  [Michael Colombier.]
  501. PUMPKIN --  ?????.  [?????.]
  502. PUMPKIN --  ?????.  On Ottman's site, he says he was the third composer.  [John Ottman.]
  503. REIGN OF FIRE --  Mark Snow.  Originally hired to do the score and I think he did.  [Graeme Revell.]
  504. REIGN OF FIRE --  Graeme Revell.  Your typical replacement composer, was next in line, but for some reason they didn't like him either.  As of 7-29-2001, FSM was listing him.  [Hans Zimmer.]
  505. REIGN OF FIRE --  Hans Zimmer.  You know what that means, right?  Revell's score didn't go to well with someone (probably the studio), and Hans was likely preping 30 guys to do a last minute score, but...  [Edward Sheamur, Brad Wagner (additional).]
  506. RED DRAGON --  Lalo Schifrin.  He was in the movie, but didn't score it?  [Hans Zimmer.]
  507. RED DRAGON --  Hans Zimmer.  As much as the director loves working with Schifrin, appearently this time someone had more power over him and Lalo went bye-bye, cue Media Ventures.  FSM shows this for Hans as of 7-29-2001.  [Danny Elfman and his troupe.]
  508. RESIDENT EVIL --  Clint Mansell.  Was working on it for a few months, but then dropped out about November 2001.  [Ennio Morricone.]
  509. RESIDENT EVIL --  Ennio Morricone  [Marco Beltrami, Kevin Manthei (additional), Dennis Smith (additional).]  -  Went to a Morricone message board, asked and got a reply saying someone pointed out it was music from some Asian video game.  He couldn't remember who the composer was, but since then I found the answer on a message board: it's from a compilation CD of Resident Evil video game scores.
  510. THE STEPFORD WIVES --  Danny Elfman.  At least back in 2002 when Tim Burton was going to direct the film.  I have no idea when Burton parted with it and why, but a few months after that he took on "Big Fish".  The draft Burton was attached to never made it to filming.  [David Arnold.]
  511. THE SUM OF ALL FEARS --  James Horner.  [Jerry Goldsmith.]
  512. TREASSURE PLANET --  Alan Silvestri.  [James Newton Howard.]
  513. WINDTALKERS --  Hans Zimmer & John Powell.  [James Horner.]
    2003
  514. BAD SANTA --  James L. Venable.  As late as 9-6-03 he was onboard. [David Kitay - promo CD.]
  515. THE CAT IN THE HAT --  Randy Newman.  Reportedly he had been signed.  One thing is for sure: somebody with the last name "Newman" was going to end up with it.  [Thomas Newman.]
  516. THE CAT IN THE HAT --  Thomas Newman.  [Marc Shaiman.]
  517. THE CAT IN THE HAT --  Marc Shaiman.  Withdrew from the project, for what ever reason, before doing the score, but two songs he did are in the film; perhaps the backing instrumental music in the songs reflect what the score might have been like. [Randy Newman.]
  518. FREDDY vs. JASON --  Harry Manfredini & Charles Bernstein.  [Graeme Revell.]
  519. GOTHIKA --  Craig Armstrong.  FSM was listing it.  [John Ottman.]
  520. HOW TO LOOSE A GUY IN 10 DATES --  Richard Sortomme.  [David Newman.]
  521. IT RUNS IN THE FAMILY --  Jerry Goldsmith.  No, he didn't.  [Paul Grabowsky.]
  522. JUNGLE BOOK 2 --  Christopher Tyng.  Basil Poledouris protege was going to score this, according to FSM.  [Joel McNeely.]
  523. THE JUNGLE BOOK 2 --  Patrick Griffin.  A false entry on IMDB, Griffin did not score the film, but did music for the bonus DVD.  [Joel McNeely.]
  524. THE LEAGUE OF EXTRAORDINARY GENTLEMEN --  Mark Isham.  Not sure if the news was ever true, but he did not do a score.  After Isham the choice came down to Harry Gregson-Williams and Jones; the winner is obvious >>>.  [Trevor Jones.]
  525. LOONEY TUNES: BACK IN ACTION --  Danny Elfman.  Dark Horizons and Variety reported him as the composer.  [Jerry Goldsmith; John Frizzell (one cue), and John Debney supposedly finished up the score after Jerry became too ill to do so.]
  526. ONCE UPON A TIME IN MEXICO --  Los Lobos.  [Robert Rodriguez.]
  527. OPEN RANGE --  Basil Poledouris, R.I.P..  Said Basil on the topic:
    "It's very important for a composer to have the room, to have the freedom, to explore these things. I tried to do that with Kevin Costner, on his last film, Open Range. I was set to do it. Then Disney called, and they needed a temp track for the movie. And you know what they temp-tracked it with? Starship Troopers! Honest to god! And I heard it and said 'This is not what we talked about. I can't do this'. And I got out of the movie. This is not a space opera! This is very classic western. Absolutely. Very intimate, in the mud, in the rain. Unfortunately, it was the end of Kevin and I relationshionship.".  [Michael Kamen, R.I.P..]
  528. THE PASSION OF THE CHRIST --  James Horner.  [then Lisa Gerrard (see "Rejected" page); Rachel Portman.]
  529. THE PASSION OF THE CHRIST --  Rachel Portman.  At some point while Lisa Gerrard was still on the film, but had been moved to "co-composer", Portman's name was around as doing the score.  [Lisa Gerrard (rejected), Jack Lenz (rejected), then finally John Debney.]
  530. THE RUNAWAY JURY --  Mark Isham.  [Christopher Young, Wael Binali (additional).]
  531. SPOOKS --  ?????.  In an interview Musket tells that she had to come in late and write quickly after a first composer was not working out; I assume she just means the pilot.  [Jamie Muskett.]
  532. SWORDFISH --  Rabin.  [Young.]
  533. TARZAN --  Alan Silvestri.  [Mark Mancina.]
  534. TERMINATOR 3: RISE OF THE MACHINES --  Danny Elfman  [Marco Beltrami.]
  535. TOMB RAIDER 2: THE CRADLE OF LIFE --  Mark Mancina.  This was before Craig Armstrong came into play.  [Alan Silvestri.]
  536. A WRINKLE IN TIME --  Lesley Barber.  [Jeff Danna; Patric Caird, Shawn Pierce (additional?).]
  537. THE YOUNG BLACK STALLION --  Basil Poledouris.  In one of the last interviews he did, Basil states he was scoring Wincer's new film.  [William Ross.]
    2004
  538. A LOT LIKE LOVE --  John Murphy.  [Alex Wurman.]
  539. BEING JULIA --  Lesley Barber.  Was attached to score the film for a year, but during that time the post production started late and when it came time for Barber to score the film, she wasn't available (James Newton Howard was also attached).  INFO.  [Mychael Danna.]
  540. BLACK CLOUD --  Brent Michael Davids.  Did not do a score, though originally hired by the director (not the director's choice to get another composer).  [Chad Fischer & John E. Nordstrom.]
  541. CATWOMEN --  Graeme Revell.  Was working with William Orbit, but then suddenly they were both gone due to a "scheduling conflict".  I wonder how much he recorded...  [Klaus Badelt, Geoff Zanelli (additional).]
  542. COLLATERAL --  Craig Armstrong.  Said Armstrong in a 2005 interview:
    "I really wanted to do the music for the last Michael Mann film, Collateral, with Tom Cruise. I was up for doing that actually and I went out and saw the film but at the last minute I didn't get it which was a bummer.".  [Hans Zimmer.]
  543. COLLATERAL --  Hans Zimmer.  [James Newton Howard, KK (additional), Tom Rothrock (leftovers?), Antonio Pinto (leftovers?), Zachary Koretz (additional?), Charlie Clouser (additional), Thomas Schobel (score, but any left in?).]
  544. THE DAY AFTER TOMORROW --  David Arnold.  Probably busy with THE STEPFORD WIVES.  [Harald Kloser & Thomas Wanker.]
  545. EXORCIST: THE BEGINNING --  Michael Kamen, R.I.P..  [Christopher Young.]
  546. EXORCIST: THE BEGINNING --  Christopher Young.  90% of the film has been reshot after the first director was fired.  [Trevor Rabin; Angelo Badalamenti (additional for a DVD cut; he was not rejected).]
  547. FINDING NEMO --  Danny Elfman.  Trivia says John Lasseter asked Elfman to score the film, but for what ever reason he didn't (or was replaced).  [Hans Zimmer.]
  548. FINDING NEMO --  Hans Zimmer.  Thankfully dropped out because he was scoring another film ("Shark Tale").  [Hans Zimmer.]
  549. GARFIELD:  THE MOVIE --  Rupert Gregson-Williams.  [Christophe Beck.]
  550. HAPPILY EVEN AFTER --  John DeBonte.  Though listed for "classical" music, the old news section on his site says he did the score.  [Kid Galahad.]
  551. IN ORANJE --  John Cameron.  [.]
  552. THE INCREDIBLES --  Michael Kamen, R.I.P..  Was going to score it but passed away.  [John Barry (see Demos), then Michael Giacchino.]
  553. THE LAND BEFORE TIME XI --  Andrew James Thomas.  His official website talks briefly about some of the score being left in the film, and the artwork made for him says he used Horner's themes.  Website also says there is a bootleg, but I have neither heard of nor seen such a thing.  BUT THE REALITY, is far, far more disturbing.  The reality is that this never happened, in fact -- he claimed to have other rejected scores, like for "Wall-E" and other films; claimed to be a protege of Marc Shaiman, which Shaiman said was untrue and that he'd never had one; he claimed to know other composers, like Henry Mandefrini (who doesn't know him) and Joel Goldsmith.  When confronted about his lies, he denied everything -- even after Shaiman himself registered at the message board to the website where this was all going down, to deny the validity of the man's claims.  He then tried to threaten a lawsuit.  The man is deeply disturbed -- avoid him; he's got a MySpace page too, and tries to be friends with other composers.  [Michael Taverna.]
  554. MR. 3000 --  Vernon Reid  (Titled as "Music Supervisor on his website.  Why listed in the composer section on imdb.com?)  [John Powell.]
  555. NINE LIVES (AKA: UNSTOPPABLE) --  Sean Callery.  [Louis Febre.]
  556. THE PERFECT SCORE --  David Holmes.  [John Murphy.]
  557. SECRET WINDOW --  James Newton Howard  [Geoff Zanelli.]
  558. SHALL WE DANCE? --  John Altman  [Gabriel Yared.]  Altman scored with Yared.
  559. THUNDERBIRDS --  Elliot Goldenthal.  Was attached to the project for some time.  [Hans Zimmer and about a dozen other guys.]
  560. THE TOLLBOOTH --  Stephen Trask.  In an interview the director claims there was a last-minute sheduling conflict, but really ... scores are planned in advance.  [David Shire.]
  561. WALKING TALL --  Gomez (music group).  Wanted them, asked, but they were on tour.  [Graeme Revell.]
    2005
  562. ASK THE DUST --  James Horner.  Unofficially attached to the project for a while, then gone when Young was officially announced.  [Christopher Young.]
  563. ASK THE DUST --  Christopher Young.  Well, this didn't last very long.  I assume he didn't get far at all, beyond demos.  But I'd rather have had Young than the new composer(s).  [Hans Zimmer and 15 other guys.]
  564. CINDERELLA MAN --  James Horner.  [Thomas Newman.]
  565. THE DA VINCI CODE --  James Horner.  Was attached to the project for a long while.  Now whether that was official attachment and if he wrote anything...  [Hans Zimmer & others.]
  566. DOWN IN THE VALLEY --  Nathan Larson.  Salett says the previous composer wasn't working out, on his site.  [Peter Salett.]
  567. FINDING NEVERLAND --  John Barry.  As someone posted in the (old) guestbook:
    "In an interview of the french magazine"l'fantastique n253",jan A.P Kaczmarek says about "Neverland", the film by Marc Foster with Johnny Depp:"(...)John Barry has started to write the music , and the things change enter him and the director(....)""  [.]
  568. FLIGHTPLAN --  Rachel Portman.  Only a bit over five months before the movie premieres.  Scores have been recorded well over five months before.  Maybe Portman's was one?  [James Horner.]
  569. THE FLOCK --  Christopher Young.  Film got pushed back a few years until 2007 and by that time Young wasn't available.  [Guy Farley.]
  570. INTO THE WEST (mini series) --  Eric Colvin.  In one of the last interviews Basil Poledouris gave, he said he had to turn the film down because of health issues, and said Colvin might get it.  [Geoff Zanelli & others.]
  571. RIPLEY UNDER GROUND --  Trevor Rabin.  FSM reported this.  Film's production took longer than expected and when Rabin was needed, he had already moved on.  [Jeff Danna.]
  572. ROME (Pilot) --  ?????.  In an interview Beal states they had a composer already, but he "wasn't working out".  [Jeff Beal.]
  573. SAM'S LAKE --  Nicholas Pike.  [Gary Chang.]
  574. SHADOWS (AKA: DUMA) --  Mark Isham.  [John Debney.]
  575. THUMBSUCKER --  Elliot Smith, R.I.P..  Was going to do the score and songs, but after recording a couple songs, he later died of an appearent suicide.  [Tim DeLaughter.]
  576. V FOR VENDETTA --  David Arnold.  Rumored to be, and but also the rumor states he was busy.  [Of debate, see next entry.]
  577. V FOR VENDETTA --  Craig Armstrong.  Armstrong was going to be working with Massive Attack on the score (I wonder if it was anything like "Clash of the Titans").  [Dario Marianelli.]
  578. WATER --  A. R. Rahman.  Was doing the score, but changed to songs only.  Film opened in April in the U.S.A., but opened as far back as September of 2005...  [Mychael Danna.]
  579. WHITE ON WHITE --  Trevor Rabin.  I vaguely recall an interview where Rabin said he didn't have time to work on the score, so he had to back out.  [Jeff Danna.]
    2006
  580. A SCANNER DARKLY --  Radiohead.  Were officially working on it, and a test screening, at one point, may have had some of their score (and the replacement score) in tact.  A "rumor" was that Radiohead were replacing a bad score before them, so...  [David Reynolds.]
  581. ANNAPOLIS --  Klaus Badelt.  [Brian Tyler.]
  582. BETWEEN THE WALLS --  John Kaefer.  [Andrew Griffiths.]
  583. CANVAS --  John Debney.  ScoreMagacine reported that Lisbeth Scott would be co-composing on the score (and another one) with Debney.  When asked, Miss Scott only knew she had some songs left and didn't seem to know if Debney did his score.  [Joel Goodman.]
  584. CRYPTID --  Tim Jones.  [Alan Derian.]
  585. THE FALL --  Frederic Talgorn.  [Howard Shore.]
  586. THE FALL --  Howard Shore.  At one point they were listed as "co-composers", but that is highly unlikely.  [Krishna Levy.]
  587. FIREWALL --  Alan Silvestri.  Supposedly a conflict with "The Wild".  [Alexandre Desplat.]
  588. FLYBOYS --  David Arnold.  [Trevor Rabin.]
  589. GOYA'S GHOSTS --  Alberto Iglasias.  [Jose Nieto.]
  590. GOYA'S GHOSTS --  Jose Nieto.  [Varhan Orchestrovich Bauer.]
  591. HEAVEN'S FALL --  David Reynolds.  [Tony Llorens.]
  592. HIGHLANDER:  THE SOURCE --  J. Peter Robinson.  According to his agency, he was working on the score in London (I assume Abbey Road).  [George Kallis.]
  593. HOPE AND A LITTLE SUGAR --  Rick Baitz.  FSM reported it.  [Wayne Sharpe.]
  594. THE INITIATION OF SARAH (TV movie) --  Johnny Harris ("Wonder Woman" composer).  [John van Tongeren.]
  595. JOURNEY TO THE END OF THE NIGHT --  Mos Def.  An news blurb said he was scoring it.  [Elia Cmiral.]
  596. MISSION: IMPOSSIBLE 3 --  Hans Zimmer.  Disappointing to the Zimmer fans when Giacchino was finally announced after months earlier Zimmer's announcement.  [Michael Giacchino.]
  597. THE PICTURE OF DORIAN GRAY --  Laura Karpman.  Supposedly wanted too much money and didn't start the score.  [Mogwai.]
  598. THE QUEEN --  George Fenton.  [Nathan Larson (See: Rejected), then Alexander Desplat.]
  599. SILENT HILL --  Ita Masahiro.  [Jeff Danna.]
  600. STAY ALIVE --  Tyler Bates.  Makers claimed he was the first choice, but had to back out.  [John Frizzell.]
  601. WORLD TRADE CENTER --  John Williams.  Was asked and turned the film down.  [James Horner.]
  602. WORLD TRADE CENTER --  James Horner.  Don't know, was listed at IMDB at one point.  [Craig Armstrong.]
    2007
  603. AGGAR --  Himesh Reshammiya.  [Mithoon Sharma.]
  604. AMERICAN GANGSTER --  RZA and/or Hank Shocklee.  In an interview with someone named "Common", HERE, he said Shocklee "scored some of the movie".  And some places on the web still list RZA as the composer.  [Marc Streitenfeld.]
  605. BATHROY --  Mark Thomas.  Supposedly other composers after hime, in this production which is so troubled it's too hot to touch right now -- even years later.  [Stephen Warbeck; Tatiana Mikova (additional score, apart from Warbeck).]
  606. BATTLE FOR HADITHA --  Christian Henson.  [Nick Laird-Clowes.]
  607. BITTERBLUE --  ?????.  Supposedly the previous composer had to bow out, leaving Adams little time to score.  [Doug Adams.]
  608. BOUNDARIES --  Christy Carew.  Mistake on my part; the one she scored was a short film.  [Justin Melland.]
  609. CHAOTIC ANA --  Alberto Iglesias.  Originally hired and on the film for half a year or more.  [Conrad Pope.]
  610. CHAOTIC ANA --  Conrad Pope.  [Jocelyn Pook.]
  611. DOOMSDAY --  David Arnold.  Turned it down?  [Tyler Baits.]
  612. GHOST RIDER --  David Arnold.  Was attached to the project for a at least four months (in 2006).  [Christopher Young.]
  613. HANNIBAL RISING --  Thomas Newman.  Dino De Laurentiis said he was proud to have him aboard; was attached for quite a while.  [Shigeru Umebayashi & Ilan Eshkeri - CD.]
  614. HER MAJESTIC MANOR --  Alberto Iglesias.  Was officially on for half a year.  [Javier Navarrete.]
  615. I COULD NEVER BE YOUR WOMAN --  Magnus Fiennes.  [Mike Hedges (rejected), then David Kitay.]
  616. IN BLOOM (AKA: THE LIFE BEFORE HER EYES) --  Danny Elfman.  Did not record anything, possibly leaving due to a scheduling conflict.  [James Horner.]
  617. THE INTERIOR (Pilot) --  Edward Rogers.  Supposedly a scheduling conflict.  [Edwin Wendler.]
  618. JUST ANOTHER LOVE STORY (K沬ighed p堦ilm) --  Marco Beltrami.  [Joachim Holbek.]
  619. THE INNER LIFE OF MARTIN FROST --  Philip Glass.  [Laurent Petitgand.]
  620. MAMA'S BOY --  John Kaefer.  [Mark Mothersbaugh.]
  621. MOVIDAS --  Kurt Kuenne.  [Andreas Levin.]
  622.  MONGOL --  Altan Urag.  Two cues on the Varese Sarabande CD are credited to Urag, which as it turns out, is the name of a group of musicians from India; they composed a little for the film, at the director's request, but were never chosen to do the whole score.  [Tuomas Kantelinen.]
  623. MY KID COULD PAINT THAT --  Rondo Brothers.  [Mariusz Glabinski.]
  624. PARTITION --  Philip Glass.  [Brian Tyler.]
  625. RESIDENT EVIL:  EXTINCTION --  Tyler Bates.  [Charlie Clouser.]
  626. SARAH LANDON AND THE PARANORMAL HOUR --  Louis Febre.  [Joseph Conlan.]
  627. SAVAGE GRACE --  Alberto Iglesias.  Also officially on this.  [Fernando Velazquez.]
  628. THERE WILL BE BLOOD --  Jon Brion.  [Jonny Greenwood.]
  629. THIS CHRISTMAS --  Christopher Lennertz.  In an interview Lennertz states he had started working on the score to this, and "Comebacks" (he specifically mentions the production company's name, so it's not the other Christmas film he scored, which at one point was going by the same name).  [Marcus Miller.]
  630. THE TUDORS (Pilot) --  ?????.  In an August 2010 interview, the replacement compsoer says he replaced another who supposedly had to drop out Morris has since won an award, as I recall, and had a CD release for each season of the series -- one wonders who missed out of those shots...  [Trevor Morris.]
  631. TYRANNOSAURUS AZTECA --  Paul Hartwig.  [Gerald Brunskill.]
  632. THE VISION --  Tyrone Lancaster.  Movie's official website reported he was scoring it back in January 2008, but in January 2009 they said Doug Adams was scoring it.  [Doug Adams.]
  633. WRONG TURN 2: DEAD END --  Mike Patton.  In an interview the director claims a scheduling conflict led to Patton not scoring it, though he hopes to work with the composer in the future.  [Bear McCreary; Jonathan Snipes & Robert L. Bennett Jr. (additional).]
    2008
  634. A FOX'S TALE --  Mike Moran.  Was listed on his agency's site (and IMDB) for doing songs and score for the upcoming foreign film (recorded), but it's all gone now.  [Krisztain Som.]
  635. AMUSEMENT --  Debbie Wiseman.  [Marco Beltrami & others.]
  636. ANONYMA -- EINE FRAU IN BERLIN --  Jan P. Kackzamarek.  [Zbigniew Preisner.]
  637. THE ATTIC --  Robert Een.  In a post by one the film's makers, Een was mentioned as doing the score.  [Mario Grigorov.]
  638. BABYLON A.D. --  RZA & Hans Zimmer.  RZA said in an interview he was going to score it with Zimmer.  [Atli Orvarsson.]
  639. BAGGAGE --  Alex Wurman.  [Kurt Oldman.]
  640. THE BROTHERS SOLOMEN --  Alan Elliot.  [John Swihart.]
  641. CARMEN'S KISS --  Christopher Gunning.  [Paul Turner.]
  642. CHOKE --  Radiohead.  [Nathan Larson.]
  643. THE COFFIN --  Marco Werba.  [Bruno Brugnano.]
  644. DADDY'S LITTLE GIRLS --  Nathan Wang.  [Brian McKnight.]
  645. ROAD TO FAME (AKA: CASI DIVAS) --  Jermaine Stegall.  Left before recording.  [Hans Zimmer.]
  646. THE DAISY CHAIN --  David Holmes.  [David Julyan.]
  647. DRAGON HUNTERS --  Frederic Talgorn.  Was going to be recorded in October, in Germany ... don't know if it did or what recording facility.  [Klaus Badelt.]
  648. THE FINAL SONG --  Charles Denler.  Was set to score the film, but ended up just doing the theme, with the composer using it.  [Mark Tschanz.]
  649. FROST/NIXON --  James Horner.  [Hanz Zimmer.]
  650. GENOVA --  Michael Nyman.  [Melissa Parmenter.]
  651. THE GRIND --  Teddy Castelluchi.  [(which film by this name is unknown; two in 2008).]
  652. IGOR --  Basil Poledouris, R.I.P..  The film got pushed back a few years, but originally Poledouris was going to score it; don't know how far along the film was at the time of his involvement.  [Patrick Doyle.]
  653. JULIA --  Gert Janssen.  Janssen's first score.  [Pollard Berrier & Darius Keeler.]
  654. LARGO WINCH --  Fredreic Talgorn.  [Alexandre Desplat.]
  655. LIVING HELL --  Ivan Koutikov.  Originally part of a three picture deal, the producer and owner decided to let his son score it.  [Terence Jay.]
  656. THE LOST TRIBE (AKA: PRIMAL) --  Wolfram de Marco.  Didn't end up doing a score.  [Bennett Salvay.]
  657. MAYA BAZAR --  Shankar Mahadevan, Ehsan Noorani & Loy Mendonsa.  [Rahul Raj.]
  658. MR. 73 --  Eric Demansen.  Was on the film for eight months.  [Bruno Coulais.]
  659. MUUKALAINEN --  Arvo Part.  [Helena Tulve.]
  660. NOT BY CHANCE --  Antonio Pinto.  [Ed Cortes.]
  661.  SHANGHAI --  Gabriel Yared.  Supposedly a scheduling conflict.  [Alex Heffes (See: Rejected), then Klaus Badelt.]
  662. THE READER --  Ozren K. Glaser.  [Alberto Iglesias.]
  663. THE READER --  Alberto Iglesias.  [Nico Muhly.]
  664. ROLE MODELS --  Peter Salet.  [Craig Wedren.]
  665. THE SHREIKING --  ?????.  Kahler had to come in and do the score after another supposedly "stepped down".  [Christopher Kahler.]
  666. SILAMBATTAN --  Dhina.  [Yuvan Shankar Raja.]
  667. THE UNBORN --  Ramin Djawaski.  [Steve Jablonsky.]
  668. WAR, INC. --  David Schommer.  Back in 2007, FilmMusicWeekly had a short aricle mentioning he had been hired to score the film.  [David Robbins.]
  669. WASTING AWAY --  Jane Antonia Cornish.  Turned it down.  [The Newton Brothers.]
    2009
  670. A SINGLE MAN--  Shigeru Umebayashi.  Being in Japan provided too great a working distance from the L.A.-bound director and what little score Umebayashi did, is in the movie and he is credited for.  [Abel Korzeniowski (who was being seriously considered for the third Twilight film score, but instead Howard Shore was hired).]
  671. ALL'S FAIRE IN LOVE --  David Robbins.  [Jeff Cardoni.]
  672. BLACK WATER TRANSIT --  Anne Dudley.  [Music group.]
  673. THE CHOSEN ONE --  John Hunter.  [Jeff Rona.]
  674. THE DREAM OF ROMANS (AKA: ARLEN FARBER) --  John Swihart.  [Teddy Castellucci.]
  675. EVERTHING'S EVENTUAL --  Court Stumpf (who as of late has been working with Paul Haslinger).  Busy schedule that turned out to be too conflicting.  [John Scott.]
  676. FREQUENTLY ASKED QUESTIONS ABOUT TIME TRAVEL --  James Edward Barker & Tim Despic.  With possibly another score rejected by a composer replacing them.  [James L. Venable.]
  677. G-FORCE --  Harry Gregson-Williams.  [Trevor Rabin.]
  678. THE GOODS --  Theodore Shapiro.  [Lyle Workman.]
  679. HANNA MONTANNA: THE MOVIE --  Alan Silvestri.  [John Debney.]
  680. HEXE LILLI --  Frederic Talgorn.  [Ian Honeyman.]
  681. IMAGINE THAT --  Theodore Shapiro.  In a ScoreNotes.com interview, the director doesn't even bother to mention Shapiro as the previous composer.  [Mark Mancina.]
  682. LAST CHANCE HARVEY --  Michael Hill.  [Dickon Hinchliffe.]
  683. LIFE GOES ON --  Ludek Drizhal.  [Soumik Datta.]
  684. LIKE DANDILION DUST --  Mark Mancina.  [Nathan Larson.]
  685. MAGIC MAN --  Charles Bernstein.  [The Newton Brothers.]
  686. MEDITERRANEAN FOOD --  Sergio Moure.  [Josep Mas & Salvador Niebla.]
  687. THE MIRROR --  Vince Tividad.  Originally finished in 2006, the film for what ever reason showed at a festival a year later, and has been shelved since then with only just recently receiving some limited theaters.  [Bettie Ross.]
  688. MIDDLE MEN --  Chris Boardman.  Decided to go in a different direction.  [Brian Tyler.]
  689. PALOMINAS --  Charles David Denler.  [Sean Murray.]
  690. PATRIOTVILLE --  Steven Gutheinz.  Didn't.  [Scott Glasgow.]
  691. THE PRINCESS AND THE FROG --  Wynton Marsalis.  [Alan Menken.]
  692. THE PRINCESS AND THE FROG --  Alan Menken.  [Randy Newman.]
  693. SON OF SUNSHINE --  Alex Wurman.  [Matthew Montour.]
  694. TEMPLE GRANDIN (TV movie) --  J. Peter Robinson.  His agency said he was scoring it.  [Alex Wurman.]
  695. THE UNION --  Sam Cardon.  Supposedly the composer was far too busy with other projects.  [Michael Teoli & Michael Jorns.]
  696. WHIP IT! --  Mark Mothersbaugh.
    MAY, 2009:
    "She hired me and fired me in all of like two weeks," Mothersbaugh said, laughing about it to OMG Yahoo. "I got snippy with her. She cancelled out on showing up at the studio three times and I kicked Devo out every single time and had an engineer come in and set up the studio and the third time I got pissy with her on the phone. And she said she just doesn't think our styles work together. So I got fired."

    [The Section Qaurtet; Robert Miller (additional).]
    2010
  697. THE BEAVER --  Brian Reitzell & Jim James (of the band My Morning Jacket).  [Marcelo Zarvos.]
  698. CHAIN LETTER --  Michael Wandmacher.  Gillioz reports on his site he had 20 days to score the film, which back in 2008 was reported as Wandmacher being hired.  [Vincent Gillioz.]
  699. THE EAGLE OF THE NINTH --  Alex Heffes.  Was going to score the film, but suddenly became unavaiable (no new scoring assignments listed, and the film wasp ushed back several months -- seems tiem to me).  The musician on the info page did some pre-records of instruments for use in the score -- animal horns & primitive trumpet; sounds far, far more interesting that what Atli will undoubtedly provide..INFO.  [Atli Orvarsson.]
  700. GREEN HORNET --  Danny Elfman.  [James Newton Howard.]
  701. LAW ABIDING CITIZEN --  ?????.  In a older Twitter.com update, the director talks about spotting the film with a composer, and in another entry talking about how the score has to be different and important, then a couple or so months later in Twitter, he announces he is meeting with a composer.  I have no idea who the previous composer was, but his last two films were scored by John Powell...  [Brian Tyler.]
  702. MOTHER'S DAY --  Nathan Barr.  [Bobby Johnston.]
  703. NANNY MCPHEE AND THE BIG BANG --  Thomas Newman.  Changed his mind before doing a score.  [James Newton Howard.]
  704. RED DAWN --  Brian Tyler.  [Ramin Djawaski.]
  705. SKYLINE --  Brian Tyler.  Tyler became unavailable to score, and Margeson -- who's worked with him on scores before, was suggested as his replacement; Tyler oversaw the score, and remained as one of the producers.  [Matthew Margeson.]
  706. THOR --  Ilan Eshkeri.  Eshkeri was saying he would score the film, a couple years before it was released.  [Patrick Doyle.]
  707. UNTHINKABLE --  Christopher Young.  [Graeme Revell.]
    2011
  708. A WOMAN CALLED JOB --  Bennett Salvay.  [Sam Bauer.]
  709. ABRAHAM LINCOLN: VAMPIRE SLAYER --  Trent Reznor.  In spite of being announced to score it, he didn't stay on for unspecified reasons, only stating: "Don’t believe everything you read. As it turns out, I WON’T be working on (acting or scoring) ALVH after all. There’s no juicy story here, it’s just that when the news mysteriously leaked out about my involvement I hadn’t made up my mind completely, because various aspects of the project were changing. I felt the need to say something earlier this week because my inbox was filling up with speculation, and at that moment I thought I would be doing it. Confused yet? Apparently I am. Bottom line, I wish them the best with the film and I’m sure it will still be great.".  [Henry Jackman.]
  710. THE APPARITION --  Christopher Young.  [tomandandy.]
  711. ARBITRAGE --  J. Ralph.  [Cliff Martinez.]
  712. CAPTAIN AMERICA --  John Powell.  Appears to have been nothing but another false rumor.  [Michael Giacchino.]
  713. CAPTAIN AMERICA --  Michael Giacchino & Bruce Broughton.  Thanks to a delivery guy who posted at a film score board (which probably cost him his job...), we know that scripts were delivered to both Giacchino's house, and Broughton's house.  I don't have any proof, but somebody said the two were friends and Broughton may help on the score; no idea if they passed or not.  [Alan Silvestri.]
  714. EVERYWHERE AND NOWHERE --  Nitin Sawhney.  [The Angel.]
  715. FLYPAPER --  Mark Mancina.  [John Swihart.]
  716. GREAT HOPE SPRINGS --  Thomas Newman.  [Theodore Shapiro.]
  717. HIGH SCHOOL --  Score by: Freescha; Songs by: Harold Faltermeyer.  [The Newton Brothers.]
  718. HOTEL TRANSYLlVANIA --  Ramin Djawadi.  [Mark Mothersbaugh.]
  719. HUSK --  Justin Caine Burnett.  [Bobby Tahouri.]
  720. INTOUCHABLES --  Klaus Badelt.  Back in early 2011 upcoming scoring assignments had this film for Badelt (indeed, as of March, 2012, it's still listed on KlauseBadeltMusic.com); Badelt did, however, do the score for their next film ("30 Degres Couleur").  [Ludovico Einaudi.]
  721. JUMPING THE BROOM --  Wendy Melvoin & Lisa Coleman.  [Edward Shearmur.]
  722. LA CHISPA DE LA VIDA --  Roque Banos.  [Joan Valent.]
  723. LOOSING CONTROL --  ?????.  The director tells online in an interview the original composer, un-named, was so slow in making the music, that she ended up having to get somebody else and that in the same amount of score the composer did in weeks, Swihart did in a small fraction of that time.  [John Swihart.]
  724. THE LUCKY ONES --  Hal Lindes.  [Mark Isham.]
  725. NAILED (the in release-hell David O. Russell film) --  Squeak E. Clean (brother of Spike Jones).  [John Swihart.]
  726. THE NEXT THREE DAYS --  Alberto Iglesias.  [Mark Isham.]
  727. THE NEXT THREE DAYS --  Mark Isham.  [Danny Elfman.]
  728. RESISTANCE --  Rachel Portman.  [Mark Bradshaw.]
  729. RUSSENDISKO --  Gabriel Yared.  [Lars Lohn.]
  730. SALVATION BOULEVARD --  Jeff Beal.  [George S. Clinton.]
  731. SHARK NIGHT 3D --  Grant Innes McLachlan.  BMI shows cues by him.  [John Powell.]
  732. SHARK NIGHT 3D --  John Powell.  Other (unconfirmed) sources claimed Powell was doing the score.  [Graeme Revell.]
  733. SNOW WHITE AND THE HUNTSMAN --  ?????.  A few months ago I had found out who was scoring this, but I blew it off and didn't report it (it was being doing overseas though); now a frequent collaborator with both the possible composers listed in the brackets, Stuart M. Thomas, lists this as a new project along with another assignment that went ti J.N.H..  [James Newton Howard or Chris P. Bacon.]
  734. SOURCE CODE --  Clint Mansell.  The film's director on his Twitter page mentions that Mansell was so busy, he just couldn't end up finishing the score, implying Mansell had already done some.  [Chris P. Bacon.]
  735. TOWER HEIST --  Rachel Portman.  [Christophe Beck.]
  736. TWILIGHT 3 --  Harry Gregson-Williams.  As Harry told in an early 2011 interview, when asked about it, he was never involved in the film, but his daughter really wanted him to, so appearently the rumor and the (falsely added) IMDB listing must have been nothing more than wishful thinking of his daughter.  [Carter Burwell.]
  737. WITHOUT MEN --  Bruno Coulais.  [Carlo Siliotto.]
  738. YOGI BEAR --  Andrew Lockington.  [John Debney.]
    2012
  739. THE HUNGER GAMES (Part 1) --  Danny Elfman.  Elfman was hired to score the film, with T. Bone Burnett as the music supervisor, and some sources saying "co-composer"; Burnett was carried over.  [James Newton Howard, and T. Bone Burnett?.]
  740. JOURNEY 2: THE MYSTERIOUS ISLAND --  Andrew Lockington.  A couple months before the film was released, reports were online that Ross had done a song with an artists, and his representation, GSA Music, had it on his resume; in fact, as I write this, April 21, GSA still has it on his resume, even though Andrew Lockington's score was kept and released on CD; where co-composed on his resume, it is noted, and all other films he scored himself.  INFO.  [William Ross (who has also provided a song) -- rejected?; Andrew Lockington.]
  741. PRIVATE PEACEFUL --  Mark Knopfler.  Was hired to do the score last year.  Guy Fletcher may or may not have worked on it.  [Rachel Portman.]
  742. THE RIVERS (Pilot) --  Trevor Morris.  Was hired to score the pilot episode (no further word was given onepisodes after that), but upon watching the end credits to the pilot, Revell is credited.  [Graeme Revell.]
  743. VIVALDI --  Robert Folk.  The film had been in production hell for a few years when Folk originally mentioned it in 2006, then in the News page of his website, in June 2011, he wrote a small bit on it, including this: "the orchestral score will be recorded in London. Virgin is interested in the soundtrack rights."; in an interview with ScoreNotes.com, he also says Sony Classical had expressed interest.  [Carlo Siliotto.]
 
TITS  TITS 
 
UNKNOWN

     You would think it ends here, right?  Wrong.  Some movies have a name that others do, and the composers' scoring career spans within those, and I can't pin down which year, so I don't know.  Here is the list in alphabetical order (with nameless ones first):


  • I found this in a soundtrack.net interview with composer John Altman. Altman says:

    "Mark Isham told me a story where he wrote a score and the producer came in at the end and said, "Is this jazz?" Isham replied, "Well, I suppose, yeah." The producer then said, "I hate jazz," and the score was thrown out"
    Now I checked my long list and only found two rejected scores by Isham.  Waterworld and Country.  Now obviously Isham wouldn't do a jazz score for Waterworld and I looked up the details of Country at imdb.com and it said it was a farmer movie. So I seriously doubt that was it either. So then, what movie did this rejection score go to?
  • COLLATERAL DAMAGE --  Jerry Goldsmith - Appendicitis?  SEE LIST
  • GREYSTROKE --  Vangelis.  It is unclear how much he actually composed before parting with the director, though Scott does mention replacing a score in an interview.  [John Scott]
  • PORTRAIT OF JENNIE --  Bernard Herrmann.  "One theme he wrote for it was actually used in the film, the melody to the little song Jennie sings when she first meets Eben, and it was later recorded on one of those compilation LP's, which I have, and Herrmann is thanked for his participation during the end credit roll. But what a magnificent score that could have been!"  Oh well.  1969, or 1948?  (Someone else's words)
  • THE ROCK 'N' ROLL --  Nick Glennie-Smith


Heard a rumor?  Post it on my guestbook, or the message board and I will add it!


     In an interview with MOVIE COLLECTOR magazine, Basil Poledouris said:
"The reason scores get changed so much is that the music is the last chance to 'save' the film. They can't go back and reshoot it, they can't recast it, they've re-edited it a hundred times. The only thing they can still do is change the music. They always think 'Maybe the music will save it,' but music can't save a bad film.  Nothing can."
 
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