2001:  A Space Odyssey  (rejected)  By:  Frank Cordell, Alex North

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

Last Updated: November 6, 2006

2010:  The Year We Make contact  (rejected)  By:  Tony Banks

Score Details: Various Interview Excerpts: "Most recently, Tony was asked by director Peter Hyams ("Outland", "Capricorn One") to score "2010", the sequel to Arthur C. Clarke's "2001: A Space Odyssey". At the time of the interview below, Tony had not started work on the picture. However, he did tell us that he was looking forward to doing a heavily synthesized score utilizing digital sampling supplied by the E-mu Emulator to generate many new unheard and unrecognizable sounds. Shortly before we started work on this issue, however, "Variety" reported that Banks had been fired from the picture. Tony explains, "Peter Hyams really didn't like what I gave him from the word 'go.' I thought it strange since he was the one who contacted me, based on having heard what I had done on "The Shout". The first tape I sent him included something that I thought was great, but he came back and said he thought it was really bad. So I thought, 'This is crazy. Here I consider these to be the most appropriate things and he doesn't like them.' I don't know why he got a hold of me. Anyway, I thought, 'We'll fight on.' So I did a couple of other tapes, and we managed to end up with something he seemed fairly enthusiastic about. When it came to thinking about final ideas, he said he didn't like it. I think he wanted something a lot more conventional than he orginally thought he did. The closer I got to writing a Hollywood kind of score, the happier he looked. That was disappointing to me. It was a blow to the confidence. Banks had worked on the music for a long time, generating a lot of material. However, he still owns it, and may decide to do something with it at some future date. "I'm trying to get into some more ambitious instrumental pieces. Film is an obvious place to do that," he says. "I'm frightened at the idea of putting out an album of instrumentals without it being tied to a film. I'd have trouble finding someone to release it." "He was approached to prepare the score for 2010, the follow up to 2001: A Space Odyssey, a high profile film, perfectly suited to his talents and an excellent vehicle to promote his name among the film moguls. Initially things went well but then internal politics and Hollywood's notorious capriciousness crept in and music that had initially excited the movie men suddenly wasn't what they wanted. Tony's eventual departure from the film was a source of intense frustration as he had invested so much time and excellent music into it and had turned down other film offers in its favour. (excerpt from 'Genesis: A Biography' by Dave Bowler and Bryan Dray) Note - some of Tony's unused material for 2010 was later revamped for Lorca And The Outlaws ("Starship")."

Last Updated: February 7, 2007

A River Runs Through It  (rejected)  By:  Elmer Bernstein, R.I.P.

Score Details: Uilleannn pipes:  Liam O'Flynn. Music Editor:  Kathy Durning. Recorded At:  Wind Mill. http://filmmusicsociety.org/news_events/features/2006/091206.html

Last Updated: June 11, 2008

A Time For Killing  (rejected)  By:  Van Alexander

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

Last Updated: August 12, 2006

The Abyss  (rejected)  By:  ?????

Score Crew: Musicians: Bassoon:  John Steinmetz.

Last Updated: December 12, 2007

Agatha  (rejected)  By:  Howard Shore

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

Last Updated: February 14, 2007

Air Force One  (rejected)  By:  Randy Newman

Score Crew: Conductor:  Randy Newman. Recorded (and mixed) by:  Frank Wolf. Orchestrator:  Don Davis. Orchestrator:  Johnathan Sacks. Music Editor:  Bob Badami. Assitant Music Editor:  Angie Rubin. Assistant (capacity unknown):  Bruno Coon. Musicians: Bassoon:  John Steinmetz. Cello:  Roger Lebow. Flute:  Jim Walker. French Horn (solos):  James Thatcher. French Horn:  Phil Yao. Trombone:  Bill Reichenbach. Trumpet:  Rick Baptist. Trumpet (solos):  Malcolm McNab. Violin:  Michael Ferril Violin:  rrrrrrRobin (yeah, that's what he likes being called; Robin Olson). CD-R

Last Updated: December 5, 2009

Alienator  (rejected)  By:  Chuck Cirino

Score Details: Cirino e-mails this guy to make sure his review lets it be known he didn't do it: "The movie was shot in about 5 days. I also scored it in about 5 days. (Director) Fred (Olen Ray) and producer Jeff (Hogue) were very happy with the score when it was done. Later, Fred was the one who told me the distributors were replacing it but he didn't seem to know the reason. My score was melodically unique but electronic in its execution and style -- yet I have reused cues in one of my own productions: http://www.weirdtv.com So it couldn't have been that bad. This was an ultra-low budget production from square one. I surmise that because I retained ownership of the complete soundtrack (writer's share and publisher's share), the only sane reason to replace an okay score with a bad one would be to own the music outright (and collect the royalties worldwide -- something I would still be doing if they had kept my score intact). I do not know who they hired to re-score it.  All I know is what is evident: The new composer must have had three hours to redo the whole thing. The distributors didn't even have the decency to change the opening title credits - that would have cost them more money. Fred told me he would have been happier with the original score - but it was not his choice. If anyone would like to take the credit for scoring this film, please step forward and claim your right. For God's sake, you deserve it."

Last Updated: February 14, 2007

Alien Nation  (rejected)  By:  Jerry Goldsmith, R.I.P.

Score Details: Recorded at:  The Record Planet, Los Angeles, CA (May, 1988)

Last Updated: February 14, 2007

All the Pretty Horses  (rejected)  By:  Daniel Lanois

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

Last Updated: July 3, 2007

An Unfinished Life  (rejected)  By:  Christopher Young

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

Last Updated: January 23, 2008

And Starring Pancho Villa As Himself  (rejected)  By:  Stephen Endelman

Score Details: Orchestrator (and arranger):  Tim Starnes Orchestra:  Prague Philharmonic Orchestra Recorded at:  The Rudolfinum Score Recordist:  Gary chester 2006 Longford Lyell Lecture: To Mexico and back "I had a score done for a film I did for HBO called And "Starring Pancho Villa as Himself", and when I left Los Angeles they dropped my score and replaced it with another! Pancho Villa, the Mexican revolutionary, had the idea during the Mexican revolution (around 1915) that he wanted a movie made of his exploits, so he contacted DW Griffith. Griffith had more sense than to go down to Mexico and get caught up in a revolution but he sentdown a young American producer called Frank Thayer, and Thayer actually made a filmabout Pancho Villa -- a silent movie starring Pancho Villa as himself. This movie doesn't exist anymore but Paolo [Cherchi Usai, NFSA Director] is looking everywhere for it -- worldwide. It starred Raoul Walsh (who later became a famous director), and it's quite well documented. A lot of the people who went down there wrote books about their experiences. I said to my composer Stephen Endelman I wanted a score that summed up the relationship between Frank Thayer and Villa. Because Frank Thayer was only 22 when he went to Mexico he saw Pancho Villa as a romantic revolutionary. He worshipped his idealism and his patriotism. I wanted the music to reflect this. Later, as he learns more about Pancho Villa, he starts to question a lot about him. The themes can then be varied to express Thayer's disillusionment." The studio factor "In the end Endelman's score for Pancho Villa was ditched and I don't think the replacement captured the spirit of the film at all. A surprising number of film scores, even those by celebrated composers, are replaced by the studio executives. I suppose they're right some of the time, but mostly I suspect they're making a mistake."

Last Updated: November 27, 2007

Aren't You Even Gonna Kiss Me Goodnight? (AKA: A Night In the Life Of Jimmy Reardon)  (rejected)  By:  Elmer Bernstein

Score Details: Music Editor:  Kathy Durning. Orchestra:  The London Philharmonic.

Last Updated: June 11, 2008

Assassins  (rejected)  By:  Michael Kamen

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

Last Updated: August 20, 2006

Asylum  (rejected)  By:  Craig Armstrong

Score Details: Music Editor:  Richard Bernstein Cheif Sound Engineer:  Geoff Foster Sound Engineer:  Nick Wollage Recorded In:  2004 Orchestrator:  Paul Leonard-Morgan Arranger:  Paul Leonard-Morgan Conductor:  Paul Leonard-Morgan. Orchestra:  The Irish Film Orchestra. Do overseas, like the U.K., DVD's feature his score?

Last Updated: October 6, 2008

The Avengers  (rejected)  By:  Michael Kamen

Score Details: Additional Score:  Michael Columbier, R.I.P.. Chief Sound Engineer:  Geoff Foster.      Here is an excerpt of a Michael Kamen interview published in a French movie mag (called "Starfix") in September 1998.  The interviewer:  Didier Lepr?Ye.  (roughly translated from French by MightyMcT): Interviewer:  "- What happened exactly on THE AVENGERS?" Kamen:  "It's a long story!  First, Jeremiah chose me after having seen 101 DALMATIANS (the live version).  He wanted the same tongue-in-cheek tone for his movie.  We talked a lot, about the project, the actors, the music, etc.  I then started to work on the project around September/October 1997.  I had lots of ideas.  In December, we did a demo with the very first cut.  Everything was fine." Interviewer:  "Did you re-use the Laurie Johnson theme?" Kamen:  "At first, I didn't want to.  But the people from Decca made me change my mind.  So I created a main theme mockingly inspired by Laurie Johnson's work.  His theme was there, but with a twist, some more crazyness, especially in the percussions." Interviewer:  "And how did you get fired?" Kamen:  "The sneak previews, always the sneak previews!  First, in the States, the producers showed some dailies to a targeted audience: it went wrong, the movie was not working.  There was maybe one hour worth of footage, with the broad lines of my score played by an american orchestra.  That's when the producers freaked out and decided to come to England to do the real test.  It occured in mid-March, in London.  There, the previews went even worst: they were disastrous! "Interviewer:  "So what happened next?" Kamen:  "From that point, all things were rushed.  I had to cancel all the concerts I had scheduled mid-March at the Carnegie Hall in New York to re-score the picture.  Jeremiah now wanted a closer identification to the original Laurie Johnson's music, and to the TV series, but I was not particularly interested in doing that.  THE AVENGERS score ... turned into a James Bond movie score, see?  In the Bond movies, I was always able to predict when the Monty Norman theme would play, because the musical and scriptwriting approach was so obvious.  On LICENCE TO KILL, I tried to play that tongue-in-cheek, but, again, they did not like it and made me change it.  On THE AVENGERS, what they wanted was: some Michael Kamen, then the Laurie Johnson theme, then some more Michael Kamen ... there was no room for identity, and certainly no room for playing it tongue-in-cheek.  Yet I managed to rewrite my score, for a new cut of the movie, which was faster and dryer.  Unofficial recording sessions took place here in London, then we came back during April.  Then, the clash.  Nobody understood my approach, or should I say noboby tried to understand it..." Interviewer:  "And you finally decided to walk away?" Kamen:  "Sort of. I'm not good at pastiche.  My job is not to do scores "in the style of...".  There are other composers out there who do that very well.  But I feel somehow bitter about THE AVENGERS ... I'm sure it will be a huge hit, no matter what.  Sean Connery is very good in it and the audience will just love the new Steed/Peel.  With my non-stereotyped score, it simply would have been even greater!" (I would like to thank MightyMcT for this.  Thank you!)

Last Updated: September 2, 2004

Balls of Fury  (rejected)  By:  Craig Wedren

Score Details: Music Editor:  David Burk.

Last Updated: January 28, 2008

The Battle of Britain  (rejected)  By:  William Walton

Score Details: Conductor:  Malcolm Arnold. Orchestration (additional):  Malcolm Arnold. Recorded at:  Denham Studios. Recorded on:  March & April, 1969. Score Recordist:  Eric Tomlinson.

Last Updated: November 2, 2009

Billy Bathgate  (rejected)  By:  John Kandar

Score Details: Orchestrator:  Michael Gibson. Score Recordist:  Michael Gibson.

Last Updated: June 29, 2009

B. Monkey  (rejected)  By:  Luis Bacalov

Score Details: Conductor:  Luis Bacalov. Recorded at:  Forum Music Village (Roma). Mixed at:  Forum Music Village (Roma). Sound Engineer:  Marco Streccioni. Music Assistant:  Giovanni Bacalov. Music Engineer:  Damiano Antinori. Recorded:  1998.

Last Updated: January 25, 2008

Bad Boys 2  (rejected)  By:  Mark Mancina

Score Details: Music Editor:  Bob Badami.

Last Updated: August 15, 2006

Barbarians At the Gate  (rejected)  By:  Trevor Jones

Score Details: Orchestrator:  Guy Dagul. Scoring Engineer:  Roger King. Recorded:  December 11, 13 & 15, 1992.

Last Updated: June 20, 2007

Beast From 20,000 Fathoms  (rejected)  By:  Michel Michelet

Score Details: Excerpts from the book: "The Dinosaur Films of Ray Harryhausen: "According to Harryhausen, Michelet's discarded score was light classical music." and really wanted Steiner to rescore it, but Steiner was too famous and never asked. Cost of rejected score:  Est. $5,000.00.

Last Updated: September 27, 2007

Behind Enemy Lines  (rejected)  By:  Paul Haslinger

Score Details: Sound Samples:  Robert Rich

Last Updated: January 18, 2007

Being Julia  (rejected)  By:  ?????

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

Last Updated: August 12, 2006

The Belly of An Architect  (rejected)  By:  Glenn Branca

Score Details: Orchestra:  The London Sinfonietta.

Last Updated: June 21, 2008

The Bible  (rejected)  By:  Goffredo Petrassi, Ennio Morricone

Score Details (from a letter Rozsa wrote back in 1967): "As Mayuzumi had no name value they also engaged Goffredo Petrassi, a fine Italian composer, and divided the score between them. First, Petrassi's music was recorded with a huge orchestra. It was beyond their understanding, and they sent Mr. Petrassi packing."

Last Updated: December 14, 2007

The Big Bounce  (rejected)  By:  Jimmy Rip

Score Details: Music Editor:  Angie Rubin

Last Updated: August 1, 2007

Blue Powder  (rejected)  By:  Aaron Zigman

Score Details: Bass:  Brian Kilgore.

Last Updated: June 9, 2009

Bonneville  (rejected)  By:  Shie Rozow

Score Details: Orchestrations:  Shie Rozow. Orchestrations:  Edgardo Simone. Music Preperation:  Darren McKenzie. Recorded & Mixed by:  Noah Snyder.

Last Updated: July 21, 2007

The Bourne Identity  (rejected)  By:  Carter Burwell

Score Details: Recorded At:  Fox Studios Additional Recording At:  Soundelux Additional Recording At:  Signet. Music Editor:  Todd Kasow Photo from a session:  Burwell at podium Scoring Mixer:  Mike Farrow. Musicians: Guitar:  David Torn. TRUMPET:  Jon Lewis. Trumpet (1st):  Warren Luening. Trumpet:  Tim Morrison. Trumpet:  Dave Washburn.

Last Updated: November 27, 2007

The China Syndrome  (rejected)  By:  Michael Small, R.I.P.

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

Last Updated: June 20, 2009

Chinatown  (rejected)  By:  Phillip Lambro

Score Details: Double Bass:  Dennis Trembly (also played on Goldsmith's score).

Last Updated: July 3, 2009

Chu Chu Philly and the Flash  (rejected)  By:  Maurice Jarre

Score Details: 1985 Soundtrack Magazine interview: James Fitzpatrick: Have you ever had any of your scores rejected? Maurice Jarre: I�ve never had any rejected, apart from music for CHU AND THE PHILLY FLASH. I knew the director, David Lowell Rich, and had worked with him on ENOLA GAY. He asked me as a favor to write the score, as I thought the film was really awful; I said I would write some light background music. Anyway, after recording the music everyone was happy with the score. Then later on Alan Arkin and his wife (being co-producers) changed the score, as they had not been consulted about using my score; David Lowell had been fired and was threatening to sue, so Pete Rugolo wrote another score which was used in the theatrical release. Still, I presume that David must have won his case, because when shown on TV my score was reinstated.

Last Updated: July 1, 2009

Cocktail  (rejected)  By:  Maurice Jarre

Score Details: EVI:  Judd Miller.

Last Updated: August 10, 2008

Carpool  (rejected)  By:  Bill Conti

Score Details: Guitars:  Jamie Glaser Unknown instrument:  Joe Porcaro (brother of composer Steve Porcaro) Trumpit:  Rick Baptist. Unknown contribution:  Tom Saviano.

Last Updated: December 10, 2007

Carriers  (rejected)  By:  David Julyam

Score Details: Music Editor:  Missy Cohen.

Last Updated: April 8, 2008

Casey's Shadow  (rejected)  By:  Elmer Bernstein, R.I.P.

Score Details: Orchestrator:  Michael Isaacson. Orchestrator:  Peter Bernstein.

Last Updated: April 18, 2008

Changing Lanes  (rejected)  By:  Dave Grusin

Score Details: Music Editor:  .... Possible Orchestrator:  ....

Last Updated: June 26, 2007

Chappaqua  (rejected)  By:  Ornette Coleman

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

Last Updated: June 26, 2007

Charlie Wilson's War  (rejected)  By:  RY Cooder

Score Details: Drums:  Jim Keltner

Last Updated: June 12, 2009

Chinese Coffee  (rejected)  By:  Howard Shore

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

Last Updated: July 8, 2009

Confessions of A Dangerous Mind (rejected) --  David Holmes

Score Details: Music Editor:  Jim Schultz. Miscellaneous Info: Craig Armstrong was supposedly working with Holmes on the score. Soundtrack.net interview with Alex Wurman: Soundtrack.net:  "How did you get involved with Confessions of a Dangerous Mind?" Wurman:  "I have a friend named Stephen Mirrione, who cut Doug Liman's first movie, which I scored. He went on to cut Doug's next movie, Swingers, and they didn't offer it to me because they didn't have enough money and thought I wouldn't want to do it! I was kicking myself for a long time because when I saw the screening, before Miramax bought it, I thought it was a very cool movie - I would have loved to do it! Stephen is a fantastic editor. Steven Soderbergh saw Swingers, hired Stephen to cut Traffic, and he got the Academy Award - but he's still a friend! So Stephen then cut Thirteen Conversations About One Thing, which thanks to him, I scored. It was such a joy - Jill and Karen Sprecher are going to make another movie soon, and I can't wait! Then Stephen was cutting Confessions and director/actor George Clooney was working with a different composer and he wanted to go in a different musical direction. Stephen suggested bringing me in to write some cues and I was hired to score the film." Soundtrack.net:  "So you replaced Clooney's original pick - was there any animosity there?" Wurman:  "No, none at all. Clooney was very pleased because he had struggled to get something that he thought was working, and then they gave me one shot at it, and I got it right the first time.  So it was smooth sailing for both if us! He is a great guy too."

Last Updated: February 4, 2008

Conspiracy of Silence  (rejected)  By:  David Butterworth

Score Details: Orchestra:  The London Symphony Orchestra.

Last Updated: October 22, 2007

CrissCross  (rejected)  By:  Michel Convertino

Score Details: Score Recordist:  Matt Howe. Scoring Mixer:  Matt Howe.

Last Updated: March 17, 2008

Crest of the Wave  (rejected)  By:  Hans May, R.I.P.

Score Details: Conductor:  Hans May. Recorded at:  M-G-M British Studios (Elstree Way Studios, Borehamwood, England).

Last Updated: December 23, 2009

Crossing Over  (rejected)  By:  John Murphy

Score Details: Orchestrator:  Stephen Coleman.

Last Updated: September 8, 2008

Dangerous Beauty  (rejected)  By:  Rachel Portman

From an interview with BoxOfficeMojo: BOM:  "You've said that there were only a couple of times when you had to back out of composing a movie's score. Which movies?" Portman:  ""Dangerous Beauty" had serious problems and they were hoping the music would help, and I couldn't write any music that pleased the director. I was very upset because they didn't use the music." (interview) Note:  Portman's claim was she was pregnant and couldn't do the film, yet we know she did because some (maybe all) is in the film, and now this comment; perhaps the same for "Mulan".

Last Updated: November 6, 2006

The Darwin Awards  (rejected)  By:  Graeme Revell

Score Details: Additional Score:  David E. Russo. Score Programmer:  David E. Russo.

Last Updated: December 10, 2007

Denial  (rejected)  By:  Michael Bland & Rick Ziegler

Score Details: Unknown Instrument:  Michael Bland. Unknown Instrument:  Rick Ziegler. Unknown Instrument:  Sonny Thompson. Unknown Instrument:  Billy Franze. Unknown Instrument:  Gwen Matthews. Vocal and/or Keyboard:  Mark Licktieg.

Last Updated: July 2, 2009

Derailed  (rejected)  By:  RZA, Alexandre Desplat

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

Last Updated: August 11, 2009

Disgrace  (rejected)  By:  Cezary Skubiszewski

Score Details: Score Recordist:  Robin Gray. Scoring Mixer:  Robin Gray. Score Recordist:  Andrew Kotatko. Scoring Mixer:  Andrew Kotatko. Music Supervisor:  Daryl McKenzie. Orchestrator:  George Butrumlis. Conductor:  George Butrumlis. Club Music:  Enzo Oscar Geribialdi. Orchestra:  Victorian Philharmonic Orchestra. Musicians: Accordian:  John Barrett. Harp:  Jeff Payne. Guitar:  Julia Raines. Soprano/Saxophones:  David Newdick (Newdick? What happened to your old one?). Trumpet:  Bob Veniard. Unknown credit:  Mario Lattuada. :  .

Last Updated: November 21, 2008

Distant Drums  (rejected)  By:  Alex North, R.I.P.

Score Details: Conductor:  Ray Heindorf, R.I.P..

Last Updated: October 10, 2008

Doubt  (rejected)  By:  Philip Glass

Score Details: Choral Music Arranging:  Alan Ett. Choral Music Arranging:  Scott Liggett. Conductor:  Michael Riesman.

Last Updated: September 8, 2008

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

Score Details: Orchestrator:  Graeme Revell Orchestrator:  Tim Simonec Additional Samplings:  Brian Williams (AKA: "Lustmord") Music Scoring Mixer:  Dan Wallin Music Editor:  Sally Bolt Music Editor:  Bob Bayless Some of it recorded:  9th to 13th Feb, 1998 Mostly Recorded At:  Air Lyndhurst (London). Some Score Recorded At:  Angel in Islington (week's worth). Conductor:  Graeme Revell Orchestra Contractor:  Isobel Griffiths. Vocal (overdubbed at Angel):  Lisa Gerrard. Musicians: Armenian Duduk:  Djivan Gasparian Panpies:  Andy Findon Shakuhachi / Various Woodwind Flutes:  Clive Bell ?????:  Hossam Ramzey Uilleann Pipes / Dudak / Reeds / Whistle / Ney / Kaval / Mizmar / Zourna:  Dirk Campbell From an interview with Goldenscore (site seems to be gone now), conducted by Quentin Billard: "Can you tell us some words about your bad experience on THE 13TH WARRIOR (EATERS OF THE DEAD) by John McTiernan? What was the deal?  Why was your score entirely rejected?" "What happened was John McTiernan, the director, who I had been working with not closely, didn't get involved in the music very much, and pretty much removed himself from the movie during post production.  Michael Chricton took it over, and I don't think he even listened to my score. When he took it over, I think he just decided his friend Jerry Goldsmith should be the composer and that was the end of that.  I never really counted that as a rejection and I don't think there was anything inferior about that score, and I'm quite happy to still own it." He also went on to say he was the third composer on "Aeon Flux", and this: "We'll speak now about your experience on LARA CROFT TOMB RAIDER (2001). I know that the production rejected the first composer and give you few time to compose this score. I also know that it's more and more frequent in Hollywood today (like on EATERS OF THE DEAD). How did you manage to write the score of TOMB RAIDER and what do you think of these problems of incessant reject in Hollywood today?" "The main problem with rejection is that they're often hiring the wrong person in the first place. They'll go down the list of people who have written the music for big box office movies or movies that have been nominated for an Oscar and just because that happened, they'll think that person is better than another for a job, and sometimes you see some of the most ludicrous decisions being made and everybody knows that in about six weeks time, that job is going to come back on the block. It's upsetting because you wish people could understand who to hire and why and what the chance might be that you could get a better score, a more interesting one. That's the main reason for it, and sometimes you can have communication problems where a director is fighting a studio or it gets political. And sometimes you get very little time to do something. In the case of "Tomb Raider", it was ten days from start to finish. I just set up a scenario where we worked around the clock, where I had one studio where they were writing, and one where they were mixing, and another with a satellite link to London where it was being recorded at their studios, and uploading and downloading on T1 lines back to LA for mixing. It was an intersting technical challenge. I didn't sleep the whole time, so frankly I don't remember a whole lot about it. The movie did well, and when I listen back to the score, it's okay." Video Clip(s): YouTube:  Music only, with Goldsmith's version afterward. CD-R

Last Updated: September 6, 2008

Edge of Darkness  (rejected)  By:  John Corigliano

Score Details: Conductor:  Leonard Slatkin. Music Contractor:  Andy Brown. Music Editor:  Michael K. Bauer. Music Editor:  Curtis Roush. Orchestration (additional):  Mark Bachle. Recorded At:  Abbey Road Studio 1. Score Mixer:  Joel Iwataki. Scoring Engineer:  Steve McLaughlin. Scoring Engineer (additional?):  Lawrence Manchester. Score Producer:  Teese Gohl. Musicians: Orchestra:  London Metropolitan Orchestra (up to 85 musicians).

Last Updated: October 15, 2009

Emporer's New Groove  (rejected)  By:  Marc Shaiman

Score Details: Drums:  J. R. Robinson.

Last Updated: June 28, 2009

Extraordinary Measures  (rejected)  By:  Alex Wurman

Score Details: Music Editor (additional):  Dean Menta.

Last Updated: November 19, 2009

Dreamer  (rejected)  By:  Jan P. Kaczmarek

From an interview HERE: "My son, Szymon, was encouraging me to talk about my latest defeat. I agreed, I don't know why, to score a film which is now in theatres. It was right after the Oscars, and it... it was a first time director and I have to warn everybody that this is the most dangerous situation. With a first time director and a big studio picture, you really have too much at stake in a way. So I did the music. The Director was a really lovely man, a sweet man, and very sensitive and we had so many good moments together; he'd cry occasionally while we were playing music, which was very moving. Then we went to Prague and recorded the whole thing, and the mood was absolutely spectacular. And we were really happy and then we gave hugs and kisses and I went to Poland and he went to mix it here. And then the mix was finished and still the mood was really great and I got these reports from the scoring stage occasionally saying it was all great... but then suddenly the day came when he woke up, a month later, after one of the screenings with the executives, thinking that it was all too dark. That the score, my score, was too dark and needed to be replaced with something light and they did it, you know! And he called me and he was very courageous, not many people do this, and he said, 'You are being replaced.' They just don't call you directly. Usually your agent gets the message and, you know, your agent is your psychotherapist who tells you how wonderful you are and it means nothing and they're a bunch of idiots.... No, this Director, to his credit, he called me. I was in the middle of a forest in Poland on my cell, and he told me what had happened. I said, 'I really can not be depressed because I'm in such a beautiful place now and I?m in the middle of doing something really great, but I?m really shocked, and surprised, and I think this must be a mistake, but what can I say?' "And it happened! They replaced my score and... and I believe it was a mistake, but that's my right to believe that this was a mistake, and their right is to believe it wasn't a mistake. I told you this story because you can get an Oscar on February 27th and be replaced on April 29th. And in a way that's wonderful. And then you ask yourself how did I contribute to this? Was it necessary to score this picture? Was it, is it, my fault as well? And maybe it is, you know, and when I look at it today, I believe the score was right, but maybe I shouldn't have scored another picture about children; maybe that's unnecessary. Maybe one picture with a child as the main character is enough? Maybe I'm victim of, of my own kind of... I don't know what. As a man from Eastern Europe I'm always thinking that I'm being treated as a composer who cannot write music for the mainstream American box office hit. I said, 'No, no, no, I will do it!' ?And even if it's not the most sophisticated movie about a horse which breaks its leg and a little girl, I will try to prove I can do it. So, a certain vanity and maybe too much ambition was the reason that I wanted to prove something. On the other hand, I think I did it!" Score Details: Orchestra:  Prague Philharmonic Orchestra. Recorded at:  CNSO Studios. Score Recordist:  Gary Chester. Music Editor:  Christopher Kennedy. Orchestra Size:  106 pieces. Orchestrator:  Dylan Maulucci.

Last Updated: July 25, 2008

Ella Enchanted  (rejected)  By:  Shaun Davey

Score Details: Score Coordinator:  Karen Elliot Score Coordinator:  Becky Bentham. Orchestra:  The Irish Film Orchestra (who laos did the replacement score).

Last Updated: October 6, 2008

Eulogy  (rejected)  By:  Richard Marvin

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

Last Updated: July 25, 2008

The Exorcist  (rejected)  By:  Lalo Schifrin, Jack Nitzche

Unknown interview where he comments (on Shifrin): SM: Now, this is the moment to speak about your work in "The Exorcist". What did it happen, really? Why did they reject your score? LS: The truth is that it was one of the most unpleasant experiences of my life, but I have recently read that in order to triumph in your life, you may previously have some fails. What happened is that the director, William Friedkin, hired me to write the music for the trailer, six minutes were recorded for the Warner's edition of the trailer. The people who saw the trailer reacted against the film, because the scenes were heavy and frightening, so most of them went to the toilet to vomit. The trailer was terrific, but the mix of those frightening scenes and my music, which was also a very difficult and heavy score, scared the audiences away. So, the Warner Brothers executives said Friedkin to tell me that I must write less dramatic and softer score. I could easily and perfectly do what they wanted because it was way too simple in relevance to what I have previously written, but Friedkin didn't tell me what they said. I'm sure he did it deliberately. In the past we had an incident, cause by other reasons, and I think he wanted vengeance. This is my theory. This is the first time I speak of this matter, my attorney recommended me not to talk about it, but I think this is a good time to reveal the truth. SM: Thank you very much Mr.Schifrin, because a lot of fans can now learn the truth about the sad episode... LS: Finally, I wrote the music for the film in the same vein as that of the trailer. In fact, when I wrote the trailer I was in the studio with Friendkin and he congratulated me for it. So, I thought I was in the right way... but the truth was very different. SM: This was a shame, because your score was very original and pioneer... LS: Yes, I was very excited with that project as well but life doesn't start or end with "The Exorcist". SM: Will you release it in a complete edition with the label "Aleph Records"? LS: It isn't possible as I don't have the rights of the music. Score Details (for Schifrin): Unknown instrument (perhaps sax):  Plas Johnson. Recorded:  October 31 & November 1, 1973. Score Details (for Nitzche): Conductor:  David Measham. Orchestra:  London Symphony Orchestra. Recording Engineer:  Robert Auger, R.I.P..

Last Updated: June 12, 2009

The Express  (rejected)  By:  Peter Afterman

Score Details: Music Editor:  Richard Bernstein

Last Updated: August 14, 2007

Far North  (rejected)  By:  Michael Nyman

Score Details: Recorded:  April 15-21 (maybe all?). Musicians: Saxophone:  Simon Haram

Last Updated: August 14, 2007

51st State  (rejected)  By:  John Murphy

Score Details: Score Recordist / Additional Scoring / Score Producer:  Simon Denny.

Last Updated: June 22, 2009

Feast of the Goat  (rejected)  By:  Stephen Warbeck

Score Details: Music Editor:  Andy Glen.

Last Updated: November 15, 2007

Fred Clause  (rejected)  By:  Rolfe Kent

Score Details: Recorded:  June/July Music Programmer:  Stephan Coleman. Musicians: Bass:  Brian Kilgore.

Last Updated: June 9, 2009

Frenzy  (rejected)  By:  Henry Mancini, R.I.P.

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

Last Updated: November 1, 2009

Fun With Dick and Jane  (rejected)  By:  Billy Goldenberg

Score Details: (to be added):  Barry Socher.

Last Updated: June 17, 2009

Gattaca  (rejected)  By:  Dany Elfman

Score Details: Orchestra Contractor:  Patti Zimmetti, R.I.P. Orchestrator:  Steve Bartek. Recorded at:  MGM/Sony, Culver City. Musicians: Clarinet (2nd):  Charles Boito. Clarinet (1st):  Gary Gray.

Last Updated: July 16, 2009

Gangs of New York  (rejected)  By:  Elmer Bernstein, R.I.P.

Score Details: Music Editor:  Patrician Carlin. Music Editor:  Kathy Durning. Recorded at:  Air Studios, London (Sring 2002). Orchestra:  The Royal Philharmonic Orchestra (possibly also some at Abbey Road) Orchestrations by:  Emille Bernstein  (Also Supervisory Copyist) Mixed at:  globalmusicservice.com Small MftM piece where he talks about it.

Last Updated: June 11, 2008

The Go-Between  (rejected)  By:  Richard Rodney Bennett

Score Details: Orchestra:  The London Symphony Orchestra (also did the replacement score as well, if I recall correctly) Trumpet:  Don Cherry. 1976 Soundtrack Magazine interview: John Caps: Did Joseph Losey know what he wanted to do with THE GO-BETWEEN? Richard Rodney Bennett: Losey had been back here in America and got to know an avant-garde trumpet player named Don Cherry. And I remember going on location and they were filming in that extraordinary house and, standing in one of those rooms with him, Losey said, "I want avant-garde jazz and electronic music in this film." Now I've known that novel since I was about fifteen, it's one of my favorite novels in the world and I just looked at him as though he'd gone insane! And it went downhill from there. John Caps: Did you actually record anything for it? Richard Rodney Bennett: Oh yes. I would have redone it, because I realized it wasn't what he wanted, but there was no way I could salvage it, unfortunately; that was back when I was teaching in America and I had to come back and teach. Otherwise I would have done another score for him. It would have been so easy to do a beautiful commercial score for that film.

Last Updated: February 2, 2007

Gods and Monsters  (rejected)  By:  ????? Burnett

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

Last Updated: August 7, 2006

The Golden Child  (rejected)  By:  John Barry

Score Details: Do not recall where this is from: "Under Michael Ritchie's direction, Eddie Murphy was cast in the unlikely role of a social worker. In this role, he is assigned to look for a mystic child thought able to bring peace to the earth. Although Barry was originally chosen to score the film (and had completed most of the work), Michael Colombier was drafted in to rescore it, after no less than forty minutes had been savagely cut. Barry, reluctant to tamper with what he had completed, proceeded no further. As a result, only segments of his music remain, including the song, 'The Best Man In The World', sung in the film by Ann Wilson which appears on the accompanying soundtrack. When finally released, the film contained a curious and disparate amalgam of musical ideas. Capital Records in America released the Ann Wilson song on a single; its 'b' side containing a four minute instrumental version by Barry omitted from the film. This was split into two distinct parts and, perhaps, gives some indication of how the rest of the unused score might have sounded."

Last Updated: February 27, 2007

The Good German  (rejected)  By:  David Holmes

Score Details: Hugo Nicolson:  Score Engineer. Hugo Nicolson:  Score Mixer. Recorded at:  Log cabin belonging to Woodrow Wilson Jackson III. Score finished:  February 27, 2006. Musicians: Celeste:  Leo A. Brahams. Guitar:  Woodrow Wilson Jackson III. Keyboards:  Scott Kinsey. Mellotron:  Leo A. Brahams. Read more HERE.

Last Updated: June 17, 2006

The Good Shepherd  (rejected)  By:  James Horner

Score Details: To Be Announced:  ?????

Last Updated: January 4, 2007

Goodbye, Lover  (rejected)  By:  John Barry

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

Last Updated: April 11, 2007

Happily N'Ever After  (rejected)  By:  James L. Venable

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

Last Updated: April 27, 2008

Hearts In Atlantis  (possibly rejected)  By:  James Newton Howard

From an interview with Danna: RM:  Lets talk a bit about one of your newest films that has just come out, Hearts in Atlantis. How did you get the project? MD:  I believe Scott Hicks, the director had seen my work and enjoyed it.  I think he'd heard The Ice Storm, which caught his ear.  We ended up talking and he and I hit it off really well, he's a really great guy and we had a lot of things in common.  I think it came up originally because there was another composer who dropped off at the last minute.  It was a composer he'd worked with before and he sort of assumed that it would happen and it didn't.

Last Updated: May 31, 2007

Hide & Seek  (rejected)  By:  Christopher Young

Score Details: Score Coordinator:  Sujin Nam. Interview comment by Ottman: "Because of a scheduling conflict, Chris Young had to leave Hide and Seek, so I took that over. He had already written a good theme, so it was a challenge and intimidating to walk in and try to outdo it."

Last Updated: March 26, 2008

Highlander:  End Game  (rejected)  By:  Nick Glennie-Smith

Score Details: I wrote Mr. Graziano and here is what he had to say: "Hello, What happened was ... Nick Glennie-Smith, (whom I've never met, but would like to some day) scored Highlander:  Endgame.  The producers didn't like his score. The editor, Michael Knue, said he knew someone who could do a great job, and I was hired to replace Nick's score.  I was only given two weeks, (ideally, a composer gets 5 weeks to score a film) so it was decided that they'd keep half of Nick's score and I'd replace the other half, mainly the action cues, (though some of Nick's action cues stayed). If you have the CD you can kind of see the breakdown. (Sentence removed at his behest.) I felt bad that I never contacted Nick, (kind of rude on my part!) but I was so busy, then I went on to another film and just forgot about it.  I hope he wasn't offended.  There's one cue that indicates that we wrote it together, but in fact, they gave me his track and asked me to add a female voice to it, so we both got credit.  ("Heather Cuts Her Hair") I hope that should clear up any confusion! Bye! Steve"

Last Updated: February 21, 2007

Hitch  (rejected)  By:  George Fenton

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

Last Updated: June 20, 2009

Homeward Bound  (rejected)  By:  David Shire

Score Details: French Horn:  Phil Yao.

Last Updated: June 17, 2009

Honeymoon In Vegas  (rejected)  By:  Marc Shaiman

Score Details: Orchestration:  Mark McKenzie. Musicians: Piano:  Tom Rainer.

Last Updated: June 17, 2009

The Hours  (rejected)  By:  Stephen Warbeck, Michael Nyman

Score Details (for Nyman): Music Instrument (possibly flute):  Andy Findon. Score Details (for Warbeck): Music Instrument (possibly flute):  Andy Findon (both scores). Assistant Composer / Arranger:  Anders Sondergren Music Editor:  ..... Violin:  John Lenehan. Interview Excerpt: Dan Epstein:  You added an urgency to the score. Was that the intent? Philip Glass:  I really had two ideas about the music. Urgency would have been the subtler motivation, perhaps. But it's a very complicated film. The kind of film that, if you stop paying attention to it, you get lost. You get drawn into it and stay with it. The strategy of the music dealt with the emotional point of view of the film, which in this case was very specific. I came in late to the project. [Director] Stephen [Daldry] and I worked on the nuances of the feelings of each scene. But more importantly, the whole structure of the film was most interesting. It's like the book Mrs. Dalloway, which takes place in one day and morning, noon and night take place in three different places in three different eras. I saw a rough cut, originally with a temp track of all my music, which was not so easy to listen to. The first thing I did was remove that so I could think about it. I saw that the movie needed music to do a very specific thing. That was to hold the film together. From scene to scene, you didn't want different music. The music should be a bridge to carry you from place to place. When you go from Virginia Woolf [Nicole Kidman] playing with her niece in the park and cut right to Laura [Julianne Moore] in the kitchen getting her medicine. The music is such that its almost like Laura is right next to Virginia. DE: What do you see as the responsibility of a score in a film? PG: If it's possible, and I've done it several times, the music can become part of the structure of the film. That doesn't always happen, but I was able to do it in "Kundun" and the version of the original "Dracula" I scored. "Dracula" didn't have a score. The form is structure. When a composer is invited into a project to participate creatively in a very full way, then I have to provide a musical structure that will articulate the structure of the film. When I looked at "The Hours", I thought it was beautiful, and that the only thing that could go wrong is that it doesn't end up looking like one movie, but like three movies. It had to be one movie and all about the same thing. It was structural. DE:  What were your reasons for including almost no strings in the score to "The Hours"? PG:  Maybe it's because I perform on the piano myself, but I always felt the piano is the most intimate instrument. I wanted the music to be about people in intimate moments. The piano carries that role. I added some strings, because of the range we can reach. I did not use percussion and brass because there is so much happening in the film that I didn't want to distract from the film. I kept the music very focused. DE: What's your basis for choosing film projects? PG: In this case, it was because I liked the movie. It's usually because i like the director or the movie. Clearly, I'm not Hollywood-based. I don't write film scores one after the other. My next project is an opera. Films happen to be something I do. Filmmakers who want me to score their film obviously know what I do. People know me as a certain way. I didn't get asked to write "Lord of The Rings". I would have liked to have done that. "Naqoyqatsi" and "Koyaanisqatsi" were movies of passion. I am a co-author [with Geoffrey Reggio]. DE:  When did you decide to do a third one [Naqoyqatsi]? PG:  We started years ago. We couldn't raise the money for ten years. DE:  I could have given you some money. PG:  6 million dollars? DE:  Maybe not. PG:  It wasn't super-expensive and it was Steven Soderbergh who convinced Miramax to put it up. DE:  What was it like coming into "The Hours" after two or three other scores had been written, then rejected? PG:   I knew about the scores, but I hadn't heard them. It happens in movies.  Writers and directors get changed or fired. I wasn't surprised that happened. Stephen never talked to me about the other scores. But the music editor told me that, whenever they heard the score they liked, the temp track was better, which was made up of my music. I wasn't unhappy with the way it worked out because, coming in at the end, I got to work with Stephen on the final moments of the project. DE:   Thanks, Philip.

Last Updated: August 24, 2009

Howard the Duck  (rejected)  By:  Lalo Schifrin, ?????

Score Details (for Schifrin): Clarinet:  Gary Gray (also on the unknown other composer's rejected score).

Last Updated: December 11, 2007

I Love Trouble  (rejected)  By:  Elmer Bernstein

Score Details: French Horn:  Phil Yao. Piano:  Randy Waldman. Trombone:  Andrew Thomas Malloy.

Last Updated: July 7, 2009

I Love You Perfect  (rejected)  By:  Bob Cobert

Score Details: Recording Engineer / Scoring Mixer:  Rick Winquest.

Last Updated: April 2, 2008

I Thank A Fool  (rejected)  By:  Gail Kubrik

Score Details: Orchestrator:  Gerard Schurmann. Orchestra:  London Philharmonic Orchestra.

Last Updated: October 10, 2008

I Oversee the Maintenance of A Toolshed  (rejected)  By:  Jesse Hopkins

I e-mailed Mr. Hopkins and here is what he had to say (used with permission; revision):      "After talking in depth to the director, George Cox, about the why he rejected my score, I understand that his reasons really have more to do with differences in taste and opinion than any shortcomings.  The director told me that he felt the music was too big, too active, and that there was no room for the acting or cinematography to tell the story.  I still disagree that the music did anything but effectively support the film, but it is every director's right to seek what style and approach he or she wants.  The film was a comedy with many daydreams, fantasies, and broad physical humor, so I thought it would do well with a descriptive score which would hilight the action without resorting to comedic gestures.  I feel it is unfortunate that the director and producer felt that the music would be distracting, because usually people do not notice music which closely matches the action on screen, especially in a broad comedy with narration.  I also disagreed that it was too big, considering it only required a chamber group of about 10 players.  We'd worked together on Kaiju Big Battel, and we got on great.  The format there was more of a variety show, with different sketches and commercials, so a more eclectic style was appropriate there.  George hired me on "Toolshed" with the expectation that I'd write in many styles, but being a short film with only one character, I sought to write something with a more consistent style throughout.  I think the main reason he went for another composer rather than ask me to alter the composition, was that I made it clear I wasn't really interested in writing in popular modern styles for this assignment, nor did I think it was appropriate.      The new composer's name is Vincent Pedulla.  He's a friend of the writer and went to Berklee in Boston. The new score was more based in modern popular styles, but I was a little insulted when I heard some similarities to my original score.  It was still original, but sounded like the filmmakers asked him to write a simpler version of my music.  The unique instrumentation is nearly the same, but smaller (nylon guitar, celesta, chimes, piano being the main instruments), and there are some musical moments that seemed arrived at through listening to my music.  There is the inclusion of a techno drum beat in one scene, and there is much less music in the film.  In all, I'd rather not have written in the manner that they accepted into the film, so it all worked out well.  It was a learning experience which hilights the importance of a lot of communication between the director and composer."

Last Updated: May 19, 2006

Incendiary  (rejected)  By:  Barrington Pheloug

Score Details: Music Editor:  Andy Glenn. Music Editor:  Robin Morrison. Scoring Mixer:  Andy Richards. Score Preperation:  Matthew Slater.

Last Updated: July 17, 2008

Indian In the Cupboard  (rejected)  By:  Miles Goodman, R.I.P.

Score Details (for Armstrong): IGN intereview where he talks briefly about it (Part 3) "PLUME: Could you comment on this, and on the replacement of Mile's Goodman's score with Randy Edelman's score? OZ: Bud (Miles Goodman) was one of my closest friends in the world, who's scored almost all my movies. It was a situation where I was hesitant hiring my good friend to do something that I had not seen him do before, and Bud and I had a talk about it. He said, "You just don't want to hire me because you're concerned about having to fire a friend." I said, "That's true." He said, "Well give me an opportunity," and I said, "Okay..." because I thought he was brilliantly talented. So he had the score, and the producers and the writer didn't think the score was that successful, and in the long run, I had to agree with them -- it wasn't happening. So I had to say to Bud, "Sorry Bud, we have to go with somebody else," and Randy came in and finished it and did a very good job. You know, there's some movies that I can't direct...that I just can't hit...and that's fair enough, but Bud went in as an adult with his eyes open. Fortunately, thank God, before he passed away (which is one of the mortal blows in my life, because he was a good and dear friend) I asked Bud to do the music for In & Out. So he knew everything was fine with us, and he did a great job."

Last Updated: August 28, 2006

The Insider  (rejected)  By:  Craig Armstrong, Graeme Revell

Score Details (for Armstrong): Chief Sound Engineer:  Geoff Foster. Score Details (for Revell): Music Editor:  Thomas Milano.

Last Updated: August 28, 2006

Inspector Gadget  (rejected)  By:  Marc Shaiman

Score Details: Tuba:  Jim Self. Music Editor:  Tob Holcomb.

Last Updated: December 6, 2007

I Love Huckabees  (rejected)  By:  Stephen Endelman

Score Details: Scoring Mixer:  Damon Tedesco.

Last Updated: November 28, 2007

Interview With the Vampire  (rejected)  By:  George Fenton

Score Details: Music Contractor:  Emile Charlap (also worked on Goldenthal's score). Music Editor:  Michael Connell (also worked on Goldenthal's score). Orchestrator:  Geoffrey Alexander. Score Recordist & Mixer:  Gerry O'Riodan. Recorded In:  New York (like Hitch; see above) and CTS Studios, London (now a parking lot). From an interesting FSM forum post, someone posted this:: "05/09/02 at FSM reported by Scott Bettencourt- this is what someone had sent in: Emile Charlap (music contractor) and Mike Small attended a film music discussion a few years ago and Emile spoke of Small writing a score to the China Syndrome that was never used. Later on when I was working to get the Jaws 4 promo out I mentioned ever having his CS score released and he kind of demured about ever releasing it. But it was done. Incidentally Emile was the same contractor for Interview with a Vampire...twice. Apparently the producers replaced Fenton midway through his scoring, but didn't tell him, so essentially he was scheduling Fenton in the morning for a score everyone, except Fenton, knew wasn't going to be used, and then Goldenthal in the afternoon/evenings. Not only was it colossally unprofessional on the producer's end, it was also a huge waste of money since it was double union sessions." CD-R

Last Updated: August 26, 2008

Jackknife  (rejected)  By:  Mark Isham

Score Details: Bass:  Doug Lunn. Drums:  Kurt Wortman. Guitar:  Possibly Peter Maunu. Piano:  Rich Ruttenberg. Trumpet:  Mark Isham.

Last Updated: December 27, 2008

The Josephene Baker Story  (rejected)  By:  Ralph Burns

Score Details: Recording Engineer / Scoring Mixer:  Rick Winquest. Orchestra Contractor:  Emile Charlap(?).

Last Updated: June 20, 2009

Killshot  (rejected)  By:  Stephen Warbeck

Score Details: Music Editor:  Andy Glen. Score Cooridinator:  Becky Bentham. Possible Orchestrator:  Jeff Toyne.

Last Updated: August 7, 2007

King Kong  (rejected)  By:  Howard Shore

Score Details: Additional Ambient Music (also music editing):  David Long, Steve Roche, Janet Roddick. Click Engineer:  George Nepia. Conductor:  Howard Shore. Electronic Music Programming:  Greg Laporta. Dubbing:  Park Road Post (New Zealand). Lead Copyist:  Giancarlo Vuleano. Music Editor:  Tim Starnes. Music Editor:  Mark Ebbing. Music Editor / Coordinator:  Nigel Scott. Music Production Coordinator:  Jim Bruening. Orchestra:  The New Zealand Symphony Orchestra. Orchestra (some):  Berlin Philharmonic. Orchestrator:  Howard Shore. Recorded (some):  August 2005. Recorded at (some):  Teldex Studios. Recorded at:  Michael Fowler Centre. Re-recording Engineer:  John Kurlander. Score Engineer:  Peter Cobbin. Techincal Engineer:  Patrick Weber. Hear A Few Seconds:  HERE. Few seconds of a cue:  HERE Few seconds of ANOTHER cue:  HERE http://www.parkroadpost.co.nz Musicians: CELLO:  Richard Duven. Cello:  Georg Faust. Cello:  Christoph Igelbrink. Cello:  Solene Kermarrec. Cello:  Martin Lohr. Cello:  Olaf Maninger. Cello:  Martin Menking. Cello:  Ludwig Quandt. Cello:  David Riniker. Cello:  Nikolaus Romisch. Cello:  Dietmar Schwalke. Cello:  Knut Weber. Percussion:  Joel Batson.

Last Updated: September 24, 2009

Kit Kittridge: An American Girl  (rejected)  By:  Lesley Barber

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

Last Updated: September 20, 2009

The Land Before Time 9  (rejected)  By:  Andrew James Thomas

Score Details: Orchestrator:  Stephen Coleman. Orchestrator:  James Michael Dooley. Orchestrator:  William Ross.

Last Updated: February 7, 2008

The Ex / The Queen  (rejected scores)  By:  Nathan Larson

Score Details (after the Q&A):      Mr. Larson very kind to answer some questions I sent to him regarding all three of his replaced scores (the other being "Phone Booth"). Q&A: PHONE BOOTH: 1. How did you get involved with "Phone Booth"? Well I had worked with director Joel Schumacher and had a good creative experience on his film TIGERLAND, so we were coming off that project and feeling good about each other, he called me about it right away. Do you know why the score was mostly replaced? For sure! In the end the studio wanted to have themselves a Bruckheimer-style action thriller, which is tricky to pull of consider you're dealing with one guy in a phone booth the whole time, but it seems they managed. And I think that's totally their prerogative of course, it's their money after all; and it's appropriate for the film. As for Joel, I think it was a combination of feeling that he wanted to be in more familiar , more traditional territory....what I was doing (which was what I was initially instructed to do) was this weird minimalist electronic stuff, most of which was less bombastic than that bit I have on my CD. Another factor was fatigue, the postproduction for that film dragged on for over a year, as Joel was off on other projects, so it was sort of start and stop and I think gave executives and director alike time to ponder what the score was doing for the movie, which really was a much more internal thing ‘cause that's sort of what I do, less to the action than just to general mood and emotion etc. So I reckon they did the right thing, and I don't feel weird about it in the least. What made you want to include excerpts on your CD? I don't know, probably the idea that none of it would get heard. It's not a particularly fantastic bit I chose either; so if I were to compile that thing today I wouldn't include it, no need. From you changing count on your website, what is the current tally on how much was left in the film (specific scenes if possible)? This is not cool to admit but I've never watched the finished film, but on a plane I saw bits of it over a guys shoulder and I did get an "additional music" credit. So who knows? Probably very, very little. Really thought, who cares? THE QUEEN On Frear's "The Queen" a score fan like myself would have expected George Fenton to score it, so how was it that you cameaboard? That's funny! Yeah George should have been on it, he would've known how to navigate that one. Ironic as well because Stephen was teasing George about how I was this young guy who couldn't read music and yet I was a rocking film composer etc, etc; it was all in fun. They had just done that funny movie with Bob Hotchkins and that super cute actress, can't remember what it was called. Anyway, George is cool, he's old school, he doesn't come from punk rock like I do. I never feel like I know what I'm doing, which is a good thing I think. It was and is a friendly relationship, with all the folks I know over in London. Again, much like PHONE BOOTH, Stephen and I had worked on 3 things together, this film DIRTY PRETTY THINGS, a Volvo long form commercial with Robert Downey JR. , and this cable TV thing called THE DEAL about Tony Blair. We'd had a very good working experience on all that stuff, so when the time came he rang me up, and I went over to London and wound up living over there for about 4 months..... For people curious to hear it, what does the score sound like? It's my usual sort of shtick! Electronic stuff mixed in with some orchestral bits, and lots of solo cello. Again much less general that what they wound up with, much smaller in scope.... I’m told......I never saw the finished movie on this one either. In my defense I can say that I rarely see the finished product , including films I've successfully scored as well. I just figure, I've been watching this movie for months now, why not check out something else? Also it's too distracting, I'm sitting there listening to what I could've done better, or mourning a scene I loved that had been cut out, or getting frustrated with the theater's sound system ; all of which kind of shatters the experience for me (and for those with me!). Why was it not used? A host of good reasons. The biggest factor, I think, is that Harvey Weinstein took one look at the film and declared Helen Mirren's performance the stuff of Oscars (he was right!) and that everything, from editing to music and I think even a reshoot or two, would be geared towards buffering her up, and making sure she was a sympathetic character. I think I was more or less history the moment that conclusion was made, but I hung in there and was very stubborn about my take on the story....that the queen is not a sympathetic character, and that the monarchy should be looked to as the cold, horrible inbreeds that they are.....for instance, regarding their stone-faced reaction to Diana's death. This was as far as I could tell the original intention of the film, that it walk a much finer liner and place emphasis on the grey areas and ambiguities. So I was going for complexities and not trying to steer the audience, when what they really needed if they were to take the sympathetic approach to the film was a big sweeping classical kind of thing. So as I said regarding PHONE BOOTH , the studio made the right decision in terms of getting return on their investment, and you can't really fault that. It also, alas, must be said that there was a crucial screening of the film in New York for the big cheeses in which the copy of the film they got was somehow fucked up, and the sound (particularly the music) was muffled and barely audible. This was a technical error and as you're rushing to finish something this stuff happens. But I do think as a result, those making the decisions never did hear what I was doing properly. Which of course doesn't change the fact that they made a good call on getting in somebody new, if the success of the film is any indication of these things. It was no fun though, Stephen had to come down and tell me I was off it, and he was pretty distraught as he felt it wasn't 100% his decision. I love Stephen a lot, I must say, he's a good man. One funny thing was that my association with Stephen began because I replaced the score on DIRTY PRETTY THINGS (originally Ann Dudley), such is this biz. Another funny thing: I was in a deli here in New York and an ad came over the radio pumping up the soundtrack for THE QUEEN (this was just before the Oscars last year) and the voice-over was something like "take home the magical Oscar-nominated music from the film THE QUEEN"....etc etc. Standard stuff; except the music that was playing in the commercial, which would surge to the forefront for as much as 5 seconds at a time, was in fact my weird, spooky score. Anyway we figured out later that Miramax (although they never fessed up to it) must've used the music they got from an early promo cut for THE QUEEN which at that point had my score.....it bothered me for about 10 minutes, and then it just seemed funny so I just moved on. What are you gonna do? Any plans to include excerpts on a future compilation, perhapsthe whole score? Nah......had I gotten to record it properly I would say yes but it never got to a finished stage and I would never go back to it. Too much new stuff to get into! FAST TRACK What was up with the late replacement of "Fast Track" and how did you get involved with the film? This was a disaster that eventually came out under the name THE EX.....my very, very good friend (and former roommate) Jesse Peretz directed it, and had it wrested away from him in another one of these political things. Jesse and I have worked together forever.....but yet again, the studio kept saying "Meet the Fockers!" and "Meet the Parents!" and I just couldn't do it, it wasn't how I saw the film, it was a much sadder , sort of tragic film initially. Well it was a fucking good film initially! But I must say in this case the studio just totally destroyed it, and it was very hurtful for my good friend Jesse. Especially since they took the movie away from him, made a piece of shit, and put it out all in multiplexes over the US with his name on it....so when the (rightfully) bad press started coming down the pike it hit my man right in the face. Not fair play if you ask me, and it's the kind of thing that resonates, so he's got to overcome that. There's crossover, however, between this film and THE QUEEN. One of the major reasons (at least superficially) I was off this film was because post dragged on so long, with endless editorial stuff and endless studio notes, I had to go to London to work on THE QUEEN, I just ran out of time. And irony again, it was the very same executive (mentioned above) who was responsible for both films. So I was fired for going to work on another film by the same production house, in essence, and then fired from that film. And then, best of all, when I got back from New York having been taken off THE QUEEN, I got a call from the very same people about yet another film, as if nothing had occurred.....so you never know with this kooky business. I don't think any of these decisions are personal in the least and the folks in the corner offices just have brains that are attuned to this frequency. It's something I don't understand but that's the reality, true in most businesses I imagine. What did it sound like? It was sort of "quirky" lots of percussion, kind of Mothersbaugh-y. Pretty ok, not my thing, but not bad. Again, CD plans? Nah. SEPERATE QUESTIONS: Any other scores not used? Hmm...I think that's more or less it, although I did do some stuff for this doc called CONTROL ROOM that didn't end up getting used. But no major horror stories, I've been quite lucky. What upcoming films are you working on? At this year's (2008) Sundance, I have two films, one fantastic dark, dark, dark comedy called "CHOKE" by the writer of FIGHT CLUB starring Sam Rockwell and Angelica Houston , directed by Clark Gregg, and a film called "AUGUST", with Josh Hartnett and directed by Austin Chick. Then more stuff I can't talk about just yet. Ok thanks Justin! Fast Track: Recorded In:  New York. Violin:  Joan Wasser Phone Booth: Music Editor:  Denise Okimoto. The Queen: Recorded At:  Abbey Road. Musicians: Unknown Instruments:  Nathan Larson. Unknown String Players:  ?????. Two Unknown Violinists:  ?????. Unknown Cellist:  ?????. Music Editor:  Tony Lewis.

Last Updated: January 10, 2008

The Last Hard Men  (rejected)  By:  Leonard Rosenman

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

Last Updated: January 30, 2008

Last Man Standing  (rejected)  By:  Elmer Bernstein, R.I.P.

Score Details: Music Editor:  . Score Recordist (and mixing):  Keith Grant. Orchestrator:  Emilie A. Bernstein. Recorded at:  Air Lyndhurst Studios (May 1996).

Last Updated: January 23, 2008

Les Miserables  (rejected)  By:  Gabriel Yared

Score Details: Orchestrator:  Nic Raine (also on the replacement score too).

Last Updated: July 3, 2008

Life  (rejected)  By:  William Ross

Score Details: Co-Produced and/or Scoring and Mix Consultant/Synth Programming :  Matthew Dela Pola.

Last Updated: August 27, 2008

Lord of the Rings  (rejected?)  By:  Wojciech Kilar

From a recent interview HERE: "Has any of your film scores been rejected?" "Yes. A few years ago the producer rejected my music for the first part of The Lord of the Rings, despite the director's wish. I agreed to write music only for the first part of the saga, but the filmmakers were not happy with that. And it's just as well, because I was terrified at the thought that more parts of this tale would be created and that I would have to spend an awful lot of time on that."

Last Updated: August 30, 2007

The Man Who Loved Cat Dancing  (rejected)  By:  Michel Legrand

Score Details: Orchestrator:  Brad Dechter. Recorded at:  MGM, Stage 1. Musicians (80 piece orchestra): Piano:  Lincoln Mayorga. Vocals:  Michel Legrand.

Last Updated: July 4, 2009

Mariette In Ecstasy  (rejected)  By:  Leonard Rosenman, R.I.P.

Score Details: Music Editor:  Dick Bernstein. Orchestrator:  Pete Anthony. Scoring Mixer:  Rick Winquest.

Last Updated: April 30, 2008

Marvin's Room  (rejected)  By:  Thomas Newman

Score Details: Music Editor:  Bill Bernstein.

Last Updated: August 28, 2006

The Meerkats  (rejected)  By:  Dario Marianelli

Score Details: Music Editor:  James Bellamy. Music Editor:  Steve Price.

Last Updated: December 5, 2007

Mission:  Impossible  (rejected)  By: Alan Silvestri

Score Details: Additional Music Editor:  Kenneth Karman. Orchestra:  Hollywood Studio Symphony (who also did Elfman's score). Musicians: Cello:  John Walz. French Horn:  Phil Yao. Piano (possibly also sythesizers):  Randy Waldman. Trumpit:  Rick Baptist. From the French book "Brian De Palma", by Samuel Blumenfeld and Laurent Vachaud: (Thanks again to the tireless efforts of MightyMcT.]  Who also translated this excerpt, which I cleaned up a tad bit more.) Brian De Palma:   "Alan Silvestri had written a score.  We began recording it, but 5 days later, he had to re-write half of his cues.  It wasn't working.  I did not have the time to supervise what he had written.   He came in with his score and right away went to record it in studio, without taking any notice of my suggestions.  It was not what we were looking for, it was too melodic, there always was something too excessive in his music, no matter what we would change.  Yet, we kept on doing modifications, but after four sessions, I said to my editor, Paul Hirsch: 'This is not going to work, Tom won't love this music.'.  Cruise was filming "Jerry Maguire" at that time. Danny Elfman was available. It was complicated to find a good composer who would accept to work from the Lalo Schifrin themes.   We dismissed Alan Silvestri and I began working with Elfman.  Every day, I went to his home and we reviewed every cue on his computer." Question:  "Didn't you consider using Lalo Schifrin?" Brian De Palma:  "No, I don't think Lalo could have written all the score.  We tried to get the best [composers], but most of them wanted to write their own Mission: Impossible theme." Video Clip(s): YouTube:  Noc List YouTube:  Abort the Mission YouTube:  The Restaurant YouTube:  Noc List Trap YouTube:  Claire YouTube:  The Train (Part 1) YouTube:  The Train (Part 2) CD-R

Last Updated: July 13, 2009

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

Score Details (for Doyle): Music Editor:  Robin Morrison

Last Updated: October 22, 2007

Mrs. Harris  (rejected)  By:  John Frizzell

Score Details: Music Editor:  Gary Thomas Music Editor:  Angie Rubin Music Editor:  Steve Price Orchestrator:  Andrew Kinney Additional Orchestrator:  Frederik Wiedmann. Conductor:  Matt Dunkley Score Coordinator:  Becky Bentham.

Last Updated: November 26, 2007

Modern Problems  (rejected)  By:  Marvin Hamlisch

Score Details: Played an instrument:  Bill Mays.

Last Updated: February 5, 2008

Murder In Mississippi  (rejected)  By:  Elmer Bernstein, R.I.P.

Score Details: Music Editor:  Kathy Durning. Music Contractor:  Greg Sudmeier. Orchestrator:  Patrick Russ.

Last Updated: April 24, 2009

Mystery Men  (rejected)  By:  Stephen Warbeck

Score Details: Unknown instrument:  Martin Robertson.

Last Updated: June 22, 2009

Nacho Libre  (rejected)  By:  Beck

Score Details: Assistant Scoring Engineer:  Michael Sawitzke. Scoring Engineers:  Ken Andrews. Recorded At (some of):  Sound Isadore. Additional Score:  Brian LeBarton. Musicians: Bass:  Justin Meldal-Johnsen. Guitars:  Beck. Percussion:  Beck. Vocals:  Beck.

Last Updated: January 10, 2009

The Neptune Factor  (rejected)  By:  William McCauley, R.I.P.

Score Details: Recorded At:  Manta Sound (now torn down building in Toronto, Canada). Additional Score:  Matthew McCauley (two cues). Recording Engineer:  David Greene Orchestrator:  William McCauley Conductor:  William McCauley Budget:  $25,000.00. FilmScoreMonthly had this to say about his score, in a DVD review: "... the disc includes both Lalo Schifrin's original score as well as the unreleased, rejected score by William McCauley (portions of which ended up in the film), which is available in dynamic stereo on a secondary audio channel. It's fascinating to be able to flip from Schifrin's score (also isolated, albeit in mono with FX) to McCauley's, with the big surprise being that McCauley's comparatively romantic and thematically rich score tends to be more pleasant to listen to. Schifrin must have been under marching orders to make the film more suspenseful with cues that are often ominous (especially in the early going) while McCauley's tracks generally play out with more of a sense of wonder (in fact, I wouldn't mind a CD coupling the two scores together)." Special thanks for Matthew McCauley, son of the late Williams McCauley, for his help.

Last Updated: October 29, 2007

The New Guy  (rejected)  By:  Nick Glennie-Smith

Score Details: Orchestra Contractor:  Simon James.

Last Updated: November 9, 2007

Night At the Museum  (rejected)  By:  John Ottman

Score Details: Music Editor:  Terry Wilson Orchestrator:  Damon Intrabartolo Conductor:  Damon Intrabartolo Possible Recorder/Mixer -- since he usually does Ottman:  Casey Stone

Last Updated: September 1, 2006

Night Falls on Manhattan  (rejected)  By:  Wynton Marsalis

Score Details: Score Recordist:  Victor L. Goines Unknown Instrument Performance: (FIX)

Last Updated: October 25, 2006

Nine  (rejected)  By:  Maury Yeston

Score Details: Unknown capacity:  Chris Cozens. Recorded at:  Phoenix Sound. Recorded In:  London (unknown fascility, early 2008).

Last Updated: November 7, 2009

Novacaine  (rejected)  By:  Beck (Hansen)

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

Last Updated: January 30, 2007

Object of Beauty  (rejected)  By:  Trevor Jones

Score Details: Orchestrator:  Guy Dagul. Scoring engineer:  Paul Hulme.

Last Updated: June 20, 2007

On the Ropes  (rejected)  By:  Michael Kamen, R.I.P.

Score Details: Score Arranger & Programmer:  Robert Christie.

Last Updated: February 5, 2008

The Other Boleyn Girl  (rejected)  By:  Edward Shearmur

Interview where he talks some about how the score will be. Score Details: Score Mixer:  Chris Fogel. Music Editor:  Christopher Benstead. Music Editor:  Melissa R. Kaplan.

Last Updated: October 25, 2007

Out of Sight  By:  Cliff Martinez

From An interview with Soderbergh: "iW:  I think the score played a large part in creating that mood, also. Can you talk about working with Cliff Martinez? Soderbergh:  Normally what I would do is temp something and then say to Cliff, it should sound a little like this, but don't get sued. And in this case, I was having a real hard time coming up with temp stuff, so Cliff sent me over a bunch of cues that he'd written based on the temp tracks I sent him and none of them were really working. And then at the end of the tape there was an extra cue which he just did on his own, and just said, "This is just some, little trash, see what you think" and it was basically that main piano riff that we use when we're going into a non-linear reverie.  And when I heard that I went, "Oh, Shit, that's the sound of the movie."  So it was completely by accident and suddenly, when I got that piece of music, I started to cut sequences to it, and the film began to take a new shape." From an interview by Game Soft: "That reminds me of that story about Out of Sight. Apparently, Steven Soderbergh had recorded the whole soundtrack, and then he heard the David Holmes album Let's Get Killed. Then he reportedly threw out the entire soundtrack and just called Holmes and had him redo the whole thing."

Last Updated: May 31, 2007

The Passion of the Christ  By:  Lisa Gerrard, Jack Lenz

Score Details (for Lenz): Additional Score:  Ron Allen. Orchestrator:  Larry Ashmore (possibly additional scoring as well). Score Recordist (and mixer):  Sean W. Karp. Musicians: Dolki:  Ron Allen. Duduk:  Ron Allen. Duff:  Ron Allen. Erhu:  Ron Allen. Flutes (Indian, Arabic, Chinese & bass):  Ron Allen. Guitar:  Ron Allen. Oud:  Ron Allen. Udo:  Ron Allen. Zorna:  Ron Allen. Vocals:  Ron Allen. Vocals:  Shannon Kingsbury. From An Unrecalled Interview: "And this is also confirmed on Mel Gibson's official Passion website that Horner is not scoring this film. Q: Is it true that James Horner is the composer for the soundtrack? A: No. We had previously stated that he was the composer, but he is not. We apologize for the confusion."

Last Updated: June 25, 2009

Pirates of the Caribbean  (demos)  By:  Alan Silvestri

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

Last Updated: September 23, 2006

Pollock  (rejected)  By:  Donald Rubinstein, ?????

Score Details: Percussion::  Brad Dutz.

Last Updated: December 10, 2007

Practical Magic  (rejected)  By:  Michael Nyman

Score Details: Music Engineer:  Austin Ince Orchestrator:  Gary Carpenter Assissant to Nyman:  Robert Warby Music Programmer:  Robert Warby. Played an Instrument:  Bill Mays. Performed By:  The Michael Nyman Orchestra. Conducted:  Michael Nyman Music Editor:  Bunny Andrews. Recorded (and mixed) At:  Abbey Road Studios, London (August 15 & 16, 1998) Produced By(?):  Danny Bramson and Sandra Bullock. Interview where he speaks If you have the CD that had two Nyman cues on it, and see any credits missing from here, let me know please. :-) CD-R

Last Updated: January 10, 2007

Precinct 45  (rejected)  By:  Don Ellis

Score Details: Keyboards::  Michol Leview.

Last Updated: December 10, 2007

The Prince of Tides  (rejected)  By:  John Barry

Score Details: OBoe::  Larry M. Timm.

Last Updated: July 4, 2009

The Public Eye  (rejected)  By:  Jerry Goldsmith, R.I.P.

Score Details: Score Recordist::  Mike Ross-Trevor.

Last Updated: January 8, 2008

Ransom  (rejected)  By:  Howard Shore

Score Details: Played an Instrument:  Bill Mays. The Score: Interviews With Film Composers, by Michael Schelle; Silman-James Press, 1999: Before Ransom was rejected: Interviewer (MS): ...there seems to be a very strong and agreeable camaraderie among you, Ron Howard, the editor and the producer. Howard Shore (HS): Yeah! This is the way you would like to make movies, everything feels smooth... MS: Ron Howard seems very flexible about the music - he'll offer intelligent opinions, but he's still quite agreeable to considering your interpretation and asking for you advice. HS: Yeah, we actually discuss things. He sees what you're doing, and he likes it, but then he might want to give you his ideas too. He wants both things - he wants the traditional and he enjoys the more experimental approaches, too. A lot of the Ransom score pays attention to the genre and the kinds of things you'd expect, but I'm also trying to keep it edgy and contemporary - paying respect to the genre, but not locked into predictability and cliché... MS: Ransom seems like a very comfortable situation for all of you - I sense a lot of sincerity and honesty floating around the studio. HS: Yeah, exactly...We're all working for the same goal, and nobody's trying to rush anything... After Ransom was rejected: MS: What happened? It was a great score and Ron Howard seemed to be so happy with it. HS: Well, these things happen - all the time. It's frustrating because you spend so much time and so much energy. I aged about ten years in those two weeks! MS: Will sections of the score transfer to some future movie or composition project? HS: Probably not a movie, it's too specific to Ransom... MS: Were you told why this happened? HS: Not really. All I can figure out is that he came into the picture wearing a black leather jacket and left wearing a white sport coat. I think he got nervous - the music was probably too contemporary or too experimental in the long run. CD-R

Last Updated: December 6, 2007

Rat Race  (rejected)  By:  Elmer Bernstein, R.I.P.

Score Details: Unknown capacity:  Chris Cozens. Musicians: Clarinet:  Nicholas Bucknall.

Last Updated: June 25, 2008

The Reaping  (rejected)  By:  Philip Glass & Ravi Shamkar

Score Details: Assistant Music Editor:  Derek Somaru. Conductor:  Michael Riesman. Orchestra Contractor:  Peter Rotter. Music Editor:  Andy Glen. Musicians: Choral Music Arranging:  Alan Ett. Choral Music Arranging:  Scott Liggett. Percussion:  Frank Cassara. Trombone:  Dan Levine. Violin:  Megan Gould. Vocals:  Alex Sweeton.

Last Updated: July 7, 2009

Regarding Henry  (rejected)  By:  Georges Delerue, R.I.P.

Score Details: Music Editor:  Suzana Peric CD-R

Last Updated: September 23, 2006

The Reivers  (rejected)  By:  Michel Legrand

Score Details: Harmonica::  Tommy Morgan (also on Williams' score).

Last Updated: July 4, 2009

The River Wild  (rejected)  By:  Maurice Jarre

Score Details: Score Copyist::  Steve Juliani. Head Music Preparationist::  Bob Bornstein. Musicians: French Horn (solos):  James Thatcher. French Horn:  Phil Yao. Harp::  Ann Mason Stockton, R.I.P. (the last score she performed on).

Last Updated: December 5, 2009

Robin and Mariam  (rejected)  By:  Michel Legrand

Score Details: Quote from FSM issue Vol. 12, #3 (March 2007 online issue): "Lester's a weird fellow; I didn't get along with him. He chickens out, he worries all the time. I wrote for Robin a concerto grosso for solo violin, solo cello and double strings orchestra, and he told me my music was so good that, if he uses it, it'll distract from the film. I told him he was wrong, that it'd be the opposite, that it would add something more."

Last Updated: July 3, 2007

Romantic Mortiz  (rejected)  By:  Jay Asher

Score Details: In a post at NorthernSounds.com's board, Asher wrote: "Hi Kays,but I respectfully must say that I don't agree. A few years ago I had a score thrown out, the first and only time this has happened to me. I felt I knew exactly what the film needed. I felt the direction that the producer wanted was wrong. But after he insisted I said to myself, "Oh well, it is his film." I tailored it to his micro-managing and he pronounced himself pleased. At the dub he stopped by for a while and said, "Well it seems to be laying in nicely." Two weeks later, apparently after being told by some friends that it didn't work, he replaced it. Ironically, the score my replacement did was similar to what I wanted to do in the first place! We both would have been better off if I had bowed out earlier on."

Last Updated: September 27, 2007

Rosewood  (rejected)  By:  Wynton Marsalis

Score Details: Score Recordist:  Victor L. Goines. Additional Score Recordist (and sound engineer):  William Easystone. Music Supervisor:  Suzy Civiti. Recorded at:  Warner Bros. Studios. Recording Sessions At:  Dinosaur Studio, New Orleans. Unknown Capacity:  Nana Kimati Dinizulu. Musicians: Acoustic Guitar:  Vasti Jackson. Alto Sax:  Wes Anderson. Banjo:  Don Vappie. Drums (and spoons):  Herlin Riley. Fiddle:  Mark O'Conner. Trumpet:  Wayne Bergeron. Piano:  Marcus Roberts. (possibly sax, or guitar:  Taj Mahal (same person who did the replacement score on "Sounder"). Trombone:  Wycliffe Gordon. Trumpet:  Wynton Marsalis. Violin:  Michael Ward. Vocals:  Cassandra Wilson. Vocals:  Shirley Caesar.

Last Updated: July 14, 2009

Say It In Russian  (rejected)  By:  Vincent Gillioz

Score Details: Score Finished:  March, 2007.

Last Updated: August 27, 2007

Scarlet Letter  (rejected)  By:  Elmer Bernstein, R.I.P.

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

Last Updated: May 31, 2007

Scary Movie 2  (rejected)  By:  George S. Clinton

Score Details: Trumpet Section:  Jon Lewis, Gary Grant, Malcolm McNab (1st), Rick Baptist. Trombones & Tuba:  Tommy Johnson, Phil Teele, Bill Reichenbach, Charlie Loper (1st), Bob Payne, Steve WIlliams.  (Brass section) (Clinton at podium) Recorded At:  Fox Studios Music Editor:  Jeff Lingle Unknown Capacity (never got back to me):  Mike Flicker Time For Replacement Score:  72 hours after higher.

Last Updated: August 28, 2006

The Seduction of Joe Tynan  (rejected)  By:  Michael Small, R.I.P.

Score Details: Orchestration (also on source music):  Bob Freedman. Recorded at:  A&R Studios (New York). Unknown Capacity:  Emile Charlap. Musicians: Trombone:  James Pugh.

Last Updated: June 20, 2009

See No Evil  (rejected)  By:  Andre Previn, David Whitaker

Score Details (for Previn): Orchestra:  London Symphony Orchestra. Newspaper Article Someone Posted at FSM; did not name paper: Friday, June 11, 1971 Mia Farrow Movie Loses An Andre Previn Score LONDON (AP) - The words of actress Mia Farrow, starring in a new thriller movie, will not be accompanied by the note of her orchestral conductor husband Andre Previn after all His music score has been scrapped. Columbia Pictures, distributors of the film called "See No Evil," ran a blue pencil through Previn's score after hearing a recording by the London symphony Orchestra with the composer conducting. American composer Elmer Bernstein is writing new background music, which is due to be recorded next month. Associate producer Basil Appleby said Tuesday: "It is all very embarrassing.  I had to tell Previn the concensus was that they didn't like his score.  It's a Columbia Pictures decision.  They weren't very specific about why they didn't like it." The film, directed by Richard Fleischer and originally called "Buff," depicts Miss Farrow in her first British screen role. She plays a blind girl unwittingly involved in a mass murder. Appleby said Previn had been asked to rewrite his score, "but unfortunately I spoke to him the day before he was flyng to Moscow with the orchestra." Found At haineshisway.com: "Today, Randall Larson, former editor of Soundtrack Magazine, as well as former editor of CinemaScore (a much-loved early film music magazine) responded: Paraphrasing from Musique Fantastique, page 307: Andre Previn did indeed compose and record an original score to SEE NO EVIL. It was reportedly recorded by the London Symphony, for whom he was then-resident conductor. But the producers rejected the music and hired David Whitaker, whose work evidently didn't satisfy them either, and Bernstein was hired. "According to Previn, writing in FilmFacts, the producers had felt his music was 'too harsh, too astringent, too ugly, too rough, and there isn't anything the kids can whistle.' "Mark Stevens, writing in the original 'Score' column for Cinefantastique, heard Previn's score and described it as 'a superbly chilling score, PSYCHO-like, with electronic overtones, a synthesizer being employed to stunning effect.' It's too bad the recording of this score hasn't been made available -- nor Bernstein's more romantic approach either, for that matter. A great topic for a new FSM or Intrada or Percepto or La-La Land combo soundtrack with both scores, hmmm???" "

Last Updated: October 24, 2009

Serial  (rejected)  By:  Kenny Asher

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

Last Updated: June 20, 2009

The Seven-Ups  (rejected)  By:  Johnny Mandel

Score Details: Recorded on:  October 3rd, 5th, and 18th, 1978.

Last Updated: September 16, 2008

Shade  (rejected)  By:  Christopher Young

Score Details: Scoring Engineer:  Johnathan Price. Soundtrack Producer:  Johnathan Price. Synthesist:  Johnathan Price.

Last Updated: August 2, 2008

Shanghai  (rejected)  By:  Alex Heffes

Score Details: Orchestra:  London Guildhall School of Music (hand picked members; string quartet). Music Group:  The Silk String Quartet. Unknown instrument:  Lang Lang. Recorded:  May 2009.

Last Updated: August 7, 2009

Shootout  (rejected)  By:  Scott Benzie

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

Last Updated: January 8, 2007

Sinful Davey  (rejected)  By:  John Barry

Score Details: Recorded at:  CTS/Masterson (on 35mm mag stock tape). Tape Operator / Junior Engineer:  John Middleton

Last Updated: January 8, 2007

Sirens  (rejected)  By:  Geoffrey Burgon

Score Details: Tidbit: "Geoffrey Burgon is a marvellous composer and a lovely man.  I once shared an unfortunate experience with him; we attended the cast and crew screening of SIRENS for which Geoffrey had composed the music.  Well, the film continued, and there seemed to be little music -- most of Geoffrey's score had been dropped -- with scenes playing without music -- but nobody had bothered to warn him -- and I was there to assess a possible soundtrack album (and there was only fifteen minutes of music left in the movie!).  In the end the movie was rescored -- by Rachel Portman I think -- and her score sounded the same as Geoffrey's original one -- so the mind boggles. All the best, David Wishart" NOTE: Mr. Wishart passed away recently; he was nothing but nice, and helpful as you can see above.

Last Updated: September 23, 2006

The Sixth Man  (rejected)  By:  Randy Edelman

Score Details: Very Short Interview by Knight-Ridder: Film composer constantly busy Knight-Ridder Prolific film composer Randy Edelman finished back-to-back scoring of Sylvester Stallone's "Daylight" and the upcoming Danny Glover/Joe Pesci film "Gone Fishin" - then went directly into the studio to start recording the score for Touchstone's "The Sixth Man" comedy with Marlon Wayans. Meanwhile, he's anxiously awaiting the footage from Columbia's "Anaconda." That film, which stars Jon Voight, Eric Stoltz and Ice Cube, is about a documentary film crew in the Amazon that is terrorized by a killer snake. "They better have it for me soon or I'll have to score it without the special effects," says Edelman, who plans to begin recording the "Anaconda" score in January.". Violin:  rrrrrrRobin (yeah, that's what he likes being called; Robin Olson).

Last Updated: July 30, 2007

Something's Gotta Give  (rejected)  By:  Alan Silvestri

Score Details: Orchestration:  Mark McKenzie. Music Editor:  Kenneth Karman. Time For Replacement Score:  About one week (according to James Michael Dooley). Musicians: Guitar:  Mitch Holder. Oboe:  Tom Boyd.

Last Updated: June 17, 2009

Something Wicked This Way Comes  (rejected)  By:  Georges Delerue, R.I.P.

Score Details: Music Editor:  Dan Carlin.

Last Updated: November 28, 2009

Snowden On Ice  (rejected)  By:  Joseph Vitarelli

Score Details: Violin:  Nicole Garcia. Recorded:  October 1997.

Last Updated: December 6, 2007

Space Chimps  (rejected)  By:  Dave A. Stewart

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

Last Updated: February 1, 2008

Speed  (rejected)  By:  Jerry Goldsmith, R.I.P.

Score Details: Clarinet:  Steve Roberts.

Last Updated: December 12, 2007

S*P*Y*S  (rejected)  By:  John Scott

In an interview HERE, Mr. Scott comments: Can you please tell us what happened with "S.P.Y.S." (1974), a movie which you scored but, surprisingly, it was shown in the USA as a telefilm with music by Jerry Goldsmith? "Director Irvin Kirshner briefed me on this film. He was very exacting in communicating what he wanted the music to do, however he was getting mixed messages from his producers. The film was fun. I thought there were hilarious moments. However, the outcome was that the Americans wanted one film and the Europeans wanted another. I have never heard Jerry Goldsmith's score but he, without doubt, was my hero. Of course I was devastated when I heard that my score had been replaced for the US version. But the common saying amongst film composers is that 'You haven't arrived until you have had a score rejected'."

Last Updated: December 12, 2006

Stepmom  (rejected)  By:  Patrick Doyle

Score Details: Supervising Copyist::  Steve Juliani. Supervising Copyist::  Suzie Katayama. Musicians: French Horn:  Phil Yao. Viloin:  rrrrrrRobin.

Last Updated: September 21, 2008

Stick  (rejected)  By:  Bob Florence, R.I.P.

Score Details: Strings:  Merilyn Graham. Trumpet (lead):  Bob Graham.

Last Updated: October 25, 2008

Stone's War  (rejected)  By:  Titas Petrikis‏

Score Details: Orchestra Arranger:  Tadas Sileika. Vocals:  Egle Vakarinaite.

Last Updated: July 14, 2009

Stormbreaker  (rejected)  By:  Trevor Jones

Score Details: Orchestra:  London Symphony Orchestra. Recorded at:  Abbey Road (Studio 1). Conductor:  Geoff Alexander. Orchestrator:  Geoff Alexander. Orchestra Leader:  Carmine Lauri. Svetlin Roussev:  Carmine Lauri. Recorded:  February 20, 21 & 25, 2006.

Last Updated: April 7, 2008

Streets of Fire  (rejected)  By:  James Horner

Score Details: Steelpan:  Bill Reichenbach. Trombone:  Andy Narell. Excerpt from CinemaScore, issue # 13/14, Fall 1984/Summer 1985; interview by Steven Simak: "The score that I wrote for "Streets of Fire" was a very percussive, propulsive score.  It used a lot of varied, different, exotic instrumentation.  They decided to take it, that feeling out.  They wanted something a little more traditional and they went with 50's rock and roll."      Horner attributes the difficulty with the score as the result of his willingness to experiment:  "I tried something very risky in "Streets of Fire".  I thought it worked terrifically and so did everybody, actually.  But about a week of living with it, thinking about it, the director started to feel perhaps I had gone too far.  Now there's a difference between perhaps going to far and reverting back to 50's rock and roll!".

Last Updated: February 28, 2008

Team America:  World Police  (rejected)  By:  Marc Shaiman

Score Details: Conductor:  Pete Anthony. Copyist:  Kendall Schmidt. Music Editor:  Joseph Lisanti. Music Editor:  Stephanie Lowry. Music Programmer:  Nick Vidar. Orchestrator:  Jeff Atmajian. Orchestrator:  Larry Blank. Orchestrator:  Harvey R. Cohen. Orchestrator:  David De Palo. Recorded At:  Paramount Studios (Scoring Stage M). (possible) Orchestrator:  Bruce Babcock. Musicians: Cello:  John Walz. Clarinet:  Steve Roberts. Clarinet:  Amanda Walker. Drums:  J. R. Robinson. French Horn:  Phil Yao. Piano:  Rich Ruttenberg. Saxophone or woodwind:  Dan Higgins. Trombone:  Alex Isles (also played on the replacement score). Trombone:  Andrew Thomas Malloy. Trumpet:  Wayne Bergeron. Trumpet:  Rick Baptist. Tuba:  Jim Self.

Last Updated: November 10, 2009

Theory of Flight  (rejected)  By:  Stephen Warbeck, ?????

Score Details (for Warbeck): Orchestrator:  Geoffrey Alexander. Score Details (also for ?????): Orchestrator:  Geoffrey Alexander.

Last Updated: August 23, 2008

Timeline  (rejected)  By:  Jerry Goldsmith

Score Details: Assistant to Goldsmith:  Lois Carruth. Conductor:  JErry Goldsmith. Music Editor:  Ken Hall. Music Preperation:  JoAnn Kane Music Services. Orchestra:  The Hollywood Studio Symphony (uncredited on their site, but probably many rejected scores uncredited on their site). Orchestrator:  Mark McKenzie. Orchestra Contractor:  Sandy De Crescent. Recorded and Mixed By (& Engineer):  Bruce Botnick. Recorded At:  Paramount Studios Scoring Stage M. Musicians: Bass:  Nico Carmine Abondolo. Bass (principal):  Arni Egilsson. Bass:  Donald Ferrone. Bass:  Oscar Hidalgo. Bass:  David Parmeter. Bass:  Nicolas Philippon. Bass:  Michael Valerio. BASSOON (principal):  Michael O'Donovan. Bassoon:  Allen Savedoff. Bassoon:  John Steinmetz. CELLO:  Antony Cooke. Cello:  Christine Ermacoff. Cello:  Todd Hemmenway. Cello (principal):  Dennis Karmazyn. Cello:  Armen Ksadjikian. Cello:  Steve Richards. Cello:  Andrew Shulman. Cello:  David Speltz. Cello:  Sebastian Toettcher. Cello:  Kevan Torfeh. Cello:  John Walz. CLARINET (principal):  James Kanter. Clarinet:  Joshua Ranz. Clarinet:  Steven Roberts. FLUTE:  Peter Sheridan. Flute (principal):  Sheridon Stokes. FRENCH HORN:  Daniel Kelley. French Horn (principal):  Brian O'Conner. French Horn:  Kurt Snyder. French Horn (solos):  Jim Thatcher. French Horn:  Phillip Edward Yao. HARP:  JoAnn Turovsky. KEYBOARD:  Mike Lang. OBOE:  Phil Ayling. Oboe (principal):  John MacArthur Ellis. Oboe:  Barbara Northcutt. PERCUSSION:  Timm Boatman. Percussion (principal):  Alan Estes. Percussion:  Gregory Goodall. Percussion:  Steve Schaeffer. Percussion:  Donald Williams. TROMBONE (principal):  William Booth. Trombone:  Andrew Thomas Malloy. Trombone:  Phil Teele . Trumpit:  Rick Baptist. TUBA:  James Self. VIOLIN:  Armen Anassian. Violin:  Jacqueline Brand. Violin:  Roberto Cani. Violin:  Ronald Folsom. Violin:  Samuel Formicola. Violin:  Galina Golovin. Violin (and Concert Master):  Endre Granat. Violin:  Andrew Graybill. Violin:  Julian Hallmark. Violin:  Clayton Haslop. Violin:  Al Hershberger. Violin:  Eric J. Hosler. Violin:  Tiffany Hu. Violin:  Miran Kojian. Violin:  Ana Landauer. Violin:  Gregory Lee. Violin:  Sungil Lee. Violin:  Dimitrie Leivici. Violin (principal):  Rene Mandel. Violin:  Marina Manukian. Violin:  Claire Jeanne Martin. Violin:  Liane Mautner. Violin:  Helen Nightengale. Violin:  Robin Olson. Violin:  Rafael Rishik Violin:  Anatoly Rosinsky. Violin:  Sarah Thornblade. Violin:  Margaret Wooten. Violin:  Ken Yerke. VIOLA:  Denyse Buffum. Viola:  Rick Gerding. Viola (principal):  Pamela Goldsmith. Viola:  Keith Greene. Viola:  Jennie Hansen. Viola:  Piotr Jandula. Viola:  Darrin McCann. Viola:  Dan Neufeld. Viola:  Karie Prescott. Viola:  Cassandra Richburg. Viola:  Ron Strauss. Viola:  Karen Van Sant. Unless anyone wants to speak otherwise, I think that concludes the musician credits for this score. CD-R

Last Updated: June 12, 2009

Todo Modo  (rejected)  By:  Charles Mingus, R.I.P.

Score Details: Unknown capacity:  Danny Mixon. Recorded at:  Unknown fascility in Rome, Italy. Orchestra size:  At least 10 players. Musicians: Unknown instrument:  George Adams. Bass or flute:  Charles Mingus.

Last Updated: April 28, 2009

Tomb Raider 2  (rejected)  By:  Craig Armstrong

Score Details: Orchestra:  Prague Philharmonic Orchestra (In May 2003, along with some demo cues for the score)

Last Updated: October 22, 2006

Torn Curtain  (rejected)  By:  Bernard Herrmann, R.I.P.

Videos: YouTube:  Clip 1 of 4. YouTube:  Clip 2. YouTube:  Clip 3. YouTube:  Clip 4.

Last Updated: September 6, 2008

TSOTSI  (rejected)  By:  Guy Farley

Score Details: Orchestrator:  Andrew Pearce. Score Recordist/Mixer:  Francesco Cameli.

Last Updated: April 19, 2009

Tresspass  (rejected)  By:  John Zorn

Score Details: Recorded at:  Shelley Palmer Studios, New York City in May/June 1992 Produced By:  John Zorn. Musicians: Banjo (and guitar):  Marc Ribot. Brazilian Percussion:  Cyro Baptista. Didjeridu:  Andy Haas. Drums (& producer):  Jim Keltner. Harp:  Carol Emanuel. Percussion:  Jim Pugliese. Piano (prepared) / Keyboards:  Anthony Coleman. Turntables / Sampler:  David Shea.

Last Updated: February 14, 2007

Troy  (rejected)  By:  Gabriel Yared

Score Details: Guitar:  Colin Green. Tuba:  Owen Slade. Clarinet:  Nicholas Bucknall. Trumpet:  Andrew Crowley. Unknown instrument:  Martin Robertson.

Last Updated: June 29, 2009

2 Days In the Valley  (rejected)  By:  Jerry Goldsmith, R.I.P.

Score Details: Mixed By(?):  http://www.globalmusicservice.com CD-R

Last Updated: February 6, 2007

Wall Street  (rejected)  By:  Jerry Goldsmith, R.I.P.

Score Details: Music Editor:  Ken Hall

Last Updated: June 26, 2007

The Wedding Date  (rejected)  By:  Debbie Wiseman

Score Details: Music Editor:  Tony Lewis Music Editor:  Emily Rogers Score Engineer (possibly another music editor?):  Steve Price

Last Updated: October 27, 2007

Waterworld (rejected)  By:  Mark Isham

Here is an excerpt from a Mikael Carlsson interview with Mark Isham (which was available at MusicFromtheMovies but seems to be no longer in their files): Mikael:  "When we are talking about action scores, I have to ask you about the chaotic events around the scoring of WATERWORLD.  What happened?  The only thing remaining from your score is a tiny little music-box theme, the rest of the score was replaced by James Newton Howard." ISHAM:  "What went wrong was that the film politically exploded at the end.  Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view.  He basically made a completely different film -- he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score.  And I said, "oh let me demonstrate that I can give that to you", so I presented him with a demo of my approach to his approach, and he rejected that and fired me.  What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music." Mikael:  "What kind of approach did you have, and what went wrong?" ISHAM:  "One of the things that I do in scoring is I try to find a unique sound for each film.  I believe that, at least to me, is the most artistic way to approach it.  I'm not a formula composer.  So here in this case, Costner I think just didn't want to put in the time.  He wanted to give someone the assignment, go away and come back in six weeks' time and it would be exactly what he wanted.  Because he had a long working relationship with James Newton Howard he knew he could do that with him, and he knew he couldn't do that with me because he'd have to work with me, he'd have to come and listen and respond and we would have to shape this score.  That's my interpretation of what happened." Mikael:  "How much music did you write?  How did you react on a personal level?" ISHAM:  "I had written about, maybe two thirds of the score.  On a personal level, you've got to just roll with the punches.  This is part of the business.  That particular scenario was so understandable because the of the politics.  I was low man on the totem pole.  There were a lot of dead bodies on that picture, and I was one of many, so it wasn't exactly a mystery as to what happened there.  It only gets personally upsetting when you can't understand it, and so I just always get as much information as I can from the producers as possible so I really do understand why these things are going on.  And then it's really just part of the game that you're playing if you're in this business." Mikael:  "What did you think of James Newton Howard's score?" ISHAM:  "I think James did a very admirable job, I mean considering the assignment -- that it was a very exotic motion picture and yet Costner wanted to turn it into a very mainstream heroic picture, but Reynolds had shot footage that was something else -- I think he did a fine job." MISCELLANEOUS INFO: Mark Isham had plans to use the music box theme that Anola kept singing to her self throuhought the score.  Apparently, he'd written the tune as source music during production, so that the girl would have something to sing when in front of the camera, and Isham wanted something of his own to work with when incorporating the theme into other parts of the score. Isham is in the end credits as the composer of "Music Box Theme" in the end credits. In the book "The Making of Waterworld," there is a section commenting on Isham's music and Kevin Reynold briefly discussing why he chose Isham. A Japanese pressing of the score that supposedly contains one of Isham's cues is a FAKE; mislabeled.  It's a cue from J.N.H.'s score. In an XM digital radio interview by Chris Panico, on "Crash", when asked about "Waterworld", Isham said:      "Well, that particular case, um, I was hired by Kevin Reynolds, who was the director, and, um, I've worked with him before and we have a very good working relationship, and I felt that we were doing quite well together; I had submitted demos for maybe a quarter of the movie and he was happy.  And I was just about to get really, really going when ... and then there was ah ... there was a breakdown between him and Kevin Costner ... and they're old friends and I won't begin to know, or care to relate actually what may have gone on there, but basically it ended up with Kevin Reynolds not finishing the movie, and Kevin Costner took over.  And so I met with Kevin and the producers and said I would like the oppritunity to stay and finish this for you, and he said 'In that case, you know I want a different approach,' and I said, 'Well, can I show you that approach; how I would do that?' and he said, 'Yeah, you have a couple days,' so I wrote some music ... um, but he decided not to take me on that..." (Special thanks to:  MightyMcT!)

Last Updated: August 10, 2005

The West Side Waltz  (rejected)  By:  Leonard Rosenman, R.I.P.

Score Details: Scoring Mixer:  Rick Winquest.

Last Updated: April 30, 2008

What's the Worst That Could Happen?  (rejected)  By:  Marc Shaiman

Score Details: Music Preperation:  JoAnn Kane Music Services. Music Editor:  Stephen Lotwis. Music Editor:  Stephanie Lowry. Musicians: Saxophone or woodwind:  Dan Higgins.

Last Updated: March 18, 2008

White Squal  (rejected)  By:  Maurice Jarre

Score Details: Viloin:  rrrrrrRobin.

Last Updated: July 30, 2007

Wild Side  (rejected)  By:  Jon Hassell

Score Details: Additional Score:  Lee Curreri. Additional Score:  Jamie Muhoberac. Additional Score:  Eduardo M. Del Signore.

Last Updated: November 11, 2009

Wimbledon  (rejected)  By:  Klaus Badelt

Score Details: From the London Metropolitan Orchestra News: "LMO recorded a handful of cues in advance of the film's American previews, and the rest of the score will be recorded in May. The orchestra, conducted by Andy Brown, was made up of 40 strings, piano, flute and alto flute and the session was the first in the newly reopened Whitfield Street Studios (formerly Sony Studios). This is LMO's first collaboration with Klaus Badelt, whose credits include "Pirates of the Carribean", "Time Machine", "The Recruit" and "Ned Kelly". Below: clockwise from top left; Chris Brooks, Klaus Badelt, Andy Brown and Steve McLaughlin." PHOTO.

Last Updated: December 11, 2006

Wolfen  (rejected)  By:  Craig Safan

Score Details: Orchestrations:  Craig Safan. Recorded and Mixed At:  CBS Studio Center (TODD-AO). Recorded and Mixed By:  David Holman. Recorded:  May 1981. Musicians: Trombone:  Bill Reichenbach. Video Clip(s): YouTube:  Clip 1 (no others yet)

Last Updated: September 6, 2008

Year of the Comet  (rejected)  By:  John Barry

Score Details: Recorded At:  CTS Winbley, Londan (the last score he recorded there)

Last Updated: June 20, 2007

You, Me & Dupree  (rejected)  By:  Rolfe Kent

Score Details: Recorded At:  Sony Scoring Stage Orchestra:  Hollywood Studio Symphony (83 piece). Conductor:  Rolfe Kent Score Mixer:  Shawn Murphy Music Programer:  Stephen Coleman. Additional Orchestrator:  Stephen Coleman. Music Editor:  Nick South. Stage Recordist:  Adam Michalak. Orchestrator:  Tony Blondal. Musicians: Bass:  Brian Kilgore. Trombone:  Bill Reichenbach. Ukulele:  George Doering.

Last Updated: June 9, 2009

Young Guns  (rejected)  By:  James Horner

Score Details: Score Recordist:  Matt Howe. Assistant Scoring Mixer:  Matt Howe. Recorded At:  Air Studios, London. Synthesizer Programming:  Ian Underwood. Musicians: Unknown instruments:  David Lindley. Unknown instruments:  Mike Taylor. Unknown instruments:  Tommy McCarthy, R.I.P.

Last Updated: March 19, 2008

Zoolander  (rejected)  By:  B.T.

Score Details: Scoring Engineer:  Richard J. McIlvery.

Last Updated: May 1, 2008