Rejected Scores List Baby!

This page was not rejected by any producer.

Official CD Releases This Year

     A rejected score is just like any other score before rejection; somebody orchestrated it, somebody mixed it, somebody did additional scoring, somebody did music editing, musicians performed on it, and so forth. If you or someone you know did, feel free to contact me: justinboggan (at) hotmail (.) com (send it twice; if you don't receive a reply in a two days, I didn't get it -- send it again. Thank you.

     And please do pass this around to other people in the field -- you never know who might have some information or worked on one him or herself.

     Anytime you see ????? questions marks and know the answer, drop me a line or post in the Guestbook. Please.

     If you have a review of a rejected score and want it published on the site, please e-mail me with the review.

     The 1991 issue of Soundtrack! supposedly has an interview (or something) with someone (not Ira Newborn, according to Newborn) that talks about rejected scores to "Steel Magnolias"; please contact me if you find such and article/interview. Thread.

     Also, on a personal note, if you have a sealed copy of the Varese Club "Predator" and would like to trade it to me, please contact me. I have in exchange a Intrada "Capricorn One" I keep just for that score. I'd except an opened one is there are no scratches on the CD and the booklet is in good condition (no tears, rips, missingpages, so forth). At the time Varese put it out I didn't have the money as I had no real job and when I finally had the money, that's when it SOLD OUT.

Thanks     And many great thanks to Film Score Monthly whose lists of rejected scores (Stopping in 2002) inspired this long, long list which I have added to like a madman since. I took their last updated list and comments and started this site. Without them, what stands before you today would not have arisen.
(Films marked with an asterix managed to win a Best Score nomination for the replacement composer; UPDATED)

Thanks     Imdb.com member Jorodo helped greatly in expanding my list. His site created because of my little effort here, http://www.webspawner.com/users/jorodo/index.html, lists many scores. Some are speculation and didn't have any facts, so I left them off my list.

Thanks     I would also like to thank the (past) frequent and informative updates from MightyMcT.

Thanks     And one final new special thanks (5-5-05) to Christophe Bertrand. His wealth of new and interesting info will be featured on the site until he stops contributing.

Thanks     And contiuing thanks to Hubai. He'll have so much for this site, it'll shock you.

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     Has John Williams ever had a rejected score?
     Well, this is going to take a bit to talk about. Now first off you might have heard the rumor that he did a rejected score for "Tucker: The Man And His Dream" -- never validated though. And in an interview Williams said he has never been rejected. Which would be all well and fine if it were not straight from fellow composer Andre Previn's mouth that he replaced many of John Williams early scores. I guess that fits in nicely with another rumor I read that Williams was rejected a few times back in the days when he was called "Johnny".
     But, thanks to jwfan.net member, Andrade Miguel, I got this interesting specific bit:
"but in a 1985 BBC interview with Andre Previn, Previn said that they both had his score reject from an Ann Margret film -- Previn did wrote a song for Swinger, in 1967, with lyrics by Dory Previn, and Williams conducted it. But the score is neither by Williams or Previn."
     I did a imdb.com search for Previn and copied scores from about the time Williams started scoring and then went to Ann Margret's imdb.com list and one by one wiped all of the one's that didn't match until I was left with the "The Swinger" 1966. The score is by: Marty Paich. So, this must be it -- this must be what Williams had rejected. Fascinating huh? It's quite logical Williams has lied to us. :-) No, not him!
     But wait! The plot THICKENS!!! It seems Williams MAY have recorded score for a couple movies he left and that one of his cues may actually still be in the movie! I won't say anything else at this time ... until I have proof.

REJECTED

     There are many reasons for rejection, some listed on the main page, but just because a score is rejected, doesn't mean the composer lacks talent -- far from it. Just look at the info section and see the "Most Rejected" ones; do they strike you as untalented? A rejected score is not a way to judge a composer, but rather should be used as promotional tool for future work, like Yared's AMAZING "Troy".
     Rejected scores are like a whole new score for those who haven't heard them, or know rejected scores exist, and, therefore, should be looked upon as a regular score to profit from, yet we rarely get official CD releases of them. Companies like Varese Sarabande and Film Score Monthly are champions in an area where few others even care. All hail them, and then buy their CDs.

     In an attempt to keep the HTML code down, I have removed almost all the links to store bought CDs; need one, go to MovieMusic.com, eBay.com, and if you really can't find it, try asking: soundtrackers@adelphia.net

     On this list, I tried my best to only list ones that have been recorded; whether partially, or completely. If you are looking for "maybes", you want the Suposedly Rejected list. The lists may be split up and "Rejected" may have it's own page; it's getting too large to be friends with other lists...

This list last updated: July 1, 2009 (Click to "jump" to title; Click HR lines to go back here. "INFO" pages contain miscellaneous stuff like: interview excerpts, additional composers [rejected], sound engineers, orchestrators, where it was recorded, and etc...)

(Hearts and Souls (1993), Mr. Wonderful (1993), Who Is Julia?, Chu Chu Philly and the Flash, Stagecoach, Nuts, Another Harvest Moon, White Buffalo, Kramer vs. Kramer (again), Winner Take All, Billy Bathgate and Two Bits updated, Serial; Homeard Bound, Chinatown, Pollock, and Fun With Dick & Jane INFO sections added; The Spider, Pavilion of Women, Judgment Night, The Accidental Tourist, The Merry Gentleman, Caligola, Todo Modo INFO section added, Blockade, The New Twilight Zone (an episode), General Electric Theater (an episode), The Tournament, 500 Days of Summer, Brooklyn's Finest, The Seduction of Joe Tynan composer solved, Garbo Talks, Nacho Libre INFO section added, Powder Blue, Jacknife INFO section added, Say Hello to Stan Talmadge, Tennessee, A King in New York, Disgrace, Whiteout, Hair Show, New Jack City, The City of Your Final Destination, A Cool, Dry Place, Stick, The Mack, Borderline, Chilled In Miami, In the Heat of the Night (episode), The Pardon, Buffy the Vampire Slayer (episode), Some Kind of Wonderful, Man Behind the Sun, On A Clear Day You Can See Forever, A Dandy Aspic, Mission to Mars, Crossing Over, The World Unseen, Mr. Jones, Play It to the Bone, Life, Jacknife, The Adventures of Milo & Otis, Theory of Flight, The Longshots, The Informers, Punisher: War Zone, I Could Never Be Your Woman, Moved "Gangs of New York" to UN-USED, The Serpent and the Rainbow (two more times) and the most, hands down, STRANGEST story on this site..., Mickey Blue Eyes (again), Keetje Tippel, Hatari, Being Julia moved to "Supposedly" and SOLVED, Buddy Buddy (1981) solved and some details, Civility, Gears of War 2, Richard Marvin Q&A, Incendiary, The Black Waters of Echo's Pond, The Passion of the Christ (again), The Shape of Evil, The Belly of an Architect, 51st State, Fun With Dick and Jane, The Cursed, Tomb Raider 1 (again), The Happy Couple, The Killing of John Lennon, Prey, Domestic Disturbance, The Gathering Storm, Feast of July, Heat, The Island of Dr. Moreau, The Eye, Forbidden Planet, The West Side Waltz, Mariette in Ecstasy, Wet Gold, Columbo (episode), Surprise Package, Storm of the Nile, Cattle Annie and Little Britches, Theif of Baghdad, The Slender Thread, Le Pillole Di Ercole, The Gay Divorcee, Land Before Time 9

+ = Unfinished score, whether not fully recorded or not completed in writing for recording.)

1924

JANICE MEREDITH -- Victor Herbert. Silent film scores were meant to be played live, not recorded, but I couldn't resist including this one, as it's the earliest rejected score I know of. Many, many thanks to imdb.com member jorodo. [Deems Taylor.]
1928
LA PASSION DE JEANNE D'ARC -- ????? & ?????. [Jacb Gade.]
LA PASSION DE JEANNE D'ARC -- Jacb Gade, R.I.P.. According to composer Ole Schnidt, who did a new score in 1983, the film had two rejected scores, the first being a large, lush one by an un-named composer duo; the second he did name, and IMDB reflects this as well. [NO SCORE USED IN ORIGINAL CUT.]
1930
Fox's sci-fi musical JUST IMAGINE -- Featured a massive wall-to-wall score originally by staffers Peter Brunelli, Hugo Friedhofer, Reginald Bassett, Jean Talbot, Jack Virgil, but the release print only had part of Friedhofer's contribution on the soundtrack. [Obviously.]
1931
RESERVED FOR LADIES -- Percival Mackey. This Alexander Korda film made in UK retained its original score there, but Paramount replaced Mackey's score with stock cues for the US release. [Karl Hajos, Rudolph Kopp, John Leipold.]
1932
THE MOST DANGEROUS GAME -- W. Franke Harling. This is a sum up of what the linear notes in the Naxos CD say: Max Steiner was begged to take over and write a replacement score, despite an already massive workload which would eventually result in him leaving RKO, when producer Meriam Cooper strongly disliked Harling's fully completed score, suggesting it was too light and invoked broadway and passengers on a desert island. Buried in an enourmous work load, Steiner was eventually talked into rescoring the film and completed his score two weeks before the film opened. [Max Steiner.]
1933
THE GOOD COMPANIONS -- Bretton Byrd, Walter Collins, Leighton Lucas. Another British picture subject to tampering in the USA. This was a musical with songs by George Posford and an original background score by three anonymous staffers under MD Louis Levy. Fox released it in US with a new background score by Friedhofer based on Posford's songs. [Hugo Friedhofer.]
1935
THE SCOUNDREL -- George Antheil. This one appears in all GA filmographies, but his score was not used, and he isn't credited. The replacement score was compiled from various works, including Rachmaninoff's 2nd piano concerto, by MD Frank Tours. [existing music.]
1936
THE FUTURE'S IN THE AIR -- Raymond Bennell. [William Alwyn; Alwyn's first film job was re-scoring this documentary short.]
1937
THE ADVENTURES OF DON QUIXOTE -- Maurice Ravel, R.I.P.. If I got this wrong, feel free to let me know -- it's hard to find info about things this far back. [Jacques Ibert.]
1938
THE RIVER IS BLUE (AKA: BLOCKADE) -- Kurt Weill. Supposedly not recorded, but some written. [Werner Janssen.]
YOU AND ME -- Kurt Weill. Much of Weill's score was abandoned and changed. Even the title song is by Frederick Hollander. [Weill, W. Franke Harling, John Leipold, Leo Shuken.]
1939
STAGECOACH -- Louis Gruenberg. The director wasn't happy with the score. [Richard Hageman, Frank Harling, John Leipold & Leo Shuken.]
1940
THEIF OF BAGHDAD -- Oscar Straus. Producer Korda wanted Rozsa to write the score, but the director wanted to use Straus, who was in France at that time. He sent his songs and his score to England, where it was laughed at -- Rozsa called it "turn-of-the-century Viennese candy-floss". After hearing Rozsa's music, the director went with him -- Straus was paid his full price. [Miklos Rozsa]
THE WESTERNER -- Dimitri Tiomkin. According to Jan Herman's biography of William Wyler ("A Talent for Trouble"), it was producer Sam Goldwyn who was unhappy with the original music and had Alfred Newman rewrite "much of Tiomkin's score". [Alfred Newman.]
1942
SABOTEUR -- Frank Skinner. Hard to believe why this happens so often in other countries, but the German Language version featured a different score by an Austrian composer, Heuser - who takes a similar approach, but reportedly sounds like Tiomkin. [Kurt Heuser.]
1943
HITLER'S MADMAN -- Karl Hajos. This poverty row PRC picture, originally "HITLER'S HANGMAN", was acquired by MGM which had it rescored. [Nathaniel Shilkret, Hajos, Mario Castelnuovo-Tedesco, Eric Zeisl, Arthur Morton.]
1944
SINCE YOU WENT AWAY -- Alexandre Tansman. Tansman's complete written score resides at the University of Texas. They have an official site, for those of you who want to bug them (I did). Selznick went with another composer after hearing some of Tansman's music with an orchestra too small to actually perform it. One cue -- an arrangement of the song "Together" is retained. [Max Steiner, stock music by Alfred Newman.]
1945
CAESAR AND CLEOPATRA -- Arthur Bliss. Official CD. [Georges Auric.]
*THE LOST WEEKEND -- ?????. Producer Charles Brackett hired Rosza to do a replacement score. To quote Dan Hobgood's article on FSM:
"However, the film's musical accompaniment was inappropriate in tone and poorly placed within the picture.". [Miklos Rosza.]
1946
GREAT EXPECTATIONS -- Walter Goehr. About half of WG's music was rescored by Pakeman -- whom went uncredited. [Kenneth Pakeman, Walter Goehr.]
1948
MICHURIN -- Gavril Popov. According to the book Soviet Music and Society Under Lenin and Stalin: The Baton and Sickle, Popov's score was rejected for being complicated and not adhiring to to old Russian songs. [Shostakovich.]
THE NAKED CITY -- George Bassman. Producer Mark Hellinger attacked Bassman at the recording sessions, claiming he plagiarized. The experience ended Bassman's Hollywood career and killed Hellinger. [Miklos Rosza.]
SO EVIL MY LOVE -- William Alwyn. Paramount rescored about half of the original Alwyn score for US release, but this is the version shown in UK too. (Jorodo: "Alwyn was surprised when I mentioned this to him"). [Alwyn, Victor Young.]
1950
NIGHT AND THE CITY -- Benjamin Frankel. Frankel's score retained in UK. Both versions circulate on British TV. Both are on CD. [Franz Waxman.]
1950
ANOTHER MAN'S POISON -- John Greenwood. Greenwood's score retained in UK. [Paul Sawtell.]
DISTANT DRUMS -- Alex North. At least two people at FSM's board claim to have it (Joe Capps and another guy who I forget the name of without checking the thread). I'm not jealous,as I got a copy myself. Silva Screen records was going to release it a few years back around 2004, but the North Estate never responded to their call. INFO / Boot. [Max Steiner.]
1953
BEAST FROM 20,000 FATHOMS -- Michel Michelet. According to composer Loran Alan Davis. The replacement score was done in 10 days. INFO. [David Buttolph.]
HIS MAJESTY O'KEEFE -- Robert Farnon. Farnon's score retained in UK. Both versions circulate on British TV. [Dimitri Tiomkin.]
1954
BETRAYED -- Walter Goehr. Goehr's version retained in UK. [Bronislau Kaper.]
SEAGULLS OVER SORRENTO (AKA: Crest of the Wave) -- Hans May, R.I.P.. At least, according to the imdb.com "Trivia for" page of the movie. [Miklos Rozsa.]
1955
THE DESPERATE HOURS -- Gail Kubik. Only about half of Kubik's Desperate Hours junked. Amfitheatrof rescored it, uncredited, but Kubik kept his screen credit. Stock music by Young, Joseph J. Lilley and Paul Weston used. Ref: Clifford McCarty's Film Composers in America (2000). Kansas State University holds the tapes and paper work. [Daniele Amfitheatrof & Victor Young.]
STORM OVER THE NILE -- Buxton Orr. A widescreen remake of "The Four Feathers", the directors wanted to used use an adaptation of Miklos Rozsa's original score. Orr's re-workig didn't match, so a new score was written by Benjamin Frankel, who happened to be his teacher. [Benjamin Frankel, Miklos Rozsa (music from the original film)]
1956
FORBIDDEN PLANET -- David Rose. Rose recorded all his score, but destroyed it after the rejection. The film's trailer contains edited pieces from a few cues, and Rose re-recorded the main title for a CD. [Bebe Barron, R.I.P., Louis Barron (additional).]
HELL ON FRISCO BAY -- David Buttolph. [Max Steiner.]
INVITATION TO THE DANCE (middle segment) -- Malcolm Arnold. [Andre Previn.]
IT'S A WONDERFUL WORLD -- ?????. [Robert Farnon.]
1957
A KING IN NEW YORK -- Philip Sainton, R.I.P.. An online bio says the film's drector, Charlie Chaplin, wanted to take credit for the score, but Sainton didn't want to have anything to do with that, so he left; supposely another composer did a score as well. While Chaplin is credited as the film's composer (he did do scores after all), one wonders if he requested and took credit away from the replacement composer as well. [Charlie Chaplin.]
THE BARRETTS OF WIMPOLE STREET -- Malcolm Arnold. Arnold wasn't too disappointed with it's replacement. [Bronislau Kaper.]
1958
SADDLE THE WIND -- Jeff Alexander. Yes, he did and Bernstein didn't even know. Well, FSM has released the complete scores to both. Here is a direct LINK to it. [Elmer Bernstein.]
SEPERATE TABLES -- David Raksin. Apparently he composed two scores. [Take a wild guess Sherlock ;-) ]
THE HORSE'S MOUTH -- Tristram Cary, R.I.P.. According to him on a site, other than his own, he says: "Score rejected by Director. One day's recording, which I have on file". [Kenneth V. Jones.]
1959
THE SCAPEGOAT -- Douglas Gamley. imdb.com member jorodo came across the cue sheet for Gamley's version. According to the imdb.com trivia, it was recorded in England, and was a mix of classical pieces and regular film score. [Bronislau Kaper.]
1960
GENERAL ELECTRIC THEATER: "SARAH'S LAUGHTER" -- Fred Steiner. While some tapes for TV scores of this era are lost, this one is still in tact (so is Goldsmith's replacement score), along with paper work for each. [Jerry Goldsmith, R.I.P..]
LE PILLOLE DI ERCOLE -- Ennio Morricone. This was to be Morricone's first score, but producer Dino de Laurentiis didn't want a newcomer, so the fully recorded score was tossed. [Armando Trovajoli]
SURPRISE PACKAGE -- Benjamin Frankel. Stanley Donen wanted a more darker score for his movie and replaced most of Frankel's score. Only 9 minutes retained -- the composer removed his name, so there's no composer credited now. [Kenneth V. Jones, Benjamin Frankel (leftovers).]
1961
THE INNOCENTS -- Georges Auric. About half of GA's score was scrapped and rescored by KVJ, uncredited. The electronic soundscape was created by Daphne Oram. [Georges Auric, Kenneth V. Jones.]
1962
+HATARI -- Hoagy Carmichael, R.I.P.. While his score is replaced, at least one song he did was retained, and Indiana University holds some, if not all of the tapes and paper work. [Henry Mancini, R.I.P..]
I THANK A FOOL -- Gail Kubik. Kubik kept the session tapes, according to Irwin Bazelon's book Knowing the Score (1975). Gerard Schurmann orchestrated for Kubik. Kansas State University holds the tapes and paper work. INFO. [Ron Goodwin.]
1964
SEVEN DAYS IN MAY -- David Amram. I read at FSM that on the DVD commentary, the director said he fired him. [Jerry Goldsmith, R.I.P.]
SOMETHING WILD -- Morton Feldman. The CD Something Wild: Music for Film contains a cue or two from his rejected score (re-recorded). [Aaron Copland - CD.]
1965
PUSH BUTTON GO (AKA: Shellarama) -- Steve Race. Tubby Hayes on some instrument. [John Scott.]
THE SLENDER THREAD -- George Bassman. In Sidney Pollack's directorial debut. Pollack wanted to replace Bassman's score with improvised trumpet riffs, but then actually had it replaced. [Quincy Jones.]
1966
*THE BIBLE -- Ennio Morricone. Morricone reputedly later reworked his music into his score for "Secret of the Sahara" (actually, the original recording). The track "Llincontro Conla Figlia" from the RCA CD Return to Ringo, is supposedly a track from this score. Only recorded one piece, to show what he could do, so that cue on the CD is likely the it. [Goffredo Petrassi.]
THE BIBLE -- Goffredo Petrassi, R.I.P.. INFO. [Toshiro Mayuzumi.]
CHAPPAQUA -- Ornette Coleman. Available on a 2CD set title "Chappaqua Suite". INFO. [Ravi Shankar.]
L'UOMO CHE RIDE -- Piero Piccioni. Man has a Herrmann opinion, read HERE. [Carlo Savina.]
MAROC 7 -- Paul Ferris. Ferris' source music for the opening party scene retained. He is credited with "main theme and party music" but KVJ told me (jorodo) he wrote a new score without referring to any Ferris theme. [Kenneth V. Jones - in 1968 KVJ wrote additional, uncredited cues for Ferris's WITCHFINDER GENERAL/THE CONQUEROR WORM.]
MATCHLESS -- Piero Piccioni. [Ennio Morricone, Gino Marinuzzi(?).]
SECOND BREATH -- John Lewis, R.I.P.. [Bernard Gerard, R.I.P. (used to orchestrate for Desplat).]
TORN CURTAIN -- Bernard Herrmann. Herrmann reworked some of his rejected score into Battle of Neretva -- itself a rescore of a foreign film -- and Elmer Bernstein also used some of it in his adaptation score for the remake of Cape Fear. The Torn Curtain score has been rerecorded twice -- once by Elmer Bernstein in the 70s for an LP, and once by Joel McNeely for a Varese Sarabande CD [48:13]. The supplement to the recent Torn Curtain DVD features sequences with Herrmann's score tracked back in -- but reportedly, the synch isn't perfect and is in mono. But this is a brave step by MGM. INFO+v. [John Addison - CD.]
1967
A TIME FOR KILLING -- Van Alexander. A song left, but uncredited. INFO. [Mundell Lowe.]
BONNIE & CLYDE -- George Bassman. According to an article, which I believe originates from Wiki, Bassman had "several scores" rejected before he finally passed away, and that this was one of them. This is only his second time on the list and I could not find any of those "several"; the article appears to be written by someone who knew him and thusly seems legitimate, so I'll take this as a "confirmed". Should be noted that very little of the replacement score is actually left in the film. An FSM article coloborated the rejection. [Charles Strouse (second time on the list by the way...).]
OH DAD POOR DAD, MAMA'S HUNG YOU IN THE CLOSET AND I'M FEELING SO SAD -- George Duning. What a name for a film, huh?. The film was shelved for two years before the studio decided to bring it out of the closet and have it rescored. [Neal Hefti.]
SINFUL DAVY -- John Barry. Score was rejected by MGM executives and the director, whom felt it was too "serious". Sadly it seems the tapes were water damaged during a flood when in storage just over the road from CTS studios (assuming Thorne or Barry don't have copies themselves). John Greenhill stated this in a post at FSM. INFO. [Ken Throne.]
1968
A DANDY ASPIC -- ?????. [Quincy Jones.]
AGE OF CONSENT -- Peter Sculthorpe. Sculthorpe's score retained in Australia? During the Sydney Film Festival, at the State Theatre, on June 19, 2005, the film was shown with restored scenes (including nude scenes of Helen Mirren) and Sculthorpe's score fully restored. There was a Q&A with the composer and others, which I didn't find a transcript of. [Stanley Myers.]
BARBARELLA -- Michel Magne, R.I.P.. While Googling for rejected score info, I found a post by someone who mentioned that he was told Universal had the tapes for Magne's rejected score. I was told there is a 2CD set of Magne music released in France, supervised by his widow, and contains a five-minute cue from "Barbarella"; couldn't find it. [Charles Fox, and what ever the hell James Campbell had to do with it.]
BOOM -- Michel Legrand. Listed on BFI.org.uk's site. When a label looked into releasing the score, supposedly Intrada Records, the studio could not find the tapes to Barry's score (nothing was said about Legrand's); any CD you see of it is a bootleg, regardless of excuses. [John Barry.]
FADE IN -- Manos Hajidakis. One of two US scores written in 1968 by the Greek composer. This one was replaced, but the other, BLUE, was used. [Ken Lauber, Leo Shuken, Jack Hayes.]
LAND OF THE GIANTS: "THE CRASH" PILOT EPISODE -- Alexander Courage. The GNP Cresendo CD features some of Courage's rejected episode score as well. [John Williams.]
THE LOST CONTINENT -- Benjamin Frankel. [Gerard Schurmann.]
2001: A SPACE ODYSSEY -- Frank Cordell. In a 1967 radio interview, Cordell said he was busy adapting the music of Gustav Mahler for 2001. Cordell's widow tried to get a CD release for it about 10 years ago after the North score was re-recorded. Would still be interesting to hear this one. Shows a pattern in Kubrick. If the man had remained alive for A.I., no doubt he would have rejected Williams. [Alex North.]
2001: A SPACE ODYSSEY -- Alex North, R.I.P.. North reworked his "2001" music into "Shanks" and "Dragonslayer". Jerry Goldsmith conducted a rerecording of the complete score [35:37] for a Varese Sarabande CD, but a labeling mix-up caused him to also rerecord North's theme for the TV documentary "Africa", included on the "2001" disc as intermission music. But, sadly, the original score was recorded over to save money HERE: Paragraphs 3 and 4 from the bottom. I read in a FSM post that some kind of copy of the original score, is still preserved at a Alex North Society or something. Despite all this, Intrada Records' first release of 2007 is of the original tracks (see top of the page). [various classical pieces.]
1969
THE APPOINTMENT -- Michel Legrand. For a good telling of what happened, go to HERE.. [John Barry.]
THE APPOINTMENT -- John Barry. Although John Barry was replaced on The Appointment, European versions of the film still carry his score even though the credit remains Stu Phillips. [Stu Phillips.]
THE ONLY GAME IN TOWN -- Johnny Mandel. According to Jarre in and interview (see "Chu Chu Philly and the Flash"), Alex North was the first composer, before Mandel. [Maurice Jarre.]
*THE REIVERS -- Lalo Schifrin. [John Williams.]
SWEET HUNTERS -- Carl Orff. This Panamanian film originally had Orff's "Carmina Burana" on the soundtrack, but the UK release had additional scoring by Whitaker. [David Whitaker, Carl Orff.]
TELL THEM WILLIE BOY IS HERE -- Patrick Williams. In a 2008 interview, when asked if he ever had any rejected scores, he said "two" (both listed), but declined to comment any further. Shame. [Dave Grusin.]
1970
A NEW LEAF -- Johnny Mandel. Most of Mandel's score was replaced with Hefti's music from OH DAD, POOR DAD. No composer credited. [Neal Hefti, Mandel.]
THE ANONYMOUS VENETIAN -- Giorgio Galini. [Stelvio Cipriani.]
BATTLE OF BRITAIN -- William Walton. At Laurence Olivier's insistence, Walton's "Battle in the Air" cue was retained in the final film. The Ryko soundtrack CD includes Walton's complete score [25:45] as well as Ron Goodwin's replacement score. This CD was reissued recently. Malcolm Arnold orchestrated and provided additional cues on Walton's score. [Ron Goodwin.]
CRY OF THE BANSHEE -- Wilfred Josephs. [Les Baxter.]
*LOVE STORY -- Jimmy Webb. Indeed he did a score and when it was going to be tossed, he was offered a chance to do another one. Appearently back it was common knowledge that Webb sued over the replacement of his score. Lai didn't even want to do the movie. [Francis Lai - with classical music from: Johann Sebastian Bach, Georg Friedrich Handel, Wolfgang Amadeus Mozart.]
THE MOLLY MAGUIRES -- Charles Strouse. As pointed out by FSM. Maybe they'll release both one day? I have re-contacted Strouse through his website; no reply. [Henry Mancini, R.I.P.]
ON A CLEAR DAY YOU CAN SEE FOREVER -- Neal Hefti. According to the book September In the Rain, a Nelson Riddle biography, Hefti was initially hired to score the film, but Streisand didn't like it for some reason. [Burton Lane & Nelson Riddle.]
THE RAILWAY CHILDREN -- Harry Robertson, R.I.P.. One piece retained. [Johnny Douglas.]
THE RED CIRCLE / Le Cercle Rouge -- Michel Legrand. You can order the big, new set: Le Cinema De Michel Legrand, HERE. It contains one cue: "Chasses-Croises" 2:46. In an interview Demarsan says he got a call fro mthe director saying he had hired another compsoer. then one day he get a calls to go to the director's house, once there the director said he did not like Legrand's score and that if Eric took the job, he would have three weeks; no preassure, though. Legrand called and offered to help Demarsan, if he needed it. [Eric Demarsan (site in French).]
WATERLOO -- Wilfred Josephs. Joseph's waltzes retained for ballroom scenes. 1970 not a good year for this British composer. [Nino Rota.]
1971
THE G0-BETWEEN -- Richard Rodney Bennett. INFO. [Michel Legrand.]
THE NIGHT EVELYN CAME OUT OF HER TOMB -- Stelvio Cipriani. One cue "Evelyn's Theme", on the "Bay of Blood" CD (and a couple alternates). Interestingly enough, all three film scores on that CD come from director's who never made a film with the character "Evelyn". Producer rejected the score. [Bruno Nicolai.]
SEE NO EVIL (AKA: BLIND TERROR) -- Andre Previn. INFO. [David Whitaker.]
SEE NO EVIL -- David Whitaker. This is one of the strangest rejected score stories. At the time, Previn was married to the film's star, Mia Farrow. After his score was rejected, Whitaker's replacement score was also thrown out, and the final score was by Elmer Bernstein, R.I.P.. [Elmer Bernstein, R.I.P.]
SUMMER OF 42' -- Unknown. Story. [Michel Legrand.]
TOUCH AND GO -- Jean Wiener. This is one of those silly stories. Instead of me rewording, I will just copy and paste what I got:
"...but as the director Philippe de Broca remembers, "it all went wrong during the recording: he hadn't prepared anything, he just began improvising at the piano while his arranger beavered away in a corner. I had no choice but to let him go; he must have hated me for that." Note to all inspiring composers: come prepared! [Michel Legrand -- one cue on that 4CD set mentioned on this page.]
1972
COLUMBO: "THE GREENHOUSE JUNGLE" -- Paul Glass. The producers tossed the score after Mr. Glass used an uncommon instrument in it that made a sound they didn't care for (heckelphone). [Oliver Nelson.]
FRENZY -- Henry Mancini, R.I.P.. Mancini re-recorded his main title theme [2:15] for his CD Mancini in Surround. INFO. [Ron Goodwin, R.I.P..]
THE GETAWAY -- Jerry Fielding. The limited release CD Jerry Fielding Film Music Vol. 3 featured a [17:39] suite from Fielding's score, but FilmScoreMonthly.com has released the entire score on CD, along with a special DVD related to it. On October 17, 2003, an individual by the name of Dick Dinman wrote a letter put up on FSM, with a hilarious bit of info:
"Your mention of Jerry Fielding's rejected score for THE GETAWAY brings back a memory of the first preview of that film, which was run with the Fielding score. At about the mid-point of the picture, the audience was startled by a very loud, very angry, and very inebriated voice screaming "F-I-E-L-D-I-N-G!!!!!!!!". The voice, of course, belonged to Sam Peckinpah." Although they were prepared in time, the Deluxe DVD release (2005) didn't feature Nick Redman's extras. They were put on the recent Blu-Ray edition though, which carries an isolated score, includs the featurette "Jerry Fielding, Sam Peckinpah and The Getaway" which is also available with the soundtrack and a restored sequence of the bank robbery (Fielding's score with effects) as a separate feature. [Quincy Jones.]
LUCIFER RISING -- Jimmy Page. I had known about this title for over a year, but finally promted me to remember to include it was that the replacement score just got a brand new CD release. There is a bootleg of the 28 minutes of score Page did record; unknown as to whether this was the recordings to be used in the film or if these were simply demos made with his band. [Bobby Beausoleil.]
THE SALZBURG CONNECTION -- Bronislau Kaper. Most of Kaper's score rejected, 16:30 retained, per cue sheet. Jerry Goldsmith was announced in trades to rescore, but he doesn't seem to have recorded anything. Stock cues were substituted. No composer credited, only music supervisor Lionel Newman. An undistinguished end to Kaper's career. [Tom Scott, Duane Tatro, Henry Mancini, R.I.P. (The Stock Cue guys), and B. Kaper.]
SOUNDER -- Alex North. FSM did an article that listed it and of course I was curious, so I contacted Lukas and he told me it was listed in Motion Picture Acadamy as having several tape reels. [Taj Mahal (alias?).]
UP THE SANDBOX -- Neil Hefti. There are things in like that are certain: death, taxes, and Barbra Streisand rejecting scores. [Nelson Riddle.]
UP THE SANDBOX -- Nelson Riddle. There are things in life that are certain: death, taxes, and Barbra Streisand rejecting a score again. Even Dave Grusin did a theme she didn't like. [Billy Goldenberg.]
1973
THE EXORCIST -- Lalo Schifrin. The 14:14 which Schifrin recorded of his score was included on a CD packaged with a recent video release of the film. Possibly one of the most horrible reads on rejection: INFO (empty right now). [Jack Nitzsche & found music.]
THE EXORCIST -- Jack Nitzche, R.I.P.. As told on the LSO website, Nitzche was hired to replace Shifrin's score, but was unable to finish writing due to a hand injury, but a few sessions did take place. [Pre-existing music.]
HEX -- Patrick Williams. [Charles Bernstein.]
THE MAN WHO LOVED CAT DANCING -- Michel Legrand. The 28:19 Legrand recorded for the film was included on FSM's CD of John Williams replacement score. [John Williams.]
MOSES THE LAWGIVER -- Anthony Burgess, R.I.P.. According to Burgess, Producer Lew Grade rejected him. [Ennio Morricone.]
THE NEPTUNE FACTOR -- William McCauley. Isolated on the recent 2007 DVD. INFO. [Lalo Schifrin, William McCauley, R.I.P. (leftovers).]
THE SEVEN-UPS -- Johnny Mandel. Released by Intrada Records (with Ellis' score). [Don Ellis.]
HELL UP IN HARLEM -- James Brown & Fred Wesley. A song/score done for the film which was untimately replaced. Wesley did the scoring. You can buy the song/score on CD HERE. [Fonce Mizell & Freddie Perren.]
1974
THE ANTARCTIC -- Franis de Roubaix. Don't know much more than that it is listed at soundtrackcollector, and some of it is one a CD. There is no movie by it's name -- in French either -- on imdb.com. [?????.]
*CHINATOWN -- Philip Lambro. Music from Lambro's score is supposedly included in the film's trailer, seen on the DVD. Jerry said in an interview by Daniel Schweiger:
"Scores have been tossed out and redone ever since I can remember, though the only one I was called in to redo was CHINATOWN. And the main reason that score was rejected was because the composer wasn't right for the movie in the first place." Cheeky! Oh, and it gets better. Goldsmith also said: "I couldn't believe it, it was Chinese-sounding!". That coming from the master who also did Mulan... Goldsmith replaced Lambro's score 10 days from first screening with director to final mix. Bootleg CD-R, plus info on how it sounded. Perserverance Records is releasing a re-recording [28mins] of the score next year (2007). INFO. [Jerry Goldsmith, R.I.P.]
PRECINCT 45 (AKA: The New Centurions) -- Don Ellis. With about three days to go, this must have been what drove Jones away. INFO. [Quincy Jones.]
S*P*Y*S -- John Scott. Scott's score retained on UK prints. This one is especially inexplicable, as Goldsmith's replacement score is probably the worst score he ever wrote. [Jerry Goldsmith, R.I.P. - The recent 2004 Varese Sarabande Jerry Goldsmith At Fox 6CD set included a good chunck on his score. It is sold out. Get ready to pay out the ass on eBay.]
1975
KEETJE TIPPEL -- Rogier van Otterloo. Still some left in. [Willem Breuker, Rogier van Otterloo (leftovers).]
DEEP RED -- Giorgio Gaslini. The jazzy score, rejected by the producer, still has small bits retained in the film. Go HERE to learn more about the previous score. [The group Goblin (members of the time unknown).]
MONTY PYTHON AND THE HOLY GRAIL -- Neil Innis. The series composer didn't make a score per se, but did period music like dances, songs and other stuff that could be score, but I guess they decided it was time for something completely different (SQUISH). [DeWolfe Stock Music; composers: Stanley Black, Kenneth Essex, Paul Ferris, Peter Knight, Jack Trombey, Roger Webb.]
WINNER TAKE ALL (TV movie) -- Richard Markowitz. The University of California has at least the paper work and some information (unsure if the tapes). [David Shire.]
1976
THE ASTRAL FACTOR -- Bill Marx. Reissued in 1984 as THE INVISIBLE STRANGLER and for some reason rescored. [Richard Hieronymous, Alan Oldfield.]
THE LAST HARD MEN -- Leonard Rosenman, R.I.P.. INFO. [Cues from: 100 Rifles and Stagecoach Jerry Goldsmith, R.I.P.]
ROBIN AND MARIAN -- Michel Legrand. Some interesting things on Barry/Legrand's work HERE and HERE. Most interesting bit: Producer Ray Stark allegedly called Legrand's score "A piece of shit". Prior to 2001, a French label was going to release it, but cancelled. You can buy a box set of Legrand scores: Le Cinema De Michel Legrand, HERE. It contains only one cue from it, titled: "Sean and Audry" 8:49; also, in May 2009, a CD release was announced, likely to contain the full rejected score. In an old interview, Barry' described Legrand's score as: "...double string concerto.". [John Barry, Richard Shores (additional score; two cues) - CD.]
TODO MODO -- Charles Mingus, R.I.P.. Some of the score was re-used in his Cumbia and Jazz Fusion. There is a nearly 23 minute suite of the score on LP, and one track on a compilation CD. INFO. [Ennio Morricone.]
1977
FUN WITH DICK AND JANE -- Billy Goldenberg. Working on both this and a television series at the same time, Goldenberg did the score in little time and was displeased with it, understanding the rejection. INFO. [Ernest Gold; Billy Goldenberg (leftovers).]
WHITE BUFFALO -- David Shire. [John Barry.]
1978
AGATHA -- Howard Blake. Blake can be seen as one of the trio playing in the hotel. His arrangements (Gilbert & Sullivan, etc) were retained. I e-mailed Blake at his website to ask and here is his unedited reply:
"This is true. I was both MD and composer for Agatha.(I arranged all the period music and was even in the film playing the piano.) I wrote a huge symphonic score for director Michael Apted and producer David Puttnam who were delighted with it... However Puttnam resigned and the incoming producer junked my entire score. I met Johnny Mandel in LA quite soon after he had replaced it and we compared notes.". Carl Davis re-recorded 13:06 of the score on May 20, 1995 in The Barbican London; there was no release, but a extremely hard to find bootleg. In an old interview, Blake explains that after test review of the film, there were so many positive comments about hsi score, but so many bad ones, that the new producer grabbed him by the throat and asked him "what the hell" he was doing (personally, my reply would have been: "thinking of how much to sue you for"). [Johnny Mandel - Most famous for his Main title to "M*A*S*H".]
CASEY'S SHADOW -- Elmer Bernstein, R.I.P. INFO. [Patrick Williams.]
FIRST LOVE -- John Barry. Barry was hired to write a complete score, parts of which were rejected as "too mature", resulting in a hybrid song/Barry score. At that point, Barry asked his name be removed, but his name was seen as composer on the theatrical posters and there were unmistakable Barry-isms in the snippets of score that still remain. The director just couldn't make up her mind. [John Barry and crappy songs.] Special thanks to MightyMcT
1979
ALIEN -- Jerry Goldsmith. His original score was not used after changes in the movie. This un-used score is isolated on DVD, along with all his used score. The original cut of the movie was much longer. It also featured cues from one of his other movie scores, Frued. Goldsmith said to Scott, "Ridley, you can't communicate.". Intrada Records did the impossible and on November 16, 2007, released the complete score; ever last note recorded. [Jerry Goldsmith, R.I.P.]
APOCALYPSE NOW -- David Shire. Score described as, "electronic". [Carmine Coppola & Francis Coppola.]
CALIGOLA -- Fiorenzo Carpi. [Bruno Nicolai (as "Paul Clamente").]
THE CHINA SYNDROME -- Michael Small, R.I.P.. Read in a post over at FSM (this year) that there is a rumor it's coming out, so I asked Intrada Records (Roger), and was told it's not them; I assume FSM (awaiting reply from Lukas). INFO. [no score.]
DEFIANCE -- Basil Poledouris, R.I.P.. My "sister" site, so to speak, run by imdb.com member jorodo suggested Dominic Frontiere was rejected, but I checked into this a little. Turns out John Beal is listed as "additional music" on imdb.com, so I contacted him via his site; turns out he is a protege of Frontiere and, as far as he knows, Frontiere's score is still retained; imdb.com reflects this too by not listing Poledouris at all. Curious as to why Basil was listed at all, I contacted jorodo and asked. He said a few reliable printed sources, such as BFI's Monthly Film Bulletin, list Mr. Poledouris as the composer. Interesting. Could his score still be retained in some countries? [Dominic Frontiere, John Beal (additional).]
GUYANA: CRIME OF THE CENTURY -- Alfredo Diaz Ordaz. Original score retained in Mexican prints, but English language version had additional Haskell cues. This version shown in UK. [Alfred Diaz Ordaz, Jimmie Haskell.]
KRAMER VS. KRAMER -- David Shire. [Fred Ebb, R.I.P. & John Kander.]
KRAMER VS. KRAMER -- Fred Ebb, R.I.P. & John Kander. On top of doing an arrangement of a classical music piece, EBB & Kander did a score for the film, but it was too "urban" and distracted from the emotion of the film. Ultimately the film was left with no original score. [Classical music.]
THE SEDUCTION OF JOE TYNAN -- Michael Small, R.I.P.. In a ScoreMagacine interview, Conti says:
"I did a movie with Alan Alda, the "The Senator", or something like that, maybe they changed the name. Alan was just the actor but he did not like the score in the movie he was in, and he brought me in to do the movie. He was not the Director but he had a lot to say in that movie so I worked with Alan Alda and enjoyed it very much.". INFO. [Bill Conti.]
STALKER -- Edward Artemiev. Interview by Anneilese Varaldiev - excerpt:
"There were actually two versions of the score for "Stalker ". The first one was done with an orchestra alone-no synthesizer-but Tarkovsky rejected it, which surprised me, because he loved the idea of live music-making. The second version, which he accepted, was basically created on the Synti-100 synthesizer, along with solo acoustic instruments that were extensively manipulated using various sound processors. At that time, Tarkovsky was very interested in Zen Buddhism, and wanted the music to reflect certain contemplative elements that are part of Eastern religion and philosophy. To achieve this quality, I borrowed from the Indian classical tradition of using a single basic tonality, whose rhythmic patterns are slowly and constantly changing, creating a background over which the melody of a solo instrument can soar." [Edward Artemiev.]
1980
THE EARTHLING -- Bruce Smeaton. Smeaton's score retained on Australian prints. [Dick DeBenedictis.]
GAUGUIN THE SAVAGE (TV) -- Elizabeth Swados. In her book, Listening Out Loud (1988), Swados recounts how the executive producer did not like her music at the recording session. She used drums and voices to evoke Tahiti, and he said "I wanted strings!" During a later section, he said "Now she's giving me Stravinsky! I wanted strings!" She was replaced. [Gerald Fried.]
MURDER BY MAIL -- Bernardo Segall. Retitled SCHIZOID, with new score by Hundley (later known as Craig Huxley). [Craig Hundley.]
SERIAL -- Kenny Asher. Described as a very good soudning score. INFO. [Lalo Schifrin.]
THE SHINING -- Wendy Carlos & Rachel Elkind. The LP (Bootleg?) contains more. [Classical music.]
USED CARS - Ernest Gold, R.I.P.. Angela Morley orchestrated Gold's score. Williams had three weeks to do his score. [Patrick Williams.]
1981
BUDDY BUDDY -- Pete Rugolo. A friend of Rugolo, at the time Schifrin didn't know Rugolo had recorded a score, but if he did, would not have accepted the assignement. [Lalo Schifrin.]
CATTLE ANNIE AND THE LITTLE BRITCHES -- Alex North. North's biography makes a short mention of his score not used for this movie. Like "Sounder" (another rejected score), the Motion Picture Academey has the tapes -- and paper work. [Sahn Berti & Tom Slocum - their only score.]
CHU CHU AND THE PHILLY FLASH -- Maurice Jarre. In an old interview (lick on INFO for full related text) Jarre states that when shown on TV, his score is still retained (can anyone confirm that?). INFO. [Pete Rugolo.]
CLASH OF THE TITANS -- A mailbag letter to FSM: In answer to your question regarding John Barry and the score to "Clash of the Titans" apparently Barry DID write a score. Ray Harry Hausen has been quoted as (tersely) saying: "John Barry wrote a musical score for Clash of the Titans. We couldn't use it.". [Laurence Rosenthal.]
THE BUNKER -- John Barry. According to FSM member Ford A. Thaxton. [Brad Fiedel.]
LOOKER -- Pino Donaggio. [Barry DeVorzon.]
MODERN PROBLEMS -- Marvin Hamlisch. INFO. [Dominic Frontiere.]
NEIGHBORS -- Tom Scott. Similarly to Goldsmith's "S*P*Y*S", Bill Conti's replacement score is the worst he ever wrote. The Belushi biography book, "Wired" (by Bob Woodward) supposedly has some details. On November 19, 2007, Varese Sarabande Club released it with Conti's score, limited to 1,500 copies. [Bill Conti.]
SHOT THE SUN DOWN/ AKA: SANTA FE 1836 -- Bruce Langhorne. According to an interview with David Leeds, the film's creator: "The original version had a largely acoustic and slide guitar score by Bruce Langhorne." And an unused title song by Kinky Friedman. Interview HERE. [Ed Bogus & Judy Munsen.]
WOLCOTT (mini series) -- Andy McKay. Said to be four days to rescore. [Frank Ricotti.]
WOLFEN -- Craig Safan. Safan released his score, 58:31, on a composer promo through Intrada Records. INFO+v. [James Horner -- boot.]
1982
AUTHOR! AUTHOR! -- Johnny Mandel. Released by Varese Sarabande (along with Grusin's score). [Dave Grusin.]
DOCTOR BUTCHER, M.D. -- Nico Fidenco. Fidenco score retained on original release. Refitted with electronic score by Sear for reissue in US. [Walter Sear.]
HIGHPOINT -- John Addison, R.I.P.. In an interview Young said Addison made it an "action comedy", and he though the score was a "fantastic job". [Christopher Young.]
EXPERIENCE PREFERRED ... BUT NOT ESSENTIAL -- John Scott. Portman was asked by David Puttnam to rescore the film. Over at imdb.com, Scott has the following credit: "(composer: addditional music) (uncredited)", so some of his score must still be in there. [Rachel Portman, John Scott (leftovers).]
FIVE DAYS ONE SUMMER -- Carl Davis. [Elmer Bernstein, R.I.P.]
JINXED! -- Lalo Schifrin. Late composer Richard Shores, when mentioning other rejected scores (all of which he listed were already on the list), said Schifrin had a, quote, "clever score" for the film thrown out. [Miles Goodman, Howard Roberts.]
TWO OF A KIND -- Bill Conti. As pointed out in an FSM article, Conti's replacement was so late in the game that his name is still on the CD. [Patrick Williams.]
1983
BLACK RIDER -- Rogier van Otterloo. According to him, on is website HERE. [Clous van Mechelen.]
THE JIGSAW MAN -- Georges Garvarentz. Song by Garvarentz retained. [John Cameron.]
LOVESICK -- Stanley Silverman. [Philippe Sarde.]
THE MACK -- Willie Hutch. Film was originall scored by Hutch, but then when re-released ten years later, they replaced his score. Hutch's score is available on CD. [Alan Silvestri.]
MIKE'S MURDER -- Joe Jackson. Songs by Jackson retained and supposedly some score is left in; film was pushed back for release. [John Barry.]
NEVER CRY WOLF -- Robert Hughes. [Jerry Neff.]
NEVER CRY WOLF -- Jerry Neff. In an interview by Peter Simons, Isham said:
"Director Carol Ballard had already rejected two scores when he heard a demo by Mark Isham. "I did a couple of cues and he liked it. I got to do the whole film, but that wasn't easy," Isham recalls."I really had no idea what I was doing, but soon I noticed I did have a talent for writing filmscores. I worked closely with editors Mark Adler and Todd Bucklehide and they taught me a lot." And also said: "...especially after having had a couple of scores recorded and thrown out.". Anyone know Mr. Neff? [Mark Isham; Robert Hughes (leftovers, with a special thanks).]
SOMETHING WICKED THIS WAY COMES -- Georges Delerue, R.I.P.. Delerue re-recorded an 11:48 suite of his score on his Varese CD The London Sessions Volume Three. Author Ray Bradbury raved about James Horner's replacement score, said it was one of the things he loved most about the film. Also been said that the director chassed Horner around with a tape of Delerue's work. The complete score, plus two alternates and all source music Delerue wrote, is on a crappy sounding bootleg. Heard rumors of an expanded boot with near excellant sound. [James Horner - one boot and LaserDisc isolated score.]
STROKER ACE -- RY Cooder. INFO. [Al Capps.]
TIGHTROPE OF TERROR -- David Farnon. His father (Robert Farnon) conducted. [Ed Welch.]
1984
BLOOD SIMPLE -- ?????. In the book Soundscape: The School of Sound Lectures, Burwell says the first composer -- which he was not told about -- did a "very electronic" score which the Cohen brothers weren't liking, but then the composer "lost it"; the Cohen brothers still don't know if it was a computer crash, the tapes were misplaced or what, but the score was M.I.A. and they decided to go with a new composer. [Carter Burwell.]
THE COTTON CLUB -- Ralph Burns, R.I.P.. Supposedly some score left in. [John Barry.]
COUNTRY -- Mark Isham. Isham lists this among his scores in Who's Who in America. [Charles Gross.]
DUNE -- Jade Warrior. Apparently Jade Warrior sent in a number of samples, but they got lost. The studio, thinking JW wasn't interested, went with Toto. [Toto.]
GARBO TALKS -- Bob James. If kept, would have been his second known (and last known) film score. So enraged was James over the replacement, that he had issued a restraining order against producer Elliot Kastner and MGM to stop use of his score in the promotional trailers, which at the time were reportedly using pieces of his score, and Copyright infringment and emotional distress. INFO (pending). [Cy Coleman.]
ORDEAL BY INNOCENCE -- Pino Donaggio. Donaggio released 17:36 of his score on a CD with his music for Going Bananas and Deja Vu. Dave Brubeck's replacement score was one of the most jarringly inappropriate scores in film music history. [Dave Brubeck.]
SLAPSTICK OF ANOTHER KIND -- Michel Legrand. The Varese soundtrack LP included Legrand's music on one side and Morton Stevens' replacement score on the other as well as the European film version may be the first instance of a rejected score release. [Morton Stevens.]
STREETS OF FIRE -- James Horner. A re-recorded suite is available. "Hard Target", a moviemusic.com member, said that Horner actually wrote three different scores. The man obviously wanted his Cooder. In an FSM poll on Unreleased Horner Scores, "Streets of Fire" got 28 votes (4.1%). INFO and suite. [Ry Cooder.]
2010: THE YEAR WE MAKE CONTACT -- Tony Banks. Now, the whole score has never been released, but one cue titled: "The Getaway" is on his Naxos label CD release "Seven: A Suite For Orchestra". He refers to it as "Sci fi film years ago". He recycled some of the music into 1985 soundtrack "Starship". [David Shire - CD.]
1984 -- Dominic Muldowney. During the recording, Muldowney and the orchestra were told they were not going to use the score, but had to finish recording it. Almost all of his score was replaced in the film with songs by the Eurythmics (and supposedly score by them as well). The original Region 2 DVD release used Muldowney's score. [Songs by the Eurythmics, Dominic Muldowney (leftovers).]
V: THE FINAL BATTLE -- Barry DeVorzon. The producers didn't want the DeVorzon synth score, so they hired McCarthy. A quote from an interview on McCarthy's website: "I got the call and had nine days before it aired to score it." Composer Joseph Conlan composed the original theme and score with DeVorzon. [Dennis McCarthy.]
WET GOLD (TV movie) -- John Scott. In an old interview Scott mentions how the producers kept fiddling with the score until so close to the end that the replacement composer had hours to do a new one. [Sylvester Levay and who know how many other guys.]
1985
CRIMEWAVE -- Joseph LoDuca. This title is iffy. According to the "trivia for" page on imdb.com, the producers removed LoDuca and another person. LoDuca is still listed on imdb.com as "jazz music". In an interview, LoDuca says he composed "big band music". Unknown how much is left in. In an interview, Christopher Young mentions trying to get the film after someone else was rejected. [Arlon Ober, Joseph LoDuca (leftovers?).]
HEAVEN HELP US -- James Horner. HERE. [James Horner.]
THE JOURNEY OF NATTY GANN -- Elmer Bernstein, R.I.P.. Bernstein's music for Natty Gann was featured in the film's trailer, and later in the trailer for "Benji the Hunted". Intrada Records was going to release it, but then it just didn't happen; but on June 11, 2008 -- was released in limited edition with two other rejected scores. [James Horner; Elmer Bernstein (tiny bit of leftovers) - boot for Horner.]
MOONLIGHTING: "THE LAST IN THE IRON MASK" -- Richard Lewis Warren. Director of this episode didn't care for it, even though Warren already had a couple episodes under the belt. Warren's score was accidently used instead on the DVD. [Alf Clausen.]
STICK -- Bob Florence, R.I.P.. An arranger of music for song aritsts, Florence returned to score his second movie for Burt Reynolds, but after doing the score supposedly somebody in the higher ups talked Reynolds into replacing it. INFO. [Barry De Vorzon & Joseph Conlan; Bob Florence (leftovers).]
THE NEW TWILIGHT ZONE: "BUT CAN SHE TYPE?" -- Morton Stevens, R.I.P.. His score for segment one and three were kept. [Merl Saunders & the Grateful Dead.]
VISIONQUEST -- Jack Nitzsche. [Tangerine Dream.]
1986
THE ADVENTURES OF MILO & OTIS -- David McHugh. When inquiring with McHugh about another score, he mentioned having a score rejected for this film, which he mentioed was his favorite score he has done. Decision to replaced the score came from one of the film's producers. INFO (pending). [Ryuichi Sakamoto, Michael Boddicker (US version).]
CASTLE IN THE SKY -- Joe Hisaishi. "...One other thing that bears mentioning about the dub is that, to go along with the redub, Disney asked original composer Joe Hisaishi to rescore the movie, adding the backing of a full symphony orchestra and reducing the moments of music-free "silence" in the film (since apparently American audiences don't deal with lack of music very well). In most places, this new score works fairly well...it is still Hisaishi, after all. The only really jarring moment for me was Pazu's trumpet solo, which was unaccompanied in the Japanese version but became the centerpiece of a totally unnecessary orchestral version in the English." HERE. [Joe Hisaishi.]
THE CLAN OF THE CAVE BEAR -- John Scott. [Alan Silvestri.]
THE GOLDEN CHILD -- John Barry. A few Barry cues were retained in the final film, and 7:06 of his music was included on the soundtrack CD, including a Nancy Wilson song, "The Greatest Man in the World". Isn't that something? He gets rejected from Once Bitten and uses his themes from it for Golden Child and then gets rejected from that film! INFO. [Michel Colombier, R.I.P., Irving Berlin (additional), John Barry (leftovers).]
HOWARD THE DUCK -- Lalo Schifrin. INFO. [?????.]
HOWARD THE DUCK -- ?????. Another composer (possibly Thomas Dolby) also did one before or after, I don't know. INFO. [John Barry.]
INVADERS FROM MARS -- Christopher Young. Young wrote and recorded five cues. Later those five cues were used a basis for a longer re-recording for a CD. Release: Edel/Cinerame 0022032CIN. Invaders totals 34:17 and total time of the disc is 71:44. In 2008, Intrada Records released a 2CD set of Young's score and the replacement score (SOLD OUT). [David Storrs and Sylvester Levay.]
THE LADIES CLUB/ THE VIOLATED -- Shirley Walker, R.I.P.. Yes, her first. Replaced by Schifrin, can't be a good way to start your career's beginnings. Listed it as 1984, but I typed it into imdb.com and they don't bring up a page of results, no, they take me strait to The Ladies Club. Weird, but I guess it's the same film. [Lalo Schifrin.]
LEGEND -- Jerry Goldsmith. 70:54 of the score was released on a Silva CD, to be reissued shortly. The Goldsmith score was included in foreign prints, and will be heard again on the upcoming "Director's Cut" DVD. The complete score, plus un-used and alternates appears on a 2CD bootleg. [Tangerine Dream.]
TOUCH AND GO -- Georges Delerue, R.I.P. Bootleg. [Sylvester Levay.]
WHO IS JULIA? -- Maurice Jarre. INFO (pending). [Robert Drasnin]
1987
THE BELLY OF AN ARCHITECT -- Glenn Branca. Recommended by Nyman to do the score, difficulties with the directors who really just wanted Nyman all along lead Branca to being replaced. Unknown whether Nyman ever was onboard himself. [Wim Mertens; Glenn Branca (leftovers).]
LEONARD PART 6 -- Henry Mancini, R.I.P.. [Elmer Bernstein, R.I.P..]
NUTS -- ?????. Not liking the previous score, with hte film's premiere coming up shortly, she decided to do the score herself, marking what I believe it her first scoring foray. [Barbra Streisand.]
THE SERPENT AND THE RAINBOW -- Babatunde Olatunji, R.I.P.. You may be scratching your head as much as I, but the film's makers wanted something different and they hired this African percussionist who had never done a score before, to score the film, but it resulted in the score being rejected, but that's not where the story ends... [Jeff Koz & Jesse Frederick.]
THE SERPENT AND THE RAINBOW -- Jeff Koz & Jesse Frederick. When we last left off, a score by an African percussionist was rejected, but the film's makers still liked it's general feel, so they hired the composer duo Jeff Koz & Jesse Frederick to "build" upon Olatunji's score; Koz & Frederick had, at the time, gained some attention for a couple films they scored, but this was to be their sour note as their score was rejected -- even though it incorporated Olatunji's score. But again, the story still doesn't end here... [Charles Bernstein.]
THE SERPENT AND THE RAINBOW -- Charles Bernstein. Cue Bernstein who in turn "builds" upon the score Koz & Frederick had made that built upon Olatunji's score. Finally, they rejected a third score and went with Fiedel. I have no idea if Fiedel also "built" upon the multi composer conglomeration of rejected scores that came before it, but even if he didn't, this is still the strangest thing I have ever come across. Babtunde Olatunji, by the way, still receives a credit for special percussion tracks... [Brad Fiedel.]
SOME KIND OF WONDERFUL -- Ira Newborn. Like "2001: A Space Odyssey", two composers were doing a score at once, unknown to each other at the time; for whatever reason, the director and John Hughes thought this was a good idea. [Stephen Hague, John Musser (additional?).]
THE SUPERNATURALS -- Maurice Gibb, R.I.P.. Member of the Bee Gees, his score is only found on a four-track bootleg. The imdb.com "Trivia for" page says his cameo in the film is still there and that there is a cut of the movie floating around with Gibb's score still intact. [Robert O. Ragland.]
WALL STREET -- Jerry Goldsmith, R.I.P. - Goldsmith has said he did not record anything, but Alex Kitaman Ho, the movie's producer says he did. Alex also said Goldsmith was fired during a session. INFO. Tried re-using a theme in "Alien Nation", but that score was rejected, then ultimately found a home in "Russia House". [Stewart Copland.]
WHITE WATER SUMMER -- John Scott. [Michael Boddicker.]
1988
THE ACCIDENTAL TOURIST -- Bruce Broughton. Broughton did a day's worth of recording, but for some reason they dropped him. FilmScoreMonthly.com did not include it because they did not get the rights to the scores, but rather just the original album material. [John Williams.]
ALIEN NATION -- Jerry Goldsmith, R.I.P.. Goldsmith reportedly reused one his themes for his score to The Russia House. The score made it to a few boots. It has reportedly "shitty" sound and is also reportedly a really bad score -- a matter of opinion I am sure. Varese Sarabande released the score as a 3,000 limited Clude Edition. [Curt Sobel - boot.]
APARTMENT ZERO -- Astor Piazzola. In a Soundtrack.net interview, replacement composer Cmiral comments that Astor was originally hired, did part of the score, but it wasn't liked. 10 days for him to do 45mins of score. [Elia Cmiral.]
THE BIG BLUE -- Eric Serra. Bill Conti's replacement score was only heard in the U.S., and was never released on CD. Serra's score was released on CD throughout the world, and later in a two-disc set [86:29]. It was also isolated on an overseas DVD version. A bootleg of Conti's score is available. [Bill Conti - CD.]
COCKTAIL -- Maurice Jarre. INFO. [J. Peter Robison.]
DEAD BANG -- Michael Kamen. Some of Kamen's score was included in the final film, and he received an "Additional Music" credit. [Gary Chang, Michael Kamen (additional).]
FRESH HORSES -- David Mansfield. When e-mailing the kind Mr. Mansfield to clear up, among a couple titles, "Miss Firecracker", he said he recorded a score for this movie but producer Jimmy Weintraub didn't like the score, so ... bye-bye; also said it was a personal favorite of his, and that he still gets BMI(?) checks, so some might be left in. [Patrick Williams, David Foster; David Mansfield (leftovers?).]
GHOST TOWN -- Harvey R. Cohen, R.I.P.. The film, like most typical Hollywood films, was being rushed through production so it could make an American market by a certain date (Feb. to March). The score was still in a Beverly Center screening, but to the composer's surprise, when the film opened in November -- only about three cues remained. The rest were cues by Richard Band from his previous works. [Richard Band (non original); Harvey R. Cohen, R.I.P. (leftovers).]
HELLRAISER -- Coil. Vinyl and CD info HERE. [Christopher Young.]
AREN'T YOU EVEN GONNA KISS ME GOODBYE? (AKA: A NIGHT IN THE LIFE OF JIMMY REARDON) -- Elmer Bernstein, R.I.P. Bernstein's score was retained for European and Australian prints. Can someone get the scoring credits from the end title scrawl? Not released by the Varese club with Conti's score because the masters are missing. INFO. [Bill Conti, (leftovers).]
MAN BEHIND THE SUN -- ?????. In an interview the director states he "... instantly disliked the score ..." and only used a few minutes of it in the film. I don't know if he replaced it with another composer or not (tried and failed to find out who scored it). [?????.]
SCROOGED -- Danny Elfman. Large portions of his original score were rejected and not used. Elfman was set to write a much longer score than what was recorded. Only about 21 minutes of what he did record made it into the film and was burried under heavy FX. [Danny Elfman.]
STARS AND BARS -- Elmer Bernstein, R.I.P.. Bernstein's score [40:51] was released on a Varese CD Club disc (can someone send me the credits?). I believe this title is out of print; see Official CDs. [Stanley Myers.]
THE TELEPHONE -- Christopher Young. Original jazz source-like score was refused and Young made to do new score, copying other composers; in other words, he had a bad time. Film score was originally more akin to "Rear Window" is score used. [Christopher Young.]
YOUNG GUNS -- James Horner. Bootleg tracklisting. Go to the new website of woodwind instrument player Tony Hinnigan to hear a 0:30 re-recording sample (can buy whole cue). Themes were later recycled into "Braveheart". In an FSM poll on Unreleased Horner Scores, "Young Guns" got 46 votes (6.7%). INFO. [Anthony Marinelli & Brian Banks - Boot: 17 tracks - 28:39 + one cue on a promo from Marinelli: "Bill's Hat", which may or may not be on the boot.]
1989
THE ABYSS -- ?????. The orchestra musician who told me he worked on it, has yet to recall the composer's name; I assume Robert Garrett, who is credited on IMDB with "additional music" for the "Special Edition" (Garrett was impossible for me to find). INFO (empty for now). [Alan Silvestri.]
ALIENATOR -- Chuck Cirino. While credited for the score ... none of his score actually appears in the movie. Oops. INFO. [John Bigham, Michael Bishop.]
CYBORG -- James Saad & Anthony 'Tony' Riparetti. Suite on this CD. Some score retained. [Kevin Bassinson, Anthony Riparetti (additional).]
I LOVE YOU PERFECT (TV movie) -- Bob Cobert. Reportedly, the producers were so traumatized by the way Cobert treated them, that they tossed his score. INFO . [Yanni.]
JACKNIFE -- Mark Isham. Small group score, which ironically Broughton's was not all to different from. INFO. [Bruce Broughton.]
SAY ANYTHING... -- Anne Dudley. Some of her score is left in the film. [Richard Gibbs, Nancy Wilson (additional?); Anne Dudley (leftovers).]
THE SEINFELD CHRONICLES: "PILOT" -- Jep Epstein. On composer Johnathan Wolff's website, he mentions how he was asked to do a new score after the original music wasn't working out. I asked Wolff about it and among his answer, he said that supposedly the Pilot on DVD contains Epstein's score and an explanation why. What's the deal with rejection? ;-) [Johnathan Wolff.]
TO DIE FOR -- John Addison. Addison listed this one among his scores in Who's Who in America. [Cliff Eidelman.]
TRUST ME -- Elmer Bernstein, R.I.P. Retained at least on a what was described to me as a "Sell-through" video. Don't know if it was retained in any other country, or which country at all. Interview where Dan Woll talks about it. [Gary Brown, James Woody, Dan Wool - as the group "Pray For Rain"]
1990
MURDER IN MISSISSIPPI (TV) -- Elmer Bernstein, R.I.P.. One cue was retained in the scenes where the black men stand to be counted for who's willing to fight. INFO. [Mason Daring.]
MOBSTERS -- Stewart Copeland. Copeland included 3:23 of his score on his promo CD, From Rumble Fish to Gridlock'd. [Michael Small, R.I.P.]
QUICK CHANGE -- Randy Edelman. Parts of his score were rejected and Howard Shore stepped in. [Randy Edelman, Howard Shore (additional).]
TREMORS -- Ernest Troost. Robert Folk came in to save the day and rescore an estimated 2/3rds of the film, and was asked to rescore the whole movie, but there wasn't enough time; ended up doing 40minsof replacement score. Some, if not all, of his rejected score appeared on an Intrada promotional CD with four cues from Bloodrush. [Robert Folk; Ernest Troost (leftovers).]
1991
BILLY BATHGATE -- John Kander. Kander's lush, old-fashioned romantic score was replaced after the film was re-cut by the studio. INFO. [Mark Isham.]
IN THE HEAT OF THE NIGHT: "NO OTHER ROAD" (Season 4) -- Larry Blank. Score rejected for being too "melodic". Despite his score not being used, he is still credited during the end credits. [Pre-existing score from other episodes; Nan Schwartz Mishkin (who has a website now, as of November 08!) and David Bell efforts (Bell sadly does NOT have a website; if you're him, I will make you one! Contact me).]
THE JOSEPHENE BAKER STORY (TV movie) -- Ralph Burns. INFO. [George Delerue, Ralph Burns (leftovers).]
NEW JACK CITY -- Wally Badarou. Part of his score will be re-worked on his upcoming solo album. [Michel Colombier, Vassal Benford (additional).]
OBJECT OF BEAUTY -- Trevor Jones. The sessions reside at the University of Leeds in the United Kingdom, after being donated by Jones himself. INFO . [Tom Bahler, Billy Barber (additional).]
OTHER PEOPLE'S MONEY -- Angelo Badalamenti. Supposedly some still left in. Orchestrations by Andy Barrett. [David Newman - boot.]
THE PEOPLE UNDER THE STAIRS -- Graeme Revell. 28:55 suite of Revell's score was included on the Bay Cities soundtrack CD, along with a suite of Don Peake's replacement score. Also, three un-suited cue selections appear on a film music demo that was assembled so he would score a movie called "Fallen" (Tan Dun got it, but supposedly Revell's score was rejected). [Don Peake.]
*THE PRINCE OF TIDES -- John Barry. Barry turned his main theme into the piece "Moviola," and included it on the album of the same name. Later he used it in his score to "Across the Sea of Time". [James Newton Howard.]
REGARDING HENRY -- Georges Delerue. Replacement composer Hans Zimmer said he wanted the soundtrack album to include both his score and Delerue's. Not surprisingly, this didn't happen. In an interview by Darren Cavanagh, Zimmer said:
"It wasn't rejected. Actually it was a beautiful score. I was trying to persuade them that for the record we should have one side with George's score, and the other side with mine. It's not like Mike Nichols doesn't love Delerue's score. It just doesn't quite work with the film. If I have to apportion blame, I think it was mostly Mike's fault."
In an interesting post at FSM, percepto.com head said he had Delerue's score. Yeah, I already tried e-mailing him. Boot. INFO. [Hans Zimmer.]
SHATTERED -- Angelo Badalamenti. Andy Berrett, orchestrations. [Alan Silvestri, Ashley Irwin (additional).]
WHITE FANG -- Hans Zimmer. Zimmer's score was actually written to replace Basil Poledouris, R.I.P.' score, but the studio ended up choosing between them cue by cue, and including the majority of Poledouris' work. [Basil Poledouris, R.I.P., Fiachra Trench (additional), Shirley Walker, R.I.P. (additional). - boot.]
1992
AILEEN WUORNOS -- Christian Henson. [David Bergeaud.]
THE BODYGUARD -- John Barry. FSM had a poll once on which Barry scores should be released and Barry's Bodyguard got: 202 votes (4.4%). [Alan Silvestri, Allen Dennis Rich (additional). - 2CD boot.]
CRISSCROSS -- Michael Convertino. Jones had one week to come up with a new score. INFO. [Trevor Jones.]
ENCINO MAN -- Jonathan Sheffer. Another dreaded test audience. [J. Peter Robinson, Jonathan Sheffer (leftovers).]
GLADIATOR -- Jerry Goldsmith, R.I.P.. There are two versions, one long and one shorter, that are available. But for those who don't have the boot, tid-bit for you: The soft piano theme was re-used in a handful of cues in "The Vanishing". So there. Catchy score. [Brad Fiedel.]
HONEYMOON IN VEGAS -- Marc Shaiman. INFO. [David Newman.]
INNOCENT BLOOD -- Elmer Bernstein, R.I.P.. According to Ford A. Thaxton, Elmer had a score tossed. Now whether that is true... (feel free to speak up, Ford) [Ira Newborn.]
JENNIFER EIGHT -- Maurice Jarre. Orchestrations by Patrick Russ. Initially it was Young they rejected to go with a bigger name, but Jarre's score didn't work out. [Christopher Young.]
K2 -- Hans Zimmer. Varese released Zimmer's score [41:24] on a "Music Inspired by the Film" CD. Zimmer on the movie: "K2 was an odd thing. Someone else scored the movie, then my good friend, Franc Roddam asked me to rescore it. They ended up making lots of picture changes, so my score only made it to the European territories, and different versions went to the Japan and American territories." [Chaz Jankel.]
MEMORIS OF AN INVISIBLE MAN -- ?????. In a Soundtrack.net interview, John Carpenter states that Walker was brought on board by Chevey Chase and the producer at the request of Warner Bros., because they weren't happy with the current score. Carpenter doesn't say if he did any additional score, but one only assume. Composer Jack Nitzsche was involved, but no word on whether he was the one replaced. [Shirley Walker, R.I.P. - CD.]
THE PUBLIC EYE -- Jerry Goldsmith, R.I.P. Dark noir score, darker than "Chinatown". Recorded in London. Rumored to be a bootleg of it. INFO. [Mark Isham.]
SPLIT SECOND -- Wendy Carlos. Rediscovering Lost Scores Volume 2 features 2 cues: "Visit to a Morgue" 1:21, and "Return to the Morgue" 2:45. [Francis Haines and Stephen w. Parsons.]
*A RIVER RUNS THROUGH IT -- Elmer Bernstein, R.I.P. A member of either FSM, or moviemusic attended a pre-screening that contained Bernstein's score. FSM also wrote: "Bernstein later agreed that his mystical approach didn't gibe with what director Robert Redford was seeking...". Hear a whole piece HERE; from 15:44 to 16:51. INFO. [Mark Isham - CD [reissued & remastered].]
YEAR OF THE COMET -- John Barry. The trailer for the film included some of Barry's unmistakable music toward the end. Supposedly at the Barry scoring session, the film's director, Peter Yates, was heard to remark, "This is the worst film I've ever made.". FSM had a poll once on which Barry scores should be released and Barry's YOTC got: 12 votes (0.3%). INFO. [Hummie Mann.]
TRESPASS -- John Zorn & Jon Hassell. Zorn's Film Works Volume 2 has what is supposed to be all his score. [RY Cooder.]
1993
BARBARIANS AT THE GATE (TV movie) -- Trevor Jones. The score, mostly electronic with some saxophone and clarient overdubs, now resides at the University of Leeds in the United Kingdom, after being donated by Jones himself. INFO . [Richard Gibbs.]
HEARTS AND SOULS -- Maurice Jarre, R.I.P.. INFO (pending). [Marc Shaiman.]
HOMEWARD BOUND: THE INCREDIBLE JOURNEY -- David Shire. HERE is a 1999 Interview FSM did. INFO. [Bruce Broughton.]
JERSEY GIRL -- Christopher Young. One cue [15:58] titled: "Sparkle Road" on the 2CD promo set: Cinema Septet. [Steven Bedell, Misha Segal.]
MR. JONES -- Jack Nitsche, R.I.P.. Rescored after Figgs was axed. [Maurice Jarre.]
JUDGMENT NIGHT -- Alan Silvestri. In response toa fan question at the Intrada Records message board -- the folks who released Silvestri's score (sold out) -- about the un-used electronic score bits, the reply was that Silvestri infact did an entire electronic score which was rejected; only three cues [9:52] were included on the CD with Silvestri's final score. [Alan Silvestri.]
MR. WONDERFUL -- Maurice Jarre. INFO (pending). [Michael Gore.]
SNIPER -- Gary Chang. Most of his score was rejected and replaced by Zimmer and Mancina. [Gary Chang (leftovers), Hans Zimmer (additional), Mark Mancina (additional).]
1994
A GOOD MAN IN AFRICA -- Mario Lavista. This started with Lukas over at FSM making a post mentioning, but not recalling who, so I went to imdb.com and checked the credited composers and found Mr. Lavista. His contact info wasn't too hard to find and I asked him about his "additional music" credit at imdb.com; answer was his score was rejected, some just still happens to be in the film. Said Lavista, the director and producer couldn't agree on the score, so they sought a new one. [John Du Prez; Mario Lavista (leftovers).]
I LOVE TROUBLE -- Elmer Bernstein, R.I.P.. Bernstein is rumored to have told director Charles Shyer, "I'm too old and too rich to give a shit." However, this is a variation of a story told about William Goldman and Chevy Chase about the writing of Memoirs of an Invisible Man, so it may be apocryphal. A boot of his complete score is available. [David Newman; Chris Boardman (few cues on his site.), William Kidd, Mark McKenzie, and Peter Tomashek (all additional) -- boot.]
*INTERVIEW WITH THE VAMPIRE -- George Fenton. A promo with a bit over 26:39 minutes of his score is available. Just concert suites though. Producer's thought his score was way too slow and as moviemusic member "Hard Target" said: "Ironically it was reused and orchestrated for Mary Reilly". And some of his score was still retained, like a ballroom scene. INFO. [Elliot Goldenthal, Robert Elhai (additional).]
COP TIPS WAITRESS $2 MILLION (AKA: It Could Happen To You) -- ?????. For what ever reason, the first composer's score was dumped and Burwell had about three weeks to do his score which was about 40mins total. The rumor is John Barry was first. The film's new name is rather apt, wouldn't you say? [Carter Burwell.]
LITTLE BIG LEAGUE -- Hummie Mann. [Stanley Clarke; Jeff Beck, Steve Cropper, and Booker T, Jones (all additional).]
THE RIVER WILD -- Maurice Jarre. There is a bootleg with a handful of tracks. Back before his score was tossed, the CDs for a release had already been pressed; I assume they were destroyed. INFO. [Jerry Goldsmith, R.I.P..]
SIRENS -- Geoffrey Burgon. INFO. [Rachel Portman.]
SPEED -- Jerry Goldsmith, R.I.P.. INFO (empty for now). [Mark Mancinia & others.]
+SQUANTO: A WARRIOR'S TALE -- Christopher Young. Yet another surprise on Young's official site; score listed as: "(incomplete score)". Maybe BuySoundtrax will tackel this one, one day. [Joel McNeely.]
1995
A WALK IN THE CLOUDS -- Lou Brouwer. Credited with a song in the end credits, and that song and another are on the CD (only featuring Jarre's score though). [Ray Folguera.]
A WALK IN THE CLOUDS -- Ray Folguera. Maria Entraigues, vocals and assistant to composer. [Maurice Jarre.]
ASSASSINS -- Michael Kamen INFO. [Mark Mancina, Don Harper, Jeff Rona, John Van Tongeren, and Christopher Ward (all additional) -- boot.]
BABE -- Jerry Goldsmith. Dan Goldwasser of Soundtrack.net learned:
"Yeah, I was surprised when I heard that too, but it was Jerry himself sharing the story with us in the booth at the LOONEY TUNES scoring session. Apparently producer George Miller wanted the film to be SUPER dark, and Goldsmith's score wasn't meshing with what he wanted.... and the director kinda shifted sides and then Goldsmith walked."
He also said Goldsmith walked out mere weeks before the recording was to happen and that Jerry wrote 90% of the score AND that they cut a LOT of violent stuff from the film. I originally had this under "Demos" until an astute reader caught in a magazine where Goldsmith said he recorded it with the Melbourne Symphony Orchestra (they also did Nigel's score); way to go! (you know who you are). [Nigel Westlake.]
CUTTHROAT ISLAND -- David Arnold. Debney, I read, was hired to improve on Arnold score (which was recorded with the Sinfonia of London). For what ever reason, the story goes that Arnold quit during a session, not finishing recording the score. This also fits nicely with the rumor I was told by another composer that Debney replaced someone on a film and helped jump start his career and so it did, Debney got a lot of stuff after Cutthroat Island. [John Debney - complete score.]
DANGEROUS MINDS -- Mark Isham. The producers thought it was too "jazzy". The irony being that Isham asked the sisters to help revise his score, but they ended up rescoring the movie. [Wendy & Lisa Coleman.]
DIE HARD WITH A VENGEANCE -- Michael Kamen. Had what moviemusic.com member "Hard Target" said was "a ton" of new themes for the film. Ultimately John McTiernan had it rejected and him do original themes based on Kamen's own themes from the first film. [Michael Kamen, Chris Boardman (additional).]
FAIR GAME -- Michael Kamen. "Hard Target" strikes again and he seems to always lists scores that were recorded, so I will assume he is right as always and that Kamen did. David Sanborn did songs. [Marl Mancina, Christopher Ward (additional), Don Harper (additional).]
FEAST OF JULY -- Rachel Portman. A little less than a dozen cues are still left in the film. [Zbigniew Presiner, Rachel Portman (leftovers).]
+HEAT -- Michael Brook. After completing some score, Mann changed his mind. [Elliot Goldenthal.]
THE INDIAN IN THE CUPBOARD -- Miles Goodman, R.I.P.. On his Film Music Volume 3 promo CD 9 minutes of his score is available. Said Goodman on his score: "I'm really excited about it--It'll be a big symphonic score with motifs from Native American music," said Goodman. He continued to express his excitement, mentioning the "little Indian flute" he planned to write the main theme on. Frank Oz wasn't happy the score was removed. INFO. [Randy Edleman - Out Of Print. Try soundtrackers.]
THE SCARLET LETTER -- Elmer Bernstein, R.I.P.. Bernstein is rumored to have written star Demi Moore a letter, thanking her for throwing out his score so he could reuse the music on a better film after this one was panned; an excerpt of which I am told goes like this: "when I saw the reviews for the film I'm so glad you didn't use my music.....". On Bernstein's site, there is a poll asking which score you would be willing to pay 20 dollars for. Of the options, there is only one rejected score listed and it's Scarlet Letter -- which, on June 11, 2008 -- was released in limited edition with two other rejected scores. Poll HERE. Geoff Foster, Chief Sound engineer on the rejected score. Said the director on Bernstein's score, "musically accomplished ... what you'd expect from a man with enormous talent.". [John Barry - CD.]
STRANGE DAYS -- Michael Kamen, R.I.P.. Thanks to a reader who spotted an interview with Kamen in an old magazine where he said it was recorded and that he was moving on to "Die Hard 3" (also mentioned two scores he didn't do). [Deep Forest.]
STRANGE DAYS -- Eric Mouquet & Michel Sanchez (As Deep Forest). Were originally scoring the film alone, but something happened. Still listed on imdb.com as "Additional music". [Graeme Revell, Peter Gabriel (?), Deep Forest (leftovers).]
TWO BITS -- Maurice Jarre. Notorious score rejector and studio head Harvey Weinstein, once again steps in and decides to rejected a score. [Carter Burwell.]
THE WEST SIDE WALTZ (TV movie) -- Leonard Rosenman, R.I.P.. INFO. [Patrick Williams.]
1996
CARPOOL -- Bill Conti. INFO. [John Debney, John Beal (additional [not for either composer]).]
ESCAPE FROM LA -- ?????. In a Soundtrack.net interview, John Carpenter says there wasn't much time to do the score; I believe I read somewhere else he said it was like three days. [John carpenter & Shirley Walker, R.I.P. - CD.]
GATTACA -- Danny Elfman. INFO. [Michael Nyman.]
THE ISLAND OF DR. MOREAU -- Zbigniew Preisner. Preisner recorded an unknown amount of score that was very interesting, but ultimately scared the director. Preisner wasn't the first choice either, replacing Wojciech Kilar; details on what Kilar did or did not do, are not known (like being on "The Truman Show" first). INFO (pending). [Gary Chang, Richard Whitfiled (additional).]
LAST MAN STANDING -- Elmer Bernstein, R.I.P. Available from Varese Sarabande VSD-5755 CD. I think the title is Out Of Print though. Also try amazon.com New Line music department was happy with Bernstein's score, ironically. [Ry Cooder - CD.]
MARIETTE IN ECSTASY -- Leonard Rosenman, R.I.P.. The director, how had moved on, was abscent from screening where Rosenman's score was dubbed in, and the producer didn't like it, rejecting it. Rosenman also replaced George Fenton (click to read more). INFO. [Christopher Klatman.]
MARVIN'S ROOM -- Thomas Newman. INFO. [Rachel Portman.]
+MISSION: IMPOSSIBLE -- Alan Silvestri. Boot. INFO+v. [Danny Elfman.]
THE PEREZ FAMILY -- Zbigniew Preisner. Geoff Foster, Chief Sound engineer on the rejected score. [Alan Silvestri - boot.]
PICTURE BRIDE -- Cliff Eidelman. A CD with some of his score was released by Varese Sarabande. Not sure if it was a promo ot not. [Mark Adler.]
RANSOM -- Howard Shore. Appearently Mel gibson didn't like Shore's score, and Ron Howard suggested the man he's worked with before. Two different boots exists. One slightly longer than the other. [James Horner.]
RUN FOR THE DREAM: THE GAIL DEVERS STORY (Limited shown TV special) -- Ronnie Laws. See "Love Songs - 1999". [Pete Anthony.]
SPITFIRE GRILL -- ?????. All accounts say it was some "unknown" composer. The score had originally been used at the Sundance Film Festival, but when it was decided to bring the movies to a national audience, they decided to give "Unknown" the big "fuck you" finger. No better why to start a career off then to be replaced by a big shot at a studio's behest. [James Horner.]
2 DAYS IN THE VALLEY -- Jerry Goldsmith, R.I.P.. Goldsmith reused a theme from the score as "Willa's Theme" in "Fierce Creatures". The flim's director previously threw out Conti's "Two of a Kind" score, and later had "15 Minutes" half-rescored. A boot of Goldsmith's score is available. INFO. [Anthony Marinelli - One cue on a promo: "Helga".]
WHITE SQUALL -- Maurice Jarre. Jarre sued director Ridley Scott over the replacement of his score, claiming that Scott refused to pay him his full fee (of $450,000). Jarre copied the temp track so closey (unknown whether he was asked or did so of his own will), that the director was not very pleased at all. Vangelis may have done a score and it is rumored music from it is on his album "Oceanic". INFO. [Jeff Rona.]
THE WINNER -- "Pray for Rain". Pray for no rejection, but it never rains anyway. Japanesse version still has their score intact. What I found -- via Google.com -- says that the producers edited the film so badly that Cox disowned it, and they also got rid of his score. The film seems to have two different years; probably held back some before it got released. Interview where Dan Woll talks about it. [Daniel Licht.]
1997
+AIR FORCE ONE -- Randy Newman. .Several boots of his score are available. Only about half his score was recorded. While Goldsmith took the patriotic approach, Newman's theme sounds almost exactly like the theme from "The Brave Little Toaster" song: City of Lights. INFO. [Jerry Goldsmith, R.I.P., Joel McNeely (additional). CD + 2CD boot, plus 2CD boot with excellant sound on all tracks [missing one cue though].]
BELOW UTOPIA -- Ice-T (Tracy Marrow). Yes, that rapper guy. It's on CD too -- officially on CD. I listened to a few samples at Amazon.com's page and it's synths with an 80's feel. [Joseph Williams (Son of John Williams, and member of the band Toto).]
BREAKDOWN -- Basil Poledouris, R.I.P.. [Basil Poledouris, R.I.P..]
BREAKDOWN -- Basil Poledouris, R.I.P.. According to Dan of soundtrack.net, Basil actually wrote 2 rejected scores. All three scores are available. [Basil Poledouris, R.I.P., Richard Marvin (additional), Eric Colvin (additional).]
BUFFY THE VAMPIRE SLAYER: "WHEN SHE WAS BAD" (Season 2 premiere) -- Walter Murphy. Joss wasn't happy with the show's scoring and gave Murphy another chance, but didn't like the effort. [Christophe Beck.]
THE DISAPPEARANCE OF GARCIA LORCA -- Angel 'Cucco' Pena. In an interview (which I couldn't relocate) on the replacement composer's site, the mention is made of replacing the previous composer who was a friend of director, or something. [Mark McKenzie - CD.]
+FACE/OFF -- Mark Isham. Isham had finished almost 2/3 of his electronica-style score when he was fired by director John Woo. About Powell's score Isham doesn't say much except that "it is quite different from what I had done." INFO (coming soon). [John Powell, Gavin Greenway (additional), Geoff Zanelli (additional).]
FIERCE CREATURES -- John Du Prez (or DuPrez?). Ronan Browne worked on the theme with DuPrez. [Jerry Goldsmith.]
THE GAMBLER -- Gerard Schurmann. Someone pointed out selections from both scores were on CD. I had accidently stumbled upon an interview where the composer stated the one before was rejected cause the studio thought his score wouldn't work overseas. [Brian Lock and Gerard Schurmann (leftovers?).]
THE HOUSE OF YES -- ?????. In his book, The Reel World, I am told he mentions a composer before him did a score that was tossed. [Jeff Rona.]
THE HOUSE OF YES -- Jeff Rona. I am told there are about eight pages in his book, The Reel World, on it. HERE are some clips on his site. [Rolfe Kent; Marc Shapiro, Mike Williams (additional).]
KISS THE GIRLS -- Carter Burwell. .Burwell has put up clips at his site; LINK. [Mark Isham - CD.]
MAD CITY -- Thomas Newman. Mr. Newman was the first composer on the picture. The director, who wanted Philippe Sarde at first, wasn't satisfied with some of Mr. Newman's score and hired Philippe Sarde to rescore some sections. Mr. Newman retains front-titles credit; the Varese Sarabande album features his music alone. Bill Bernstein was a music editor on Newman's score. [Thomas Newman, Philippe Sarde (additional).]
MOUSE HUNT -- Bruce Fowler. [Alan Silvestri - 2CD boot & CD.]
NIGHT FALLS ON MANHATTAN -- Wynton Marsalis. Columbia Records was going to release it (if I recall correctly). Not a good year for the guy. INFO. [Mark Isham.]
ROSEWOOD -- Wynton Marsalis. Marsalis later included 60:03 of his score on a CD called "Reeltime" INFO. [John Williams - CD, Wynton Marsalis (some source music left).]
THE 18th ANGEL -- Simon Boswell. MovieMusicUk interview where Boswell taks a bit about it. [Starr Parodi & Jeff Edan Fair - a promo of score exists.]
THE SIXTH MAN -- Randy Edelman. INFO. [Marcus Miller.]
SNOWDEN ON ICE -- Joseph Vitarelli & Jorge del Barrio. INFO (more info pending). [Randy Goodrum.]
THE WINGS OF THE DOVE -- Gabriel Yared. Wings of a Dove has been used as temp music by Miramax for a number of films since it was rejected. A couple cues may have actually appeared in Chocolat, which otherwise featured a score by Rachel Portman. (John Altman may have scored with Yared). Shearmur was actually the first composer on, but he was replaced by Yared, then brought back on. [Edward Shearmur - CD.]
1998
A COOL, DRY PLACE -- Mike Mills (of REM). [Curt Sobel.]
THE AVENGERS -- Michael Kamen (with Marius De-Vries). Kamen said, quote: "Buckets. Buckets and buckets and buckets, and I'll probably use it all at some point. It was good music, interesting, funny. God knows, I don't think there'll be an Avengers 2. (laughs) There was barely an Avengers 1!". INFO. [Joel MyNeely.]
BRAM STOKER'S SHADOWBUILDER -- Guy Zerafa - According to the replacement composer, Zerafa wrote an entirely electronic score. [Eckart Seeber.]
+DANGEROUS BEAUTY -- Rachel Portman. Though some of her score was retained and as a result she is listed as "Additional Score By" in the end Credits. Portman had to stop writing the score half-way through, because it was either that or give birth at the sound stage. The film had many name changes and two previous names were: "A Life of Her Own" and "The Honest Courtesan". [George Fenton, Rachel Portman (leftovers) - CD.]
DENIAL -- Michael Bland & Rick Ziegler. Director rejected the score after it was finished, but ... didn't actually listen to it. INFO. [Tyler Bates, Billy White Acre (Additional).]
DOG PARK -- Christophe Beck. INFO (pending). [Craig Northey.]
GODS AND MONSTERS -- ????? Burnett. In an interview excerpt HERE, the director discuses what happened to the score. He didn't give the first name, but I was thinking either T-Bone Burnett or Justin Caine Burnett but upon asking JCB, he said he didn't. [Carter Burwell.]
GOODBYE, LOVER -- John Barry. FSM had a poll once on which Barry scores should be released and Barry's score got: 11 votes (0.2%). [John Ottman - CD.]
GOODNIGHT, JOSEPH PARKER -- Hummie Mann. Originally a film from 1998, the movie -- for whatever reason -- was shelved for years and finally, in 2004, when it came out, it did not retain Mr. Mann's score (Mr. Mann -- how cool a name is that?), and Mann even removed it from his site -- except an old page which he clearly missed. [Toledo Diamond.]
HALLOWEEN H20 -- John Ottman. Some of his score was rejected and Beltrami rescored the scenes. Buy and listen to his score HERE. Interestingly enough, FSM also had this in their Upcoming Scores list as being for Christopher Young as well. [Marco Beltrami.]
HEAD ON -- Philips Brophy. One cue on this CD, and another CD I have listed, has multiple cues -- if not the whole score (paired with another Brophy score). [Ollie Olsen.]
THE HORSE WHISPERER -- John Barry. Barry is rumored to have reused some of his Horse Whisperer material on his album The Beyondness of Things, a 12 Track CD. FSM had a poll once on which Barry scores should be released and Barry's score got: 29 votes (0.6%). Polydor Records was set to release his score, but it fizzled out with the rejection. [Thomas Newman - CD.]
KINDERSTRANSPORT -- Michael Kamen, R.I.P.. INFO (pending). [Lee Holdridge.]
LES MISERABLES -- Gabriel Yared. INFO. [Basil Poledouris, R.I.P. - CD.]
THE MINION -- Jean Corriveau. [David & Eric Wurst.]
OUT OF SIGHT -- Cliff Martinez. Studio decision. [David Holmes - CD.]
+LOST IN SPACE -- Mark Isham. After consideration of David Arnold, Jerry Goldsmith, Isham came in and did almost a full score in demo form, which I believe was done with a real orchestra. INFO (pending). [Bruce Broughton, Velton Ray Bunch (additional) -- CD.]
ONE TOUGH COP -- Roger Bellon. An unknown amount of his score is still retained, but the score was not included when Intrada released Broughton's score on CD. [Bruce Broughton; Roger Bellon (leftoevers).]
PLAYING BY HEART -- John Barry. According to FSM member, jamesluckard:
"A great deal of Playing By Heart was rejected as well and rescored at the last minute by Christopher Young.

Luckily, Barry's score album, which mixes in period jazz pieces that inspired the screenwriter/director, features the whole thing.

In addition, there are two concert suites of Barry's score on the soundtrack, which were recorded before the score because of the soundtrack's earlier deadline..." [John Barry, Christopher Young - CD.]
PRACTICAL MAGIC -- Michael Nyman. The first pressings of the Practical Magic CD included two Nyman cues, totaling 11:44. Later pressings featured two cues from the Alan Silvestri replacement score instead. Nyman also included one of the cues on his recent "The Very Best of Michael Nyman" CD. There is also a boot of Nyman's score, which also has the two cues from the official CD at the end. INFO. [Alan Silvestri - Boot: 47 tracks- 48:18.]
+PRIMARY COLORS -- Carly Simon. Yeah, that singer/songwriter. Apparently (though unverifed), some of her score is still in the film. While looking it up on Google, I found this: "...Carly Simon apparently refused to score Primary Colors unless scenes of the Hilary character cavorting around were cut..." and they were not, even though score had been done and was going to be released on CD soon. She left, according to carlysimon.net, on March 1, 1998. [RY Cooder, Joachim Cooder (additional).]
ROUNDERS -- Christopher Young. Replaced nearly every last bit of his original score, as told HERE. [Christopher Young.]
SILVER -- Howard Shore. Again, another score where a lot was rejected and someone was called in. Christopher Young. He seems to do this quite a bit. [Christopher Young (additional), Howard Shore (leftovers).]
STEPMOM -- Patrick Doyle. Doyle was recovering from leukemia when he scored this film about a woman dying of cancer and they still threw out his music, claiming he wasn't available to make changes. Isn't that what music editors are for?. Another story goes that Williams saw an early screening of the film and used his weight to take the picture from Doyle. Larry Ashmore, orchestrator. INFO. [John Williams - CD.]
THEORY OF FLIGHT -- Stephen Warbeck. Second composer on the project, Warbeck was replacing a score by another composer (possibly Christopher Gunning). INFO. [Rolfe Kent.]
WELCOME TO WOOP WOOP -- Stewart Copeland. Told that his score was still in when the film was shown at Cannes. Further search shows that he and his roadie, Jeff Seitz, are given "Special thanks" in the credits. [Guy Gross.]
WHAT DREAMS MAY COME -- Ennio Morricone. A boot with 11 tracks of his score and not so great sound is around. Kamen had 6 days to compose the score. Following the link HERE, you can watch the film with all of the rejected score from the bootleg, restored; judge for yourself it the rejection was a wise decision. [Michael Kamen, Mark Snow (additional), Robert Elhai (additional), Alfred Shnitke (additional).]
WING COMMANDER -- Robert O. Ragland. [Kevin Kiner & David Arnold, Dana Glover (additional). - CD.]
1999
THE ADVENTURES OF ELMO IN GROUCHAND -- Graeme Revell. Possibly credited with additional score still, Revell worked on it until at least February of 1999, then the film got pushed back and Debney came onboard. Now, if you ask me, it seems more likely Revell also replaced a score; who picks a known horror film composer for Elmo? [John Debney.]
ANYWHERE BUT HERE -- Again, Elfman had large portions rejected and not used. Elfman wanted to take his name off the movie, but didn't. Got me as to why. Just a 7min suite on CD, nothing else. [Danny Elfman.]
B. MONKEY -- Luis Enriquez Bacalov. INFO. [Jennie Muskett - There is a "General Sampler" promo that may contain some of her score.]
BROKEDOWN PALACE -- Hummie Mann. Despite the little mention on imdb.com: "additional music: fight scene", the fact is that he was originally scoring it by himself -- not as an "additional" composer; FSM reports this as well. And if that isn't enough, you can go his official site and hear 12:44 of it (in suite form), titled "Director's Cut"-- I take that to mean that the director didn't reject the score, but rather the studio. Gee, this is the softest fight music ever! Was it in slow motion while they threw cotton balls at each other, and wore pink? No. It was rejected. But obviously we can take it to mean that one cue was retained (but the film has been removed from his site...). [David Newman, Hummie Mann (leftover cue).]
CRUEL INTENSIONS -- John Ottman. A CD release featuring 10 of Ottman's tracks and cues from other scores he has done, was released. Released by Varese with other music he has done and there was also a 2CD promo entitled "Miscellaneous Projects"which contained his un-used music for the film, amongst other things, to quote "Majestyx". There is also a CD titled, "Cruel Intentions: The Scores Of John Ottman". Ottman was reportedly quite upset over his replacement. [Edward Sheamur - bootleg.]
EATERS OF THE DEAD (THE 13TH WARRIOR) -- Graeme Revell. Several different boots are available. The original cut of the film if rumored to have been 3 to 4 hours long, but I am told it was actually 127 minutes. Poor Revell if he wrote that much. What's worse, the replacement director Michael Crichton took over, he didn't even bother listening to Revell's score -- he just tossed it and went with Jerry. INFO+v. [Jerry Goldsmith, R.I.P. - Several boots available +]
EYES WIDE SHUT -- Vivian Kubrick. FSM member Scott Andrew Hutchins stated that Kubrick's daughter did a few cues, but Stanley found them inappropriate. [Jocelyn Pook.]
THE INSIDER -- Craig Armstrong. Geoff Foster, chief sound engineer. First composer when the film was called "Tobacco Project" (typing that name, by the way, on imdb.com takes you straight to "The Insider"). [Graeme Revell.]
THE INSIDER -- Graeme Revell. Some of his score retained and he received and "additional music" credit, I've read. imdb.com also shows this. The official CD features three of Revell's cues. Revell was the original composer, his name was replaced on the posters with Gerrard's name, despite Revell claiming in an interview that he did additional score. INFO. [Lisa Gerrard, David Darling, Patrick Cassidy & Peter Bourke.]
INSPECTOR GADGET -- Marc Shaiman. INFO. [John Debney.]
LIFE -- William Ross. Ross himself did some updating on his IMDB page, which included mentioning two rejected scores (see a few entries below). Having seen the film myself, there is barely any score at all to speak of; couldn't be more than two or three minutes, so I would guess the replacement composer's score was canned as well. INFO. [Wyclef Jean.]
LOVE SONGS (TV) -- Ronnie Laws. According to composer Pete Anthony in an interview with soundtrack.net, I believe, he replaced a composer on this and another project (Run For The Dream 1996). Ronnie Laws is credited for both movies and only those movies, on imdb.com. [Pete Anthony.]
MICKEY BLUE EYES -- Edward Bilous. Still seen on screen playing music. Go to his official site to hear two cues. [Wolfgang Hammerschmid.]
MICKEY BLUE EYES -- Wolfgang Hammerschmid. Hammerschimid did his score at least half a year before Basil's, but the decision was made to replace most of his score; a few small pieces are retained, though. [Basil Poledouris, R.I.P., Wolfgang Hammerschmid (leftovers).]
+MYSTERY MEN -- Stephen Warbeck. Most was rejected and good old Walker rescored. [Stephen Warbeck (leftovers), Shirley Walker, R.I.P. (additional), Mark Mothersbaugh (additional; for whom, unknown). - boots. 2CD sessions.]
ON THE ROPES -- Michael Kamen, R.I.P.. INFO. [Theodore Shapiro.]
PLAY IT TO THE BONE -- William Ross. [Alex Wurman.]
+THE SIXTH SENSE -- ?????. J.N.H. has said in two interviews he replaced a composer who wasn't working out. I was told it was Marco Beltrami who was first, but upon Beltrami being interviewed and asked about it, Beltrami said he did not. My assumptions are the composer Shyamalan used to use. [James Newton Howard - CD + Complete score boot.]
STRAIGHT SHOOTER -- Peter Spilles. The German band member of the group Project Pitchfork. Recorded in October 1998. [Ulrich Reuter.]
VIRUS -- Joel McNeely. Part of McNeely's music for VIRUS was rejected and was ask to write much more aggressive and loud music. Says McNeely, "I spent a great deal of time designing creepy synth samples with Judd Miller, a genius sound designer. We had whispers and creaks and groans that were truly creepy. Sadly, much of these tracks were rejected. I also had a choir, which I used in avant-garde fashion, but these tracks as well were mostly not used.". [Joel McNeely - boot.]
WRONGFULLY ACCUSED -- David Bergeaud. Still has some score left in the film. [Bill Conti, David Bergeaud (leftovers) - boot.]
2000
ALL THE PRETTY HORSES -- Daniel Lanois. 6:14 of Lanois' music is included on the soundtrack CD. Now, which cues are they? Here is a good little something from franz_conrad, scorereviews.com member:
"Noticed on your listing of All the Pretty Horses that you wonder which cues from Lanois survived in the final film. On the score CD, track 14 (Porque) and 15 (Waltz for Hope) are Lanois'. The former was a source cue being played by a Mexican band in one scene. The latter was used at least once in the film during the montage leading up to Matt Damon and Henry Thomas' arrest. It may have also been used a second time, but I'm not sure.

I suspect, though I have no proof, that Lanois wrote the moody 6 minute opening piece which uses themes from what was apparently a replacement score written by Stuart, Wilkison and Paxton. It seems very much in his style. This cue did not appear on the CD." INFO. [Marty Stuart, Kirstin Wilkinson, Larry Paxton.]
BUTTERFILES/ BUTTERFLY TONGUES -- Angel Illarramendi. AKA: Una Historia Reciente JMB Ediciones JMB SP 502 - 12 tracks - 36:51. [Alejandro Amenabar.]
CHINESE COFFEE -- Howard Shore. FSM had mentioned it a couple of times or so, but I guess I never really paid attention. Kong can now have some coffee and chill. INFO. [Elmer Bernstein.]
CIVILITY -- David Williams. The score was completed, mixed into the film, and a premiere was done, so Williams moved on. Afterward, though, the creators of the film brought in some new producers to help "sell" the film, and one of their suggestions was that "hip-hop" type music would help "sell" the film (clearly a dumb idea, but heck -- it's Hollywood). Wiliams' score sounds a little bit Thomas Newman-ish. [Brad Segal, Nic. tenBroek.]
+KINGDOM OF THE SUN (AKA: THE EMPORER'S NEW GROOVE) -- Marc Shaiman. As you know, this used to be on the "Supposedly Rejected" list, until Shaiman decided to admit to it -- not to me, but rather some other place -- HERE. Shaiman was also quoted as saying, somewhere else (forget where): "I was done with 2/5 of the score when the filmmakers decided to move in a different direction ... away from me!". [John Debney, David Hartley(?).]
IN A HEARTBEAT: PILOT EPISODE -- Jon Stancer. Unsure of which pilot, and whether Stancer stayed onboard for the few episodes made. [Eckart Seeber.]
MISSION TO MARS -- Ryuichi Sakamoto. Morricone was called in after the previous score wasn't working out. Sakamoto had scored "Snake Eyes" and was asked to score "Mission: Impossible 1" (after Silvestri; see Supposedly), but not since for the director. INFO (pending). [Ennio Morricone.]
ORDINARY DECENT CRIMINAL -- David Holmes. [Damon Albarn.]
POLLOCK -- Donald Rubinstein. The promotional CD which had been for sale at his site is taken down, but Perseverance Records is now selling an official CD. INFO. [?????.]
POLLOCK -- ?????. In an interview Beal, the replacement composer, said there were two scores before him. I don't know if Rubinstein was first or second, I'm just going on guesses; perhaps Tom Waits was the other guy. [Jeff Beal.]
SUPERNOVA -- Burkhard Von Dallwitz. A CD-R Demo promo with 9 tracks and a total time of 17:28 exists. Supposedly some of the deleted scenes on DVD feature Burkhard's score. Danna was also attached, and Don Davis had a CD-R sent out; no word on whether they did anything. [David Williams - A promotional CD of his score is available. Burkhard Dallwitz (additional).]
2001
51ST STATE -- John Murphy. Ultimately the director and the the producers couldn't see eye to eye on the music and waited until Murphy completed his score to replace it. INFO. [Casper Kedros; Darius Kedros, Headrillaz (additional score?).]
BEHIND ENEMY LINES -- Paul Haslinger. INFO. [Don Davis.]
CROSSFIRE TRAIL -- David Shire. Okay, story starts like this: Ford A. Thaxton said in a post that Colvin was called in five days till, when the score was dumped at the dubstage. I contacted Mr. Colvin to see if he knew anything and he said he had more than three weeks actually. So I did a Google.com search to see what I could find and it turns out Brigham Young University attended/recorded(?) an unknown amount of Shire's score. They list it as: Crossfire Trail, David Shire, composer, LA East, SLC, UT, January 2000. Said the irector, "an outdated approach, and dramatically over the top"; in other words, it was fantastic and the director didn't know squat. [Eric Colvin - CD.]
+DOMESTIC DISTURBANCE -- Jerry Goldsmith, R.I.P.. Ultimately the score -- which is can be described as a cross between "U.S. Marshals" and Rambo percussion, with strings for tender moments -- was lost after a producer on the film was far too star-struck when John Travolta said, "what this picture needs is minimum score"; this, of course, is not what Jerry does (and it's also none of Travolta's damn business what the film's scoring needs are). Most of the score was recorded. The director had worked with Jerry twice before, and replaced a score another time by someone else. INFO (pending). [Mark Mancina, Marc & Steffan Fantini (additional), Dave Metzger (additional).]
GLAM -- Andi Toma & Jan St. Werner (as Mouse On Mars). Story goes that after six weeks of working on the score, the director thought it wasn't "commercial" enough. Some tracks released on an LP that later made became a CD. [Josh Evans, Geoffrey Moore.]
THE HAPPY COUPLE -- ?????. The composer was the son of one of the companies working on the film. More info later. [Peter James Armstrong.]
NOVACAINE -- Beck (Hansen). Odelay! His first rejected score. INFO. [Steve Bartek, Danny Elfman (theme).]
TOWN & COUNTRY -- John Altman. As pointed out (not by name) by Kent in an interview. [Rolfe Kent.]
PAVILION OF WOMEN -- ?????. In a 2001 Billboard magazine interview, Pope mentions his score was a replacement score because the director felt the one before Pope was not doing it and wanted the score to be more "western" in feel. Richard Horowitz is the only other composer I have found attached to the film before Pope, but it doesn't necessarily mean he was the composer, as the director had worked a few times with an overseas composer. [Conrap Pope.]
RAT RACE -- Elmer Bernstein, R.I.P. INFO. [John Powell, James McKee Smith (additional), John Ashton Thomas (additional), Patrick Russ (additional). - CD.]
ROMANTIC MORITZ (AKA: Chasing Amy) -- Jay Asher. INFO. [Michael Whalen.]
SCARY MOVIE 2 -- George S. Clinton. 14 (known) composers were used. A private edition with his score is around and a suite is available. Clinton recorded a little over 70 minutes of score. Even composers who were brought in had cues rejected. If someone were able to compile a CD of all those composers cues, it would be amazing. Two tracks by Manthei are available for download at his site: kmmproductions.com and two tracks from Torjussen are on a promotional CD of his. Jeff78 (Handle name) says that Beltrami was unhappy with the rush job and hence the quality of the cues he wrote and does not want to give them out. Two cues by Kevin Kliesch are on a promo CD. They are: "Catfight" and "Death of Hanson". INFO. [John Debney, Marco Beltrami, Kevin Manthei, Danny Lux (Interview), Michael McCuistion, Ceiri Torjussen, Buck Sanders, Benoit Grey, Christopher Guardino, Tom Hiel, Kevin Kliesch, James L. Venable, and Rossano Galante, Carlos Rodriguez. WHEW!!!]
+SLEEPLESS -- Goran Bregovic. A description of his score from a website says:
"Bregovic's music is mostly a mixture of ethno and modern sounds. Sometimes he repeats himself and could be a bit dull but most of the time his music is exciting and fresh. One thing is certain, Bregovic's music is nothing like that of "Goblin". His music (at least so far) is much more serene and outgoing but he can get a little bit sinister when necessary!". [Goblin.]
+TEXAS RANGERS -- Marco Beltrami. On a promotional CD with his score to The First 20 Million Is Always the Hardest. They are done in his studio, but a few cues were recorded with a big orchestra and are on one of his Film Music promo CDs. Music clip. [Trevor Rabin, Don Harper (additional). - boot.]
TOMB RAIDER -- Greg Hale Jones. According to the composer's website, in November 2000 he started working on the score (with Peter Afterman). Originally he was doing source music and a little scoring, with Danny Elfman providing the opening cue, but Elfman's cue was shelved and Jones ended up doing 45 minutes of score. Jones states that the studio replaced the director and editor, and there went his score, in March 2001. [Michael Kamen, R.I.P..]
TOMB RAIDER -- Michael Kamen, R.I.P.. Oh yes he did! Hope to have some facts up in the foreseeable future - 4-28-05. According the video game composer, Nathan McCree, he was invited tp "pitch" for the score, which he said he did (I assume that means demos). [Graeme Revell, Ray Colcord (additional). - CD.]
WHAT'S THE WORST THAT COULD HAPPEN? -- Marc Shaiman. No kind of CD for either composer. Additional orchestrations by Larry Blank. Go to Shaiman's official site, http://shaiman.filmmusic.com/audio.html, and hear three cues from his rejected score. John Rodd, orchestral scoring recordist for Shaiman's score. INFO. [Tyler Bates; Marc Shaiman (leftovers).]
ZOOLANDER -- B.T. Click HERE. INFO. [David Arnold, Randy Kerber (additional). - score promo.]
2002
CHANGING LANES -- Dave Grusin. The cursed test audience strikes again. INFO (empty at the moment...). [David Arnold, Nicholas Dodd (additional).]
CONFESSIONS OF A DANGEROUS MIND -- David Holmes. INFO. [Alex Wurman, Peter Thomas (additional).]
DIRTY PRETTY THINGS -- Anne Dudley. Steve Price, main sound engineer on her score; likely recorded in London. Christian Henson, additional score. Movie might possibly still contain some of Dudley's score. [Nathan Larson - Some score on this CD.]
D-TOX (AKA: EYE SEE YOU) -- John Powell. A lot of what he originally wrote was rejected and he came up with an almost entirely new score. A promotional CD with that original score is around and a 2CD sessions as well. With help, of course. Basil Poledouris, R.I.P. was attached to the film at one point a CD of "demos" surfaced; it's nothing but selected cues from previously scored movies. The basilpoledouris.com link doesn't work anymore and directs to a link that gives you a bunch of pop ups and tries to change you homepage settings -- don't go there. [John Powell, William Ross (additional/possibly leftovers), James McKee Smith (additional), Geoff Zanelli (additional).]
THE GATHERING STORM (TV movie) -- Trevor Jones. [Howard Goodall.]
HELLRAISER: HELLSEEKER (6th film) -- Raz Mesinai. Read that he did, so I contacted him from his site, and he said he did. Also read that about five minutes of his score was left in the movie. This CD features re-workings of his score. Some details HERE. [Stephen Edwards.]
MONK: "Pilot" (2 hour. TV SERIES) -- ?????. Beal states HERE he replaced someone else's score. I e-mailed Beal via his website and asked if he knew who. He would not say. I respect his opinion, really, but I don't agree with it :-). Anyway, he told me about something he said he had posted on a few other boards about being fired from Monk and Patrick Williams being brought on board for the beginning of season 2. Then Beal won an award and the producers wanted him back and they let go of Williams, instead using previous cues by Beal. Maybe Williams was the one who did the Pilot, also. Just guessing. [Jeff Beal.]
ONCE UPON A TIME IN THE MIDLANDS -- Ted Barnes & Ali Friend. Barnes is noted for his work for Beth Orton. The CD release "Underbelly" contains cues from his score, some re-worked and such. [John Lunn.]
PHONE BOOTH -- Nathan Larson. Still listed as "additional" score on imdb.com (and maybe the end credits?), but his original score was rejected; as Larson states on his site, he worked on it for a year, but the studio didn't like how it worked in the film, and dumped most of his score -- he watched it, found little left, and took it off his credits on his site (at least, said he was, but it was there last time I checked). One cue on this CD. [Harry Gregson-Williams, Toby Chu (additional), and who knows who else...]
+ONE HOUR PHOTO -- Trent Reznor. Yeah, the "Nine Inch Nails" song-band guy. Apparently he's classically trained. The NIN CD, "Still", has two tracks which may original cues from the score: "Gone, Still" and "The Persistance of Loss" (both tracks you can hear a sample of, also there are two other instrumental tracks but no indication where they are from...). [Johnny Klimek & Reinhold Heil - CD.]
THE SHAPE OF EVIL -- Aaron Marks. Still credited on IMDB as "additional music", on Marks' site he says he did an 85 minute score that was replaced due to "unforeseen circumstances" before the premiere of the film. The film's director -- who did pretty much of everything on that film, ended up scoring it, making it his second known score. [Marc Anthony Massimei; Aaron Marks (leftovers?).]
SUEURS -- Sarry Long. A promo CD is available, but hard to find. [Pascal Lafa.]
THE NEW GUY -- Nick Glennie-Smith. INFO. [Ralph Sall.]
*THE HOURS -- Stephen Warbeck. INFO. [Michael Nyman.]
*THE HOURS -- Michael Nyman. Nyman's demo score was recorded with 11 musicians and then rejected, thus never making it to a full orchestra; I included it here because it was not a computer moch up. INFO. [Philip Glass - Interview by Daniel Robert Epstein also on INFO page - CD.]
ROLLERBALL -- B.T.. Was in the movie, but that may have been cut after rejection. [Eric Serra.]
THE TUXEDO -- Christophe Beck. CD features some cues from both composers that go to the same scenes. In the end, some of Beck's score was kept in the movie. [John Debney, Christophe Beck (leftovers), Douglas Romayne Stevens (additional for Beck).]
TILL HUMAN VOICES WAKE US -- Dale Cornelius. Cornelius' score was released on CD (Go to: On CD page), while Plessner's score was not. Plessner has a website in the works; may be a while. [Amotz Plessner.]
HIGHLANDER: ENDGAME -- Nick Glennie-Smith. Isolated on DVD. Here are some words from Graziano. [Stephen Graziano & Nick Glennie-Smith (leftovers), Todd Wollon (additional), Rob Cairns (additional), Chris Neel (additional). - CD.]
2003
AND STARRING PANCHO VILLA AS HIMSELF (TV) -- Stephen Endelman. INFO. [Jospeh Vitarelli.]
BAD BOYS 2 -- Mark Mancina. Even though Mancina and Rabin are friends, they were not working on the score together, but rather Rabin was called in to replace him; at first some score was to be left in, but all was dumped and Rabin took over. Supposedly "creative differences". Now, it's hard to tell who did additional score for whom, so help me out ... INFO. [Trevor Rabin, Trevor Morris (additional), Steve Jablonsky (additional), Toby Chu (additional), Paul Linford (additional), Mel Wesson (additional), Clay Duncan (additional), Mike Elizondo (additional for Dr. Dre), Dr. Dre (additional???) - promo CD.]
DICKIE ROBERTS: FORMER CHILD STAR -- Waddy Wachtel. Read more HERE, from Bluntinstrument's Final Cue sheet/DVD analysis. [Christophe Beck.]
FISH WITHOUT A BICYCLE -- Didier Rachou. Originally the other way around, I received an e-mail from the composer informing me of my error. [Kevin Blumenfeld.]
FREAK OUT -- Aaryk Noctivagus. I e-mailed Mr. Noctivagus and he was more than helpful and even pointed out another rejected score and gave me tracklists and explanations for both! So, HERE. On his official MySpace page, you can listen to the whole "Main Title" piece. [Stuart Fox.]
FREELANCER (Video Game score; iffy entry) -- ?????. Cato was asked at the last minute by the game's director to do additional score to replace that of the other composer (how much is unknown). musicbycato.com [Cato -- First name, or last name? A promo may feature some of it.]
GIGLI -- Carter Burwell. You all let me know if I'm wrong, you hear? [John Powell, random others (additional).]
I.D. (AKA: Identity) -- Angelo Badalamenti. With help from composer Phil Marshall. [Alan Silvestri.]
THE WEDDING PARTY (AKA: THE IN-LAWS) -- Lalo Schifrin. At some point Danny Elfman was also attached, and another review of the film, from Variety as I recall, after Schifrin's rejection, had Vivian Kubrick listed as the new composer. [Some score from Francis Lai's "Un homme et une femme", pre-existing cues by Klaus Badelt and John Powell and possibly original score from James S. Levine.]
MOST -- ?????. At the "Most" website, it's makes a short statement about Debney providing a new score. Didn't say who, even when I e-mailed them. [John Debney.]
SHATTERED GLASS -- Jimmy Klimek & Reinhold Heil. In an interview, Danna mentions replacing another score and a Google.com search only yields the composer duo as previously working on the film. [Mychael Danna.]
SHOOTOUT -- Scott Benzie. INFO. [Graham Slack.]
SOMETHING'S GOTTA GIVE -- Alan Silvestri. ESB, alan-silvestri.com runner, says he recorded a full score... [Hans Zimmer, Christopher Young (additional; click for explanation), Heitor Pereira (additional), Blake Neely (additional), Trevor Morris (additional), James S. Levine (additional), James Michael Dooley (additional), Ramin Djawadi (additional), Rolfe Kent (additional) - boot.]
SHADE -- Christopher Young. Story and CD can be found HERE NOTE: The CD is now SOLD OUT, good luck with eBay! [James Johnzen.]
TOMB RAIDER 2: CRADLE OF LIFE -- Craig Armstrong. Armstrong's score was rejected after it was recorded, according to Dan Goldwasser. But what isn't known is how much he recorded. At least one cue was retained in the movie and is often referred to as the "Lab Scene cue". INFO. [Alan Silvestri - CD.]
MOLLY GUNN (AKA: UPTOWN GIRLS) -- Lesley Barber. The producer and director didn't agree on the score and eventually Barber had to leave. [Joel McNeely.]
WE DON'T LIVE HERE ANYMORE -- Thomas Newman. INFO (pending). [Lesley Barber.]
WE DON'T LIVE HERE ANYMORE -- Lesley Barber. In an FSM article, this was written:
"Normally, it's high profile, high pressure studio films which get rescored (and also Miramax/Dimension movies), but sometimes it happens to arthouse films. When Variety reviewed the infidelity drama WE DON'T LIVE HERE ANYMORE (starring Naomi Watts, Laura Dern, Mark Ruffalo and Peter Krause) early this year, critic Todd McCarthy mentioned composer Lesley Barber, "whose supple score is only marred by some obtrusive chanting in spots.". So imagine my surprise when I saw an advance screening of the film last weekend and the end title crawl included the credit "Music by Michael Convertino.". At any rate, it's nice having Mr. Convertino back scoring a film someone might actually have the chance to see.". [Michael Convertino, Lesley Barber (leftovers).]
2004
+BLADE 3: TRINITY -- Terence Blanchard. Vague rumors as to whether he did, but then I was informed via e-mail that two clips were up at a site of Terence's score and were at another site apparently as well. Also, in an interview, RZA stated he was "collaborating" on the score with Blanchard, but after Blanchard was gone, he started working with Djawadi. [Ramin Djawadi, RZA, Trevor Morris (additional).]
CATCHING KRINGLE -- Shawn K. Clement (Sean Murray too?). Technically I wouldn't count a short film like this (15 minutes), but it was so good and Martinez's score was strong and realy fun; she will be missed. A short promotional .CD-R I got has some cues from his rejected score. [Linda Martinez, R.I.P..]
ELLA ENCHANTED -- Shaun Davey. Was the original composer, then almost all his score was dumped; almost all. Was credited on the posters real close to the film's opening. [Nick Glennie-Smith, James Seymour Brett (additional), Shaun Davey (leftoevers).]
EULOGY -- Richard Marvin (Q&A). In a Film Score Friday on 10/22/04 titled: DID THEY MENTION THE REJECTED SCORE BEFORE IT WAS REJECTED?, a quote from Variety writer Todd McCarthy on Marvin's score before it was rejected: "Capping everything off is an insufferably corny score.". It couldn't have been that bad. The Swedish DVD still has Marvin's name credited; whether that is a mistake, or Marvin's score is still there, I do not know (can someone check?). INFO. [George S. Clinton.]
FEAR OF CLOWNS -- Evan Evans. Story HERE. [Chad Seiter and a number of unidentified others.]
HAIR SHOW (AKA: Beauty Shop) -- Kurt Farquhar. INFO (pending). [Kennard Ramsey.]
I LOVE HUCKABEES (AKA: I Heart Huckabees) -- Stephen Endelman. The director, who you can see cursing and yelling and throwing things around on the set of the film in clips on YouTube, was unusually quite during the scoring and after the score was completed, decided he didn't think it was working. INFO (more later). [Jon Brion.]
THE IDIOCY VICE -- Aaryk Noctivagus. Mr. Noctivagus was happy to share info and details. HERE Neither the movie, nor the movie's director have listings on imdb.com. See second rejection in "DEMOS" section. [Edward Lewis.]
LESS LIKE ME -- ?????. From the trivia page of imdb.com:
"The original version of the score was composed during production of the film and didn't mesh with the final cut. It was thrown out and composer Garett Grow was given three weeks to write a new score." [Garett Grow.]
+THE LAND BEFORE TIME XI -- Andrew James Thomas. His official website talks briefly about some of the score being left in the film, and the artwork made for him says he used Horner's themes. Website also says there is a bootleg, but I have neither heard of nor seen such a thing. INFO. [Michael Taverna.]
+MINDHUNTERS -- David Julyan. Someone posted info about this in my now dead Guestbook. The person brought up how a newspaper or magazine talked about how Julyan was fired during the first day of recording, at the sessions. Nasty. [Tuomas Kantelinen.]
*THE PASSION OF THE CHRIST -- Lisa Gerrard & Patrick Cassidy. Yep, no doubt you've read posts by people asking about this. By accident (while googling), I stumbled upon a post in the lisagerrard.com forum (which I hadn't been to in a while), where a "in the know", if you know what I mean, member stated that Gerrard and Cassidy had indeed done a score, but time ran out for the changes Mel wanted, and for what ever reason, das boot! Insert laugh here. Anyway, I can't imagine why Mel would do it, if time was short, then why go for a whole new score, by a whole new composer? Anyway, I'm sure this must have been a beautiful score. One can only hope sound clips will be posted one day. Score rejected about January 28, 2004. INFO. [Jack Lenz.]
* THE PASSION OF THE CHRIST -- Jack Lenz. Was researching ethnic instruments and source music for a year, while also scoring the film, but ultimately his score was replaced (this was after Rachel Portman's unknown involvement). About 36mins of score are available for download at his old website, and the Debney CD release has him credited as "additional", but I don't know if that's because they edited in some of his score or rather the researched instrument sounds he did are included. Unknown whether any of his score is retained in the film. [John Debney, Martin Tillman (additional), Gingger Shankar (additional), L. Shankar (additional) - CD. Jack Lenz (leftovers?).]
SECRET WINDOW -- Philip Glass. Roughly ten minutes of his score is still in the movie. Glass's Main Title, a few cues in the beginning of the movie and some in the End Credits. A 22min promo for Zanelli. And another longer version with some of Glass's score. No official score release. Though so much replaced, Glass still maintains sole composer credit at the beginning, and Zanelli in the end credits as "Additional music by". Also, only Zanelli's orchestrator (Bruce Fowler) is credited. [Geoff Zanelli, Alan Elliott (additional), Phillip Glass (leftovers).]
+TEAM AMERICA: WORLD POLICE -- Marc Shaiman. (Interview). As reported by Dan of soundtrack.net, only two songs done by Shaiman appear in the film and no score it seems. Shaiman's BLOG from the site is gone, but click on BLOG and see what he wrote. Shaiman reportedly wrote, and also said in his BLOG, a really dramatic score unlike anything he had previously done. There seems to be two different track lists for the score CD, which is supposedly all Shaiman. Here. Soundtrack.net visits a Shaiman session. INFO. [Harry Gregson-Williams, Steve Jablonsky (additional), Daimen Kaiser (additional), Stephen Barton (additional), Toby Chu (additional), James McKee Smith (additional). - CD.]
+TROY -- Gabriel Yared. (Interview with Yared) Yared spent a year putting his heart into the score only to have a "Test Audience" decide it's fate. You used to be able to hear clips on Yared's site, but as of 6-9-04: Clips gone via order of WB. Here is a petition to get it released. A 77 minute promotional CD exists -- a non-mp3 version I might add. Yared's STORY [James Horner, 3CD set???, CD.]
+WIMBLEDON -- Klaus Badelt. INFO. [Edward Sheamur.]
2005
AEON FLUX -- Jimmy Klimek & Reinhold Heil. Ah, 2005, the year of hell. I don't know much, other than what I have read. Appearently the makers were happy. I can only conclude that the studio or a Test Audience did the score in. Revell's score, as I read, has a small string section, so that must mean he's ventured into scary synth territory again. :-( [Graeme Revell, David Russo (additional) - CD; expanded boot.]
AN UNFINISHED LIFE -- Christopher Young. Young had been working on the project for about over a year-and-a-half (from what I know), and demoed (I believe) the whole thing. As reported by MusicFromTheMovies.com, the rejection came late in the game. As reported by the unofficial Chrsitopher Young website (which seems to have good contact with Young), some of Young's score will still be in the movie -- but not on the Lurie CD release. Thanks to the owner of that site, Dom, we have confirmation that Young's score was recorded in 2004. On June 26, 2006, Varese Sarabande release Young's score; if you blinked, you missed it -- it sold out that quickely. INFO. [Deborah Lurie - CD -- Rejected (SOLD OUT).]
ASYLUM -- Craig Armstrong. Supposedly still in tact for early screenings overseas. INFO. [Mark Mancina, Marc & Steffan Fantini (additional for Mancina).]
THE BROTHERS GRIMM -- Goran Bregovic. Seems the director, Terry Gilliam, says he did HERE (audio link). [Dario Marianelli.]
DERAILED -- RZA. Yes, "rizzuh" scored it, and I think I read somewhere that he said he was doing songs as well, but a quick check of imdb.com shows that not only is he not credited with "additional score", but no songs are listed. However, his scenes in the film acting are still there. This was a late replacement score. [Edward Sheamur.]
DREAMER -- Jan P. Kaczmarek. Appearently, as MFTM runner Mikel's source reports, they wanted a more typical "commercial" sound. Undoubtedly we got another "Troy" situation here. I contacted his official site, but never received a response. Dylan Maulucci, orchestrator -- who says he listens to it "all the time". INFO. [John Debney - CD + Promo (shorter).]
FEAST OF THE GOAT -- Stephen Warbeck. INFO. [Jose Antonio Molina.]
GLORY DAYS (AKA THE LIFE OF THE PART) -- George S. Clinton. Clinton mentions on an old news update on his website that the score was completed. [Mark Adler.]
HITCH -- George Fenton. The film originally had a score by Fenton, but it was temp tracked with a bunch of songs and when a test audience was shown it, it tested high, so painfully the director cut out Fenton's score. The DVD was supposed to have Fenton's rejected score restored, but the release made available early in some places, as told by member of the FSM score board, tell it to only have the first 15 minutes back in -- in the special feature -- and still with SFX. No CD release is known to be coming. INFO. [Crappy songs.]
I OVERSEE THE MAINTENANCE OF A TOOLSHED -- Jesse Hopkins. HERE. Some information on what happened, HERE. [Vincent Pedulla.]
+KING KONG -- Howard Shore. No, you didn't read incorrectly. And yes, he recorded the score, about 3/4 of it, with the New Zealand Symphony Orchestra. The CD of Shore's score that was for pre-order, has magically changed to reflect James Newton Howard's name, so you're not getting Shore's score -- what you paid for. J.N.H.'s score is almost done recording in LA. The kingkong.net originally, before Shore's rejection, had a video on how his score was going, and a small snip of the score. Now that is gone, and there is a video of J.N.H. and a small bit of his score and the rush to make it -- with no mention of Shore. There is all kinds of news on Shore's score, but I don't feel like compiling it. INFO. [James Newton Howard, Chris P. Bacon (additional), David Long (additional ambient music), Mel Wesson (additional), Blake Neely (additional) - CD.]
MRS. HARRIS -- John Frizzell. Score completed in London. Temp track consisted of the songs: "True Love Waits", by Christopher O Riley; Radioheads piano covers and their song "No Surprises", to which Frizzell reported mimiced the intrumental parts of for his score. INFO (more details coming, but stuff now). [Alex Wurman.]
NIGHT STALKER (Pilot) -- Mark Snow. [Michael Wandmacher.]
THE PINK PANTHER (revisioning, not a prequel or remake). David Newman. Originally, Christophe Beck was onboard, then he was rejected and then in January Newman was rejected and Beck was back onboard. Maybe Newman backed out after it wasn't working and took on Serenity. Just a guess. Newman couldn't have recorded much. [Christophe Beck.]
RODNEY (TV SERIES) -- Eric Hester. Scored the Pilot episode, but they didn't use it. And they didn't bother telling him either. [Steve Dorff.]
RUNAWAY -- Drew Stiles. Received an "additional music by" credit. [Jason Morphew.]
RUNAWAY -- Jason Morphew. Refused to share credit with another composer. While scoring it, he was told another composer, with a first or last name of Anton, was now doing the score (and might have done one) after the director had supposedly quit, but they went back to Mr. Morphew (this was his first film score). Read more of this Tale of Horror. A CD with songs and rejected score can be purchased at Morphew's site, HERE. [Robert Miller and I assume other guys/gals.]
STEALTH -- Randy Edelman. At one point he was listed as co-composer, then word spread from B.T.'s PR people that B.T. was the only composer on the project. And a member of FSM says he recorded the film in his country, off TV, and that it has them both listed. I think it's likely Edelman was the original composer, not ever a co-composer. That was probably a nice way of covering up his rejection. [Brian Wayne Transeau (B.T.) / Randy Edelman additional score in other countries(?).]
THE WEDDING DATE -- Debbie Wiseman. Instead of typing and rewording, here is a quote from moviemusic.com member: BMikeJ:
"Ok, this is the scuttlebutt I was told about the composer shuffle on this project... Debbie Wiseman did indeed record a score with a large orchestra. Apparently, the producers were not pleased with the final cut of the film and decided to recut the film without the director's participation. This re-editing necessitated having a new score written for the film and that's where Blake Neely came in."
Music From the Movies lists her as the co-composer. So, some of her scored must still be retained. buysoundtrax.com has released Neely's score. No word on Wiseman's effort, but apparently she doesn't care if it's released. INFO. [Blake Neely, Stuart M. Thomas (additional), Debbie Wiseman (leftovers?) - CD.]
ZOEY 101 (TV SERIES) -- Eric Hester. New TV series, just started this January and already rejection has occured. His Pilot score retained, but episodes 2, 3 and 4's scores by Hester, rejected and replaced. [Michael Corcorone (Corcoran?) - he's ripping off Mr. Hester, I am told.]
2006
A GOOD YEAR -- Dario Marienelli. Quote the orchestrator on his official site (quote since removed; Nick Ingman):
"It was also a great pleasure to work on the new Ridley Scott film, "A Good Year" starring Russell Crowe, with a very touching score by Dario Marinelli". [Marc Streitenfeld.]
BONNEVILLE -- Shie Rozow. Critics weren't too fond of the film and the film couldn't (and still can't) find a distributor, and when that happened they decided to do some changes, which including replacing the score. The sound clips on his site (A Love In Pictures, Ashes To Water, Pacific Coast Highway, I Hope You Find Your Father, Farewell to Joe, On The Road, 'L' For Lucsious, and Vibrating Bed) are from the score. A frequent music editor on Elfman projects, I can't help but feel his score was a good choice. [Jeff Cardoni.]
THE DARWIN AWARDS -- Graeme Revell. INFO. [David Kitay.]
DISTORTION -- ?????. In post on the replacement composer group's site (which is now gone with the site re-design), mention was made of replacing a score and a bunch of people having to work to finish up a new one. [Anreas Helmle, Francesco Tortora & Tom Botay.]
THE EX (AKA: FAST TRACK) -- Nathan Larson. INFO (Q&As). [Edward Shearmur.]
FREEDOM WRITERS -- RZA. From an online interview, it seemed he was excited to score the film, started back as far as June. [Mark Isham.]
GHOST FACTORY -- Pauli Houseman. Is being produced by Paul Freeman. The CD "Minor Thrills" contains selections from the score. No listing on imdb.com yet and it appears the film is in "developement hell". [Nathan Lanier (A music editor on Lord of the Rings).]
*THE GOOD GERMAN -- David Holmes. Holmes initially did a score is Belfast, Ireland, but it was rejected (not a completed score). So then he completed a score in LA; Temped with Morricone 70's like scores, Soderberg loved & approved the whole thing, but it was thought it conflictred with the era of the film. I'm told the score is best described as a cross between David Bowie and Philip Glass, and is different from what Holmes has normally done; also fusing electronic and classical. Some of his rejected score is re-used in the short he scored called, "The 18th Electricity Plan" and a 2009 film Holmes is being considered to score. INFO. [Thomas Newman - CD.]
THE GUTTER DIARIES -- Jesse Waldman. With only three weeks to write and record his score, Mayrand finished, yet not all his score was used in the end. Four samples of his score are on his site. Waldman does not appear to have a website. [Alain Mayrand; Jesse Waldman (leftovers).]
HAPPILY N' EVER AFTER -- James L. Venable. INFO. [Paul Buckley; Andy Carroll, Nick Amour, Phil Sawyer & Will Johnstone (all additional).]
THE LAKE HOUSE -- Paul M. van Brugge. Call me lazy all you want, but this was just pointed out to me over at scorereviews.com and I didn't find a way to reach him (easily, though the wheel is in motion), so just take their word for it: the movie press junket did not list him at all, so I guess none of his score made it in the final cut. [Rachel Portman.]
MARIGOLD -- David Newman. Now this one is messy. I originally read that Newman was only the music supervisor and that Shankar Mahadevan, Loy Mendonsa and Ehsaan Noorani were going to score it. Then one of those people said in an interview that they were doing the songs and that Newman was using the themes. Replacement score already recorded a bit back. [Graeme Revell.]
+MIAMI VICE -- RZA. "Rizzah" as he likes to say it -- among his many names -- did a whole score, even song(s). But that changed and John Murphy (who has most of his score left in), replaced him. About a month before the film opened, imdb.com still had him listed for one song, but now that is gone as well; I assume nothing of his score is left. [Klaus Badelt, Mark Batson (additional), Ian Honeyman (additional), John Murphy (survivor), King Britt & Tim Motzer (six additional score cues), Tommy Coster (four cues; unsure if left in) and who knows who else... - CD.]
NACHO LIBRE -- Beck. Two turn-tables and a second rejected score (insert little David Spade snicker). Yes, the singer/song writer. When asked about whether replacement composer Danny Elfman was still going to have his name removed from the film, Elfman's agent said no (though it's only cues in the end credits list). Also, the agent said there are 2/3 Elfman score in the film, the rest is from Beck's rejected score. Elfman replaced him so late that his name didn't appear on any posters. Elfman came onboard sometime in late April I believe. INFO. [Danny Elfman; Beck (leftovers).]
+NIGHT AT THE MUSEUM -- John Ottman. Just a difference between the director and Ottman. INFO. [Alan Silvestri (for now).]
PREY (video game) -- ?????. In an interview the replacement composer mentions having three months to replace a previous score. [Jeremy Soule; Julian Soule, Nick Murray, Cara Wong (additional).]
+THE QUEEN -- Nathan Larson. INFO (Q&As). [Alexander Desplat.]
THE REAPING -- Philip Glass & Ravi Shamkar. INFO. No chance of a possible future release, saldy, according to Orange Mountain Music :-( . [John Frizzell (so far).]
REDLINE -- Wyclef Jean. Scored the movie and also made a cameo in it; probably not left in. [Klaus Badelt and a yet to be named army.]
STORMBREAKER -- Trevor Jones. INFO. [Alan Parker.]
THERAPEUTIC TOUCH -- Glen Stark. While none of the score was left in the film, Stark received a credit in thanks, and if you click on his name you'll be taken to a page with two cues. INFO (coming). [Kevin Fox & Jason Greenberg.]
YOU, ME, AND DUPREE -- Rolfe Kent. Soundtrack.net attended the session. The reason for rejection can be found on Kent's official site. Just incase Soundtrack.net removes the page, I'd made all details available here: INFO. [Theodore Shapiro.]
THE WOODS -- Jayne Barnes Luckett. Officially released by La La Land Records. [John Frizzell.]
2007
AFGHAN KNIGHTS -- Stu Goldberg. None of Goldberg's score remains in the film. [Jon Lee.]
A L'INTERIEUR -- Raphael Gesqua. Ten cues can be heard on his MySpace (seperate) page HERE. [Francois Eudes.]
BALLS OF FURY -- Craig Weirden. This FilmMusicWeekly online magazine review asks him about his score, which he said he did, but the studio didn't like. [Randy Edelman.]
BEFORE THE DEVIL KNOWS YOU'RE DEAD -- Richard Rodney Bennett. On Burwell's site he mentions he replaced a score. Didn't say who. [Carter Burwell, possibly others?]
BORDERLINE -- Dan Redfeld. A press release for a broadway musical -- before the rejection -- mentions he completed scoring the film. [Andrew Kaiser.]
CHARLIE WILSON'S WAR -- RY Cooder & Jon Hassell. INFO (empty for now). [James Newton Howard and probably others; that means you, Stuart M. Thomas.]
FAR NORTH -- Michael Nyman. Originally brought onboard himself to replace Marianelli, Nyman recorded his score but for what ever reason they switched back to Dario. INFO. [Dario Marianelli.]
FEAST OF LOVE -- Rachel Portman. [Stephen Trask.]
FRED CLAUS -- Rolfe Kent. Kent reported on his site that his score was replaced. INFO. [Christophe Beck.]
GRACE IS GONE -- Max Richter. And so is social graces, as Eastwood saw the movie in January 07, and offered to score the film; obviously he must have not noticed the film was already scored. Way to take someone's chance, Clint -- now he's the man with no name. If you or someone you know has a cut of the movie with Richter's score (I don't care how you got it), could you please write down and e-mail me anything from the end credits pertaining to Richter's score (orchestrator, orchestra, music editor, so forth). [Clint Eastwood.]
I COULD NEVER BE YOUR WOMAN -- Mike Hedges. His first film score; completed and recorded, according to an old agency blurb. [David Kitay.]
THE KILLING OF JOHN LENNON -- Makana. According to a MusicFromtheMovies article, about 90% of his score was replaced and only a little left in. Sadly, this appears to be his first film score. [Martin Kiszko; Lorne Balfe, Rhett Brewer, Tony Clark (Additional).]
KILLSHOT -- Stephen Warbeck. INFO. [Klaus badelt and an unknown army.]
MANOLETE -- Matthew Herbert. His new CD, Score, contains two cues from his rejected score. The score uses altered sample of blood, hair, bulls, and what not to make something quite different. INFO. [Gabriel Yared.]
MY BLUEBERRY NIGHTS -- RY Cooder. The guitar flavored score, which got some positive mentions in early screenings, has -- it seems -- been replaced after a few negative comments. Not a good year for the Cooder. INFO (empty for now, as it appears Cooder's score may have been re-instated). [Shigeru Umebayashi.]
MR. MAGORIUM'S WONDER EMPORIUM -- Alexandre Desplat. Details to come, but supposedly the score was completed last year. INFO (empty for now). [Patrick Doyle.]
MR. MAGORIUM'S WONDER EMPORIUM -- Patrick Doyle. Unknown whether Desplat is having to do an entire new score or if some of ths was replaced once Doyle was let go and asked Zigman to help. INFO. [Alexandre Desplat, Aaron Zigman (co-composer).]
OCEAN OF PEARLS -- Joseph LoDuca. [Pinar Toprak.]
+THE OTHER BOLEYN GIRL -- Edward Shearmur. INFO. [Paul Cantelon.]
7EVENTY 5IVE -- Wyclef Jean. [Vincent Gillioz.]
STARDUST -- John Ottman. The story goes like this: Eshkeri was scoring it first, but then Ottman came in an recorded a score in February 2007; none of Ottman's was retained. A cue from the film which was on Eshkeri's page, DNA Music, has been taken down and the music playing on the official site (lots of music playing, by the way) doesn't sound like the demo that was there (which sounded a bit "Conan the Barbarian" to me). [Ilan Eshkeri.]
STONE'S WAR -- Titas Petrikis. INFO (pending). Tuomas Kantelinen was also credited at some sites for this before Titas. Rejected on November 25 (what a lousey Thanksgiving Day gift, eh?). [Joel Goldsmith.]
WHY DID I GET MARRIED? -- Brian McKnight. Originally scored it, and had a small small role in it too (left in I believe); on top of that, he also scored another movie in 2007 ("Daddy's Little Girls"), marking the beginning of his scoring career from his usual songs. [Aaron Zigman.]
THE WORLD UNSEEN -- Shigeru Umebayashi. Umebayashi talked briefly about his score, before it was replaced, in an interview, saying it was difficult to do. [Richard Blackford.]
WRITE & WRONG (TV movie) -- Jonathan Grossman. A song/score like Goldsmith's "Legend". [David Schwartz.]
2008 (Click for start of list)
THE BLACK WATERS OF ECHO'S POND -- Marcello De Francisci. One cue still up on his MySpace page. [Henry Manfredini.]
CARRIERS -- David Julyan. INFO. [Peter Nashel.]
CHINAMAN'S CHANCE -- Tom Erba. Mr. Kellogg's second score, previously just being a supervisor. Kellogg is the fourth composer on the film. [Greg Kellogg.]
CROSSING OVER -- John Murphy. INFO. [Mark Isham.]
THE CURSED -- Charles Bernstein. Bernstein recorded all his score and appearently was the second composer on the film; first one is not known at this time. [Deane Ogden.]
DISGRACE -- Cezary Skubiszewski. INFO. [Antony Partos.]
THE EXPRESS -- Peter Afterman. INFO. [Mark Isham.]
THE EYE -- Angelo Badalamenti. The film changed directors and out went Badalamenti's score. [Marco Beltrami.]
GEARS OF WAR 2 (video game) -- Kevin Reipl. Though the credit still remains on Reipl's site, the page with samples and info has been removed (even from a Google cache). [Steve Jablonsky; Kevin Reipl (some leftover "atmospheric" pieces).]
INCENDIARY -- Barrington Pheloug. INFO. [Shigeru Umebayashi.]
+ THE INFORMERS -- Clint Mansell & Justin Meldal-Johnsen. JM-J wrote on his site he was scoring the film with Mansell. While Googling comes up with him doing songs, on his personal website he said he was co-scoring also. This is/was JM-J's only known scoring credit. Rejection of the score came approimately late March/early April, best I can tell, and Young's score is already recorded. [Christopher Young.]
KIT KITTRIDGE: AN AMERICAN GIRL -- Lesley Barber. INFO. [Joseph Vitarelli; Lesley Barber (leftovers).]
THE LONGSHOTS -- John Swihart. So late in the game, appearently, that no news was made on Castelucci scoring it, and some reviews of the film still mention Swihart (must be getting their information from incorrect sources). INFO (pending). [Teddy Castellucci.]
THE MEERKATS -- Dario Marianelli. INFO. [Sarah Class, Klaus Badelt (additional).]
ORANGES -- Dean Ogden. Written as a last-minute replacement score; Mr. Ogden had, as I recalled, a post on his MySpace page about rejected scores, but it is gone now. [Jon Lee, Dean Ogden (leftovers).]
+THE PARDON -- John Novello. INFO. [Ashley Irwin.]
PUNISHER: WAR ZONE -- Christopher Franke. The director, Lexi Alexander, was fired even after the film was done being shot, and along with replacing him, they replaced the score. John Debney may have done a score inbetween the two as well. [Michael Wandmacher.]
SAY HELLO TO STAN TALMADGE -- Marco D'Ambrosio. [Jeff Cardoni.]
SPACE CHIMPS -- Dave A. Stewart. Sweet dreams aren't made of this, I suppose. INFO. [Chrispy Bacon.]
TENNESSEE -- Scott Bomar. "Bomar said he created an intimate score for the film, playing most of the instruments himself and recording mainly at his home Electrophonic studio.". [Mario Grigorov.]
WHITEOUT -- Atli Orvarsson. INFO (pending). [John Frizzell.]
2009
500 DAYS OF SUMMER -- Andrea von Foerster. Would have her(?) second known film score. [Mychael Danna & Rob Simonsen.]
ANOTHER HARVEST MOON -- Kenny Barron. INFO (pending). [Rick Garcia & William V. Malpede.]
BROOKLYN'S FINEST -- Antonio Pinto. INFO (pending). [Marcelo Zarvos.]
THE CITY OF YOUR FINAL DESTINATION -- Richard Robbins. For what ever reason the film got pushed back from 2007 to the point of being shown in 2009. [Jorge Drexler.]
CHILLED IN MIAMI -- Unknown music group. [John Swihart.]
THE MERRY GENTLEMAN -- Jon Sadoff & Sean Douglas. The 2008 festival premiere still had their score in tact. Shearmur started recording his score in 2008. [Edward Shearmur.]
POWDER BLUE -- Aaron Zigmam. Rachou had a little over two weeks to replace the previous score, as mentioned on his site. INFO. [Didier Rachou; Aaron Zigman (leftovers).]
THE TOURNAMENT -- George Acogny. [Laura Karpman; James Edward Baker (additional; for which composer is not know).]
THE SPIDER -- Howard Shore. Yup, Shore did another film by that name (strange, huh?). [Edward Shearmur.]

Well, this new section was inevitable. As good as I am at finding stuff, sometimes I fail. But these are special failures, in that I know who was rejected ... but don't know the name of the film! Feel free to help fill in the gaps.

This list last updated: September 15, 2008 (Click to "jump" to title)
(Hanzi Zimmer)

????? -- Quincy Jones. In an interview, Bill Perkins was on the subject of rejected scores, and while mentioning Bernstein, he said it has also happened to Jones. [?????.]
????? -- Danny Elfman. Someone stated, at the FSM board I believe, that they had attended some thing, and composer Philip Glass said Elfman had been rejected from a film recently. [?????.]
????? -- Rachel Portman. In a BBC News interview she mentions having a couple of rejected scores early on. Now, "Dangerous Beauty", isn't "early on"... [?????.]
????? -- Rachel Portman. In a BBC News interview she mentions having a couple of rejected scores early on. Now, "Dangerous Beauty", isn't "early on"... [?????.]
????? -- Hanzi Zimmer. In an old interview, Zimmer says during his early career, he had a score rejected, then when a new producer (or director) was brought on board for trhe film, they put some of his score back in. [?????.]

UN-USED

Sometimes a score is recorded, but is not used. The reasons for this vary: from the composer being unable to finish, to a scheduling conflict (forcing the composer to drop out), to a composer walking off the project -- therefore the score is unfinished and unusable, to anything else I couldn't think of. And one special case for "A Prayer for the Dying".
(The numbers by each title only reflect the count, not a list number)

This list last updated: June 30, 2009 (Click to "jump" to title)
(Moon 44, March or Die, No Retreat, No Surrender, Love Sick: Secrets of a Sex Addict, Johnny Mnemonic, Tsotsi, Small Town Saturday Night, Hide & Seek, Nuke 'Em High, The Bourne Identity 1, Say It In Russian (moved here).)

1977

MARCH OR DIE -- David Shire. [Maurice Jarre.]
1984
TENDER MERCIES -- George Dreyfus. His "Un-used" score is on his Film Music Volume 2 CD. There was no replacement score, and I read all his score was dropped; why is unknown. [No score used.]
1986
NO RETREAT, NO SURRENDER -- Frank Harris. Harris scored the fim, but after recuts another composer was eventually needed. Harris' score should be available before year's end. [Paul Gilreath.]
NUKE 'EM HIGH -- Michael Perilstein. They directors hated what they had so much, they had someone else come in and reshoot and recut the film -- not bothering to tell Perilstein, who had sent in 90mins of score and got to the point where he told them either pay him (which they hadn't done) or don't use his score. [Ethan hurt & Michael Latlanzi.]
1987
A PRAYER FOR THE DYING -- John Scott. Scott included 36:53 of his score on a CD from his own label, paired with the score to Winter People. Story on the Bill Conti CD art goes: Due To an unfortunate misunderstanding, film producer Peter Snell engaged the services of John Scott in England, not realizing that another composer, Bill Conti, had been contracted to write the score for this very same film in Hollywood.
Confusion came to light, John Scott had already finished the score and discovered that his music would not be used by the film company. Rather than waste the effort he went ahead and recorded the music on his own JOS Label. [Bill Conti.]
1990
DICK TRACY -- Danny Elfman. Elfman had several minutes of his score removed from the film and several other segments rescored at the last minute. Some of the deleted material, such as the theme for the character "Breathless" and an un-used passage for a montage sequence, can be found on the score album. A famous quote from Danny Elfman on working with director Warren Beatty on Dick Tracy: "Warren was insane!" [Danny Elfman - CD.]- Special thanks to Dylan.
MOON 44 -- Kuno Schmid. Said he did about 20 minutes of score, but it was not used. Christopher Young came in next, but didn't do anything. [Joel Goldsmith.] 1995
JOHNNY MNEMONIC -- Mychael Danna. The film was originally much longer, and when Danna finished his score, he went overseas to teach children; while he was gone the film was being cut up and chopped up and generally messed with, and ended up being shorter and Danna's score couldn't fit anymore. But all that is for not, as FOX disliked Danna's score and weren't going to use it anyway. [Brad Fiedel.]
2000
+THE BOURNE IDENTITY -- Carter Burwell. Well, here is some INFO, replete with some orchestra players and a photos from a session! Man, I can't believe that what Burwell did wasn't good -- it had to be. How cool would it be to hear this score, huh? After recording a tiny bit over 20 minutes of score, the film went thru some changes and by the time they needed to finish the score, Burwell was not available. The score consisted of about 75 players, synth, and atmospheric guitar, and was more melodic than Powell's effort. [John Powell, Joel J. Richard (additional), James McKee Smith (additional) - CD.]
MY DOG SKIP -- Van Dyke Parks. Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section. I e-mailed Mr. Parks and inquired. He said, according to the cue sheets, about 40% of his score is still left in the movie; not a rejection so much as the movie had a lot of reediting and such and Parks wasn't available. [William Ross - promo CD.]
2002
DRAGONFLY -- Christopher Young. Debney wound up scoring DRAGONFLY, Kevin Costner's moody supernatural thriller, when original composer Christopher Young had to drop out due to a schedule conflict. Debney came in at the last moment to helm the musical score: "Luckily, I was able to come up with a couple of melodic ideas that made everybody happy, so it was a quick three weeks!? Was surprised to see it mentioned on Young's official site, as "(incomplete score)"; for a second there I thought it was another "Costner" rejection.. [John Debney.]
GANGS OF NEW YORK -- Elmer Bernstein, R.I.P.. A early cut of the movie is around and rumored to feature Bernstein's score. On June 11, 2008 (three years after the rumor Varese was going to release it) -- a limited edition with two other rejected scores was released. INFO. Future CD (empty). Harvey Weinstein -- a notorious man here at this site -- didn't like the long running time of the film (over three hours) and kept editing it and the music for different screenings; Scorsese, not wanting to give up the film to Weinstein's hands, had to edit the film and ultimately Bernstein's score didn't fit any longer (that's why I moved it to "Un-used"); Scorsese did not want the score tossed. Scorsese commented a couple years later, "Harvey is a cunt.". [Howard Shore, Jocelyn Pook (one cue). - CD.]
2003
TIMELINE -- Jerry Goldsmith. Goldsmith was unavailable for rescoring, as the film was constantly re-edited. Varese Sarabande released the score. It is said he wrote about 80mins of score. Both CD-Rs. [Brian Tyler, a CD of his complete score.]
2005
+A CHILD'S GAME (AKA: HIDE & SEEK) -- Christopher Young. Surprisingly enough, Young actually lists it on his official site, and as "(incomplete score)". In April 2008, Buysoundtrx Records released what I assume is all of the score Young did. Brief notes on the site say the film was pushed back and he wasn't availabe. This, of course, proves my theory that not matter the rejection -- or even if just demos -- if someone puts Young's stuff on CD, it will sell. [John Ottman - CD.]
TSOTSI -- Guy Farley. One of the film's producer's, against the director's expressed displeassure, decided to bring in Farley to do a replacement score. No one was happy about this and Farley's completed score was never used in any cut of the film when shown; when the film started winning awards and getting praise for the used score, there was no longer any justification for the producer to push Farley's score -- which was done even after the final mix of the film. For these reasons I cannot consider this a "rejected" score, but rather one that just simply couldn't be used and was never required by the director anyway; this is no knock against Farley's score, which hopefully we will hear one day. In an interview put online 9-3-08, Farley talks about what his score sounded like, and the potential to see it released on CD (read it HERE). INFO. [Mark Kilian & Paul Hapker - CD.]
2006
JESUS CAMP -- ?????. According to a book, the film had no direction and the composer did the score on his/her own, but complaints started arising, scenes were recut and the music edited and even redone, and eventually they just went with another score, leaving a mess of the first composer's unfinished work. ["Force Theory", Michael Furjanic, Neill Sanford Livingston.]
2007
NO RESERVATIONS -- Philip Glass. Not technically a rejection, but most of his score was replaced by new cues and a couple pre-existing ones, and source music & songs, with not much of his score left in, but he is still on good terms with the director and will likely work with him again. [Philip Glass (leftovers).]
SAY IT IN RUSSIAN -- Vincent Gillioz. INFO. [Pinar Toprak.]
TERMINATOR: THE SARAH CONNER CHRONICLES -- Blake Neely. With the events at Virginia Tech, the school shooting scene in the original pilot was cut and an actor or two being recast and this lead to a new score being needed, so Neely's couldn't be used. [Bear McCreary.]
2008
LOVE SICK: SECRETS OF A SEX ADDICT (TV movie) -- Peter Allen. I wasn't sure how to classify this, so I moved it here. Appearently an executive at Life Time, who was still new to the job, didn't like the score, but it was replaced on only one version of the film, everywhere else it was shown it had Allen's score. [Peter Allen; Zack Ryan (unknown version).]
+SMALL TOWN SATURDAY NIGHT -- Steve Dorff. Only did some of the film before what ever circumstances came about with the composer change, thus there wasn't really a whole score to use. The song "Someday Came Today" he did for the film, is still used and in the finale. [Steve Bertrand.]

DEMOS

     Sometimes rejection comes before a score even makes it to the final scoring stage; it comes in the form of rejecting original demos. Demos are usually done by computer and feature synths. Some demos even go infront of a small orchestra.
     Demos are made to show the producer (or anyone else) what the composer can do, and even are used as temp tracks for early cuts of a film.

     This list features "demo" scores; scores that rejected before being recorded. It doesn't, however, list scores recorded but also demoed. Like Neff's "Never Cry Wolf" or Beltrami's "Texas Rangers".
(The numbers by each title only reflect the count, not a list number)

This list last updated: June 26, 2009 (Click to "jump" to title)
("Steel Magnolias" moved here, Bliss, Hachiko: A Dog's Story, Goodbye, Mr. Chips, Jesus Camp, Knuckle Draggers, Black Christmas, Sliver, Face/Off moved here, Paparazzi, Blood: The Last Vampire (2008 film), Nowhereland, Angus, Thongs and Full Frontal Snogging, The Long Kiss Goodnight, Predator, Wild Orchid, Alatriste (again), Goldsmith's The Kid updated and will be again over the next few days, Waterworld moved to this list -- where it belonged anyway, Freddy's Dead, Chicken Run updated.)

1969

GOODBYE, MR. CHIPS -- Andre Previn. Previn did a score, in demo form, along with songs supposedly done with his former wife, Dory Previn. According to FSM, who did a 3CD set of the Williams' score and songs and un-used songs, so many composers and song writers contributed to the film over it's extended production hell phase, that they could not possibly include everything; who knows who else did a score. [John Williams.]
1984
MISUNDERSTOOD -- Maurice Gibb, R.I.P.. Originally I was prompted to search because SoundtrackCollector listed Jimmie Haskell as having a "rejected score". But, as I found out, that was really a blurred truth. I reached Mr. Haskell and he had this to say:
"I am the person who orchestrated a 'demo' 'audition' 'score' for only a couple of scenes of "Misunderstood", and I conducted a simple recording of a very small band just to get the musical concept heard by the producer & director. The composer was Maurice Gibb of the Bee Gees. We had no instructions or guidance from the director or producer.
Based on what we submitted to them, the 'demo-audition' was not accepted, and neither one of us actually 'scored' the film.
Maurice was a brilliant new composer. Had he lived, he would developed into a greatly in-demand film composer. He composed an excellent score for "A Breed apart" for which he captured and enhanced the mood which each scene required.
I orchestrated for and conducted a medium/small orchestra for "A Breed Apart" because of the limited budget."
I also contacted replacement composer Michael Hoppe -- in hopes of answers (before I had reached Haskell), and he had stated the Bee Gees and Marvin Hamlisch were previously approached. [Michael Hoppe.]
1985
ONCE BITTEN -- John Barry. Barry wrote two demo themes, didn't get the job. Recycled them into Best Man In The World for Golden Child. [John Du Prez.] -- Special thanks to MightyMcT
1987
PREDATOR -- Patrick Moraz. According to Moraz himsef in an old interview, he did "temporary cues"; not sure if he meant "temporary" as in his music was used temporarily before going to Silvestri. [Alan Silvestri.]
1989
STEEL MAGNOLIAS -- David Shire. On the DVD, the director, Herbert Ross, R.I.P., said he rejected the music of a "well known" composer. [Georges Delerue, R.I.P..]
1990
WILD ORCHID -- Patrick Moraz. Again, according to Moraz himsef in an old interview, he did "temporary cues". [Simon Goldenberg & Geoff MacCormack.]
1991
FREDDY'S DEAD -- Graeme Revell. There is a boot going around with a few tracks; unknown whether he recorded an actual score. Maybe replacing someone himself. [Brian May.]
1993
SLIVER -- Stewart Copeland. One cue on his promotional CD, From Rumble Fish to Gridlock'd; titled "Slithered" (3:03), every mention I find of this says "demo cue", so until someone says it's like "Mobsters", a rejected score by Copeland which has two cues on the promotional CD as well, it's in DEMOS. Copeland recyled what he did into his orchestra project "Stalin's Sultry Serenade". Click for "Mobsters". [Howard Shore.]
1994
JIMMY CALICUT -- Danny Elfman. This was to be a live action musical written and directed by Danny Elfman for 20th Century Fox. For whatever reason, the deal fell through. Elfman was able to complete a demo recording of five of his songs to send to possible investors. In an interview, Elfman stated that the project was officially dead, but he went on saying that you never how dead something will stay in Hollywood. A bootleg of the demo is available in fair quality. [FILM NOT MADE (special thanks to Dylan).]
LITTLE DEMONS -- Danny Elfman. This was another live action musical project that Danny Elfman wrote and was set to direct. Tim Burton was set to produce. Somehow, the project collapsed and interested shyed away. Elfman did complete an impressive 17-minute demo recording that has been circulating from collector to collector for the past decade in bootleg form (with pretty decent sound). While the project isn't dead, it is owned by Disney, so unless they are bought out, we may never see it made. A review of the screenplay can be read HERE, and the demo can be listened to online HERE. [FILM NOT MADE (special thanks to Dylan).]
THE NET -- Richard Gibbs. After doing this synth score, it was decided he wasn't big enough of a name to score the film. [Mark Isham.]
1996
THE LONG KISS GOODNIGHT -- John Debney. Did some original demos. [Alan Silvestri.]
1997
BLISS -- John Barry. Barry recorded some violin pieces that were played on set while filming, but a scheduling problem led to him being unable to do the score in the end. [Jan AP Kaczmarek.]
+FACE/OFF -- Mark Isham. Isham had finished almost 2/3 of his electronica-style score when he was fired by director John Woo. About Powell's score Isham doesn't say much except that "it is quite different from what I had done.". Only done in demos form, never recorded with an orchestra. INFO (coming soon). [John Powell, Gavin Greenway (additional), Geoff Zanelli (additional).]
WATERWORLD -- Mark Isham. Online I found this: "...wrote and recorded a complete score to Waterworld. It was thrown out after director Kevin Reynolds was fired and..." (unverified). INFO. [James Newton Howard - CD.]
1998
EVER AFTER -- John Barry. Wrote a theme as a demo, which was rejected. [George Fenton.]
1999
THE END OF THE AFFAIR -- John Barry. Barry did a demo theme for Neil Jordan's movie which he later reworked for his non-score album "Eternal Echoes". [Michael Nyman - CD.]
2000
CHICKEN RUN -- Julian Nott. Supposedly Zimmer, sadly now the head of Dreamworks Music Department, pressured Nott to use some of his MV cronies. Nott refused and said his score was ready anyway; this appearenly pissed Zimmer off, and the director called Nott a few days later to tell him Dreamworks offers him a lot more money for the score recording if he used Zimmer's guys. Nott's score (unknown whether recorded), was used as a temp track. Nott, reportedly, was hurt. Nott is most famous for his scores to the "Wallace & Gromit" clay animation shorts. [Harry Gregson-Williams, Steven Jablonsky (additional), James McKee Smith (additional), Geoff Zanelli (additional), John Powell, Alastair King (additional). - CD + cues on various promos not on the official CD.]
THE PATRIOT -- David Arnold. Arnold wrote & made a hand full of original demos, but no real orchestra score. INFO (coming). [Harold Kloser - CD.]
THE PATRIOT -- Harold Kloser. In an interview he said he did some, but Roland didn't like them. [John Williams - CD.]
REINDEER GAMES -- Jerry K. Goldsmith, R.I.P.. Recorded original demos only. It is reported by Dan of soundtrack.net that it sounds like "Rudy". Someone else -- I forget who -- wrote that Jerrald's synth score was still in the first three screenings. Goldsmith quit. [Alan Silvestri - few boots.]
2001
BROTHERHOOD OF THE WOLF -- Kenji Kawai. Composed some original demos, but didn't up scoring the film. [Joseph LoDuca.]
2002
EQUILIBRIUM -- Graeme Revell. Don't know if he recorded anything though. The film's director said he had a "prominent" composer doing the score, but it didn't work out, and as much I enjoy some of Revell's work, I just don't think he was the "prominent" guy, and that he also has a reputation for replacing scores, so... [Klaus Badelt, Ramin Djawadi (additional), Geoff Zanelli (additional).]
THE KID -- Jerry Goldsmith, R.I.P.. Nearly complete score of synth mockups; never got to a scoring stage. INFO (pending). [Marc Shaiman, Frank Gari (additional) - complete score promo.]
2003
PIRATES OF THE CARIBBEAN -- Alan Silvestri. No. He didn't record anything. Early test screening prints had the new composer's score. He did original demos though. Gore and Jerry were not happy with flutes, they passed along their displeasure by telling the MV composers not to write any woodwind flourishes that you would associate with a traditional pirate score. So, in other words, Silvestri wanted to give us a masterpiece and Jerry didn't want it. INFO. [The composers who did score the movie: Hans Zimmer, Geoff Zanelli(additional), Blake Neely(additional), James McKee Smith(additional), Steve Jablonsky(additional), Nick Glennie-Smith (additional), James Michael Dooley (additional), Ramin Djawadi (additional), Klaus Badelt & Trevor Morris (additional). WHEW! -- CD.).]
2004
ALIENS VS. PREDATOR -- Mark Mancina. As someone wrote in a moviemusic.com post:
"Well, here's a quote from the book "Beautiful Monsters", by David McIntee, which is a very detailed history of the making of the Alien and Predator films.

"The music was originally slated to by scored by Marco Beltrami, but his score was eventually rejected. The rejection of a completed score isn't as unusual as you might think: it happens fairly often. Used in place of Beltrami's work was a score by Harold Kloser, commissioned in late March, 2004." ". [Harold Kloser, Thomas Wanker (additional), James Brett (additional), Thomas Schobel (additional).]
THE EXORCIST: THE BEGINNING -- Finn Tuomas Kantelinen. Did original demos, but they decided not to use him. [Trevor Rabin.]
I, ROBOT -- Trevor Jones. Aside from the obvious IMDB "Other works" page listing an un-used score, it came to light he did a number of demos, and this (I don't know how accurate it is): his previous agent, David May, said Jones was hurt by his score being replaced. Why would he be so upset over nothing being recorded... [Marco Beltrami and others.]
THE IDIOCY VICE -- Edward Lewis. Yes, a second time. Lewis did a few rough demos, but then just seemed to vanish of the face of the Earth. A new composer is still needed (5-17-05). [The 5 or 6 cues in the finished movie were composed by the following three composers: Mark Stephens, Rory Cameron and Craig Beedham.]
PAPARAZZI -- Mark Isham. Did a few demos, but had to leave for another project. [Brian Tyler.]
TRICKERY OF TRAVELERS -- David Wester. As written by the film's creator:
"The situation with the music completely falls apart and to make a long story short, replacement composer Rachel Hamilton is brought in to write the music. I send her a disc of QuickTime files and she begins writing demos.".
Hamilton, as you can hear by her clips, relies heavily on the theremin. [Rachel Hamilton.]
2005
ALATRISTE -- Diego Navarro. [Alfons Conde.]
ALATRISTE -- Alfons Conde. Did a demo, which may be posted at his website one day. (Howard Shore never did). [Roque Banos - CD.]
CONSTANTINE -- Lisa Gerrard. Not so much a rejection, or a un-used score. Though she didn't see the film, she put together a ten-minute suite to show what she could do, and it was used as some temp tracking, but she was not ever hired. At her official site, lisagerrard.com, it was mentioned in a forum post that they are considering releasing it to subscription members. Hummm... [Brian Tyler, Klaus Badelt (additional reworkings).]
ALL THE KINGS MEN -- Edward Shearmur. [James Horner.]
SERENITY -- Carter Burwell. Now, you know he said he was fired before recording was going to begin on February, but Joss Whedon has a different say:
"The movie as I first described it and the movie as it turned out were kind of different, the needs of the score different as well. Carter did some great work, really interesting, but in the end my two friends didn't end up dating."
Did some great work? Original Demos is what I am thinking. I mean, they didn't rejected him cause he wore red shoes or something. But in these days Demos sometimes have real orchestras. Small ones, but interesting nonetheless. Composer Brian Ralston, who broke the news a while back that a new composer had been hired, has a rather fun demo up at his site, which is linked to in this info at a Whedon site: HERE. [David Newman - CD.]
2006
BLACK CHRISTMAS -- Vince Lauria. Film editor liked his demos and put it to the film, but ultimately decided to go with Walker. This was, coincidently, Walker's last score before passing. [Shirley Walker, R.I.P..]
TEENAGE MUTANT NINJA TURTLES -- Marco Beltrami. Beltrami, in an e-mail reply to someone else, said his score was very good. The recording sessions were to take place in early December, but he was replaced. He said he hopes he can put clips up on his site (yeah, that'll happen). [Klaus Badelt & the Zimmer-ites.]
X-MEN 3: THE FINAL STAND -- Lalo Schifrin. Did some demos; didn't get the job for what ever reason. The producers did know he was ... LALO SCHIFRIN, right? [John Powell, James McKee Smith (additional), and some other guys - CD.]
2008
ANGUS, THONGS AND FULL FRONTAL SNOGGING -- Michael Price. Did a few demos along with David Arnold (who I assume just provided a theme like on "Angent Crush"), but they decided to go with another composer. [Joby Talbot.]
BLOOD: THE LAST VAMPIRE -- Marcus Trumpp. Stated he liked what he did for the film, but that doesn't mean he recorded anything (though he could have; feel free to tell me if you know). [Clint Mansell, Guillaume Roussel (additional).]
KNUCKLE DRAGGERS -- Dean Ogden. Didn't see eye-to-eye on the music and parted way after doing some themes. [Austin Wintory.]
NOWHERELAND -- Theodore Shapiro. Didn't like the demos he did, and went another way. [Mark Mancina.]
2009
HACHIKO: A DOG'S STORY -- Christopher Young. Did some demos, a while after Kaczmarek's score had been recorded; no word if Kaczmarek's score is still being retained. [Jan AP Kaczmarek (assuming he's not been replaced).]

MYTHS

There is a lot of distortion on the web, and as a result I got a fair number of e-mails about one particular score ("Hulk"). That kept this section. Whether they were not recorded (thus not rejected); scores that never made it to the scoring studio, never got demos (at least not known to), composers who were not rejected but rather someone came in and did a few replacement cues, or instances where composers never even wrote a score. Below is an alphabetical list.

This list last updated: July 2, 2006 (Click to "jump"to title)
(The Beast Within [again].)

THE BEAST WITHIN -- Joel Goldsmith. Well, in an interview Jerry said he was going to score it, and SoundtrackCollector.com lists "score not used". But I asked over at Joel's official message board, and no -- Joel never did a thing. Do you people think you can stop making up composers for "The Best Within" now, if it's not too much to ask... [Les Baxter.]
THE BEAST WITHIN -- James Horner. This is mostly Les Baxter's score, out of order, with bad sound. The only Horner material is the 14 min. of The Hand and the main title of Wolfen at the very end. Horner never wrote a note. [Copied from Majestyx's Fake Scores List.]
CONSTANTINE -- Brian Tyler. Klaus Badelt only replaced some cues, and added to others or reworked them. [Still Tyler.]
FROM HELL -- Marilyn Manson. His "score" was thrown out, along with his songs, but a CD release of the "From Hell" soundtrack in some country still features a remix of one of the un-used songs. But someone e-mailed me telling me otherwise and now it's here. [Trevor Jones.]
THE HULK -- People for some reason think he did it even though Danna stated he didn't in a few interviews. Here for your eyes are my remembrances of what he said: He recorded samples of eastern instrument sounds and did some synth moch-ups, but the studio heard them and got worried and dumped him because they are scared pussies and went for Elfman; as if he hasn't had his fill of superhero films. Oh, and Danna was fired before the scheduled recording sessions. So hopefully that will shut you all up. ;-) And to any of you that want to cite the "Mother's theme" that Danna is credited for in the end credits of the film, it goes like this -- and this is from Elfman's mouth: he got all the ethic music samples and vocals Danna has recorded to use in his score, and Elfman liked a piece sung by Natasha Atlas, using a theme done by Danna that was going to be in Danna's score; Elfman used the vocal recording, keeping the first four notes of Danna's, then went into his own. [Danny Elfman.]
THE MOTHMAN PROPHECIES -- Jeff Rona. A "promo CD-R" is floating around, but when you click HERE, you can read a short Q & A Rona did and he says he didn't have a rejected score. What is this then? I need a copy so I can send it to Rona and get a final answer, then I'll be able to remove it, or rename the composer. [Tom Hajdu, Andy Milburn (Did most of the work) and Jeff Rona - CD.]
REMEMBER THE TITANS -- John Debney. Nope, fooled again. He did put together a CD of various cues from other movies he had scored, for this "DEMO" like CD. [Trevor Rabin.]
SEABISCUIT -- Randy Newman. A rumor seems to have spread all over that William Ross came in and replaced a lot of rejected score. Not so, according to Ross himself. Now there have been conflicts as to why Newman left, but Ross came in and did a little, tiny bit of score after Newman left. [Randy Newman, William Ross (additional), Conrad Pope (additional).]
X-MEN -- Klaus Badelt. Well, two promo CDs feature one cue for "X-Men", now whether that is the same cue on both CDs, I don't know. And a rumor is that Singer disliked Kamen's score and had it tossed for a new one that was less thematic in approach. Kamen called Badelt and asked his help on "X-Men". Badelt was very happy with the collaboration and this is probably further proof that Kamen's initial score was rejected and thus needed help to finish the new one. [Michael Kamen, R.I.P.]

MOST REJECTED: 1st place: John Barry
2nd place: Elmer Bernstein
3rd place: Jerry Goldsmith

Van Alexander: "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'."

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ESTABLISHED: February 2004