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

This list last updated:  December 18, 2009  (Click to "jump" to title)
(A Single Man, Nanny McPhee and the Big Bang, A Single Man, Living Out Loud, Gandhi, Eating L.A., One Hell of a Guy, Orgazmo, The Chosen One, King of the Gypsies, Tie Me Up! Tie Me Down!, The Happy Prince, A Grand Day Out With Wallace and Gromit, Mission: Impossible 2, Mindwrap, The Princess and the Frog, Highlander II, Signs of Life, Lacenaire, True Colors, There Will Be Blood, The Union, The Quartermass Experiment, Silambattan, Maya Bazar, The Usual Suspects, Aggar, Solamento Nero, Brides of Fu Manchu, Mary Poppins, "The 18th Angel" moved here, Black Cloud, Family Plot, Bitterblue, Cops and Robbers (again), Dick Tracy (again), Kandisha, Cryptid, Life Goes On, Palominas, Happiness Runs, Upon This Rock (added and solved), Alien, Midnight Express, Valentine, Rome, Uncommon Valor, Down in the Valley, Sonic the Hedghog 3, Law Abiding Citizen, The Land Before Time 11, Sleepless In Seattle, Micki + Maude, Brother Sun, Sister Moon, Lifeforce, The Vintage, Deathwish II, God Told Me To (twice), The Swan, Camille 2000, Therese and Isabelle, Whip It!, Everything's Eventual, Amusement, Never Say Never Again, The Pawnbroker, Arlen Farber, The Mirror, All's Faire In Love, Son of Sunshine, The Goods, Like Dandilian Dust, Spooks (series), Swing Kids, Middle Men, Tyrannosaurus Azteca, Magic Man, Frequently Asked Questions About Time Travel, Black Water Transit, Knuckle Draggers, Last Chance Harvey, Imagine That, Patriotville, Barry Lyndon, Backdraft, The Vanishing, Flash Gordon, Free Willy 2, Choke, I Married An Angel, Babes In Arms, Role Models, The Attic, A Fox's Tale, Julia, Carmen's Kiss, The Grind, Igor (2008 animated).)


    1933
  1. FIGHTERS --  Hanns Eisler.  [Dmitri Shostakovich.]
  2. I MARRIED AN ANGEL --  Richard Rogers.  A university that has some of his tapes and paper work, has papers for a score and songs to this film, and lists Lorenz Hart as the lyricist.  The film is from 1942, the the paper work indicates 1933.  [Herbert Stothart.]
    1934
  3. THE GAY DIVORCEE --  Cole Porter, R.I.P..  [Various.]
    1937
  4. THE GOOD EARTH --  Arnold Schoenberg, R.I.P..  [Herbert Stothart.]
    1937
  5. THE WIZARD OF OZ --  Jerome Kern, R.I.P..  ."MGM had originally wanted Jerome Kern to score the film but Kern's doctor vetoed the idea, having prescribed rest to the songwriter who was recuperating from a recent heart attack."  [Herbert Stothart.]
    1939
  6. BABES IN ARMS --  Richard Rogers.  A university that has some of his tapes and paper work, has papers for a score and songs to this film.  [Nacio Herb Brown.]
    1940
  7. THIEF OF BAGDAD --  Miklos Rozsa.  It's a strange story, which can be found HERE  [?????.]
    1941
  8. SOLITUDINE --  Unsure.  imdb.com lists both Mario Nascimbene and Ettore Montanaro  [Unsure.]
    1942
  9. THE COMMANDOS STRIKE AT DAWN --  Igor Stravinsky.  Stravinsky quietly recycled the music as Four Norwegian Moods.  The first time he composed a movie score and they rejected it.  Supposedly recording the score before even seeing the movie.  [Louis Gruenberg, John Leipold.]
  10. JANE EYRE --  Igor Stravinsky.  Negotiations failed..  [Bernard Herrmann.]
    1944
  11. LAURA --  Alred Newman / Bernard Herrmann.  Newman didn't have the time and Herrmann turned it down; I wonder if the last one involved cursing....  [David Raksin.]
  12. SONG OF BERNADETTE --  Found: "Ironically, Newman replaced the famous composer Igor Stravinsky on the film, and the second movement of Stravinskys Symphony in Three Movements evolved from his original unused score."  [Alfred Newman.]
    1945
  13. BEAU BRUMMELL --  Miklos Rozsa.  Supposedly did an entire score, with only bits -- like the end credits, left in.

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

    "The only other occasion when I let myself in for rewriting part of someone else's score was in the 1950s when I was on the Music staff at MGM. Producer Sam Zimbalist came back from London with a picture called Beau Brummel, dissatisfied with the music provided by an English composer. He felt that the whole beginning and end were wrond, and asked me to provide new music. My contract with MGM specified that I should not interfere with any other composer's music, nor should anyone interfere with mine. However, since Zimbalist was a personal friend, I agreed to make an exception in this case, on condition that I received no screen credit. Now that the composer whose music I replaced is dead, there seems no harm in saying that the whole of the final scene, where Beau Brummel takes his leave of the dying king, is mine."   [Richard Addinsell, Miklos rozsa (leftovers?).]
    1948
  14. PORTRAIT OF JENNIE --  Bernard Herrmann.  imdb.com lists him as uncredited.  Did some cues and a song, but only yhe song remained.  [Dimitri Tiomkin.]
    1953
  15. KNIGHTS OF THE ROUND TABLE --  Clifton Parker.  A brief cue by Parker, source music in the castle, retained.  [Miklos Rozsa.]
  16. TONGA TIKA --  Unsure.  imdb.com lists both Victor Young and Les Baxter.  [Unsure]
    1955
  17. THE KENTUCKIAN --  Roy Webb?  UA's press book in UK says Webb was the composer. Obviously not, but he did score MARTY for the same producers the year before.   Was he just penciled in as possible composer, or did he actually compose a rejected score?  [Bernard Herrmann.]
  18. THE QUATERMASS XPERIMENT --  John Hotchkis.  Supposedly Hotchkis became ill and couldn't do the score.  [James Bernard.]
    1956
  19. THE SWAN --  Miklos Rozsa.  [Bronislau Kaper.]
  20. THE TEN COMMANDMENTS --  Victor Young.  Mr. Young's "Overture" still exists on some release prints.  But it is also said he only got as far as sketching some dance music.  Contrary to popular knowledge, Young did write some music for the film; he did a couple source music cues, which -- best of any information I could find -- were not recorded (even in a demo recording form).  [Elmer Bernstein - 2CD boot.]
    1957
  21. A FAREWELL TO ARMS --  Max Steiner.  According to score boards member Joe Caps (who never replied to me .. Mr. Capps..., and who also mistakinly listed Alfred Newman and "Anne Frank"), "A Suymmer Place" uses two of the themes.  Steiner didn't do a score though.  [Mario Nascimbene.]
  22. THE VINTAGE --  Bronislau Kaper.  FSM notes that, when releasing Raksin's score, they found Kaper possibly scored the film, but paper work and tapes are missing.  [David Raksin.]
    1959
  23. SIGN OF THE GLADIATOR --  Angelo F. Lavagnino.  Was this a rescore for U.S. prints?  [Dominic Frontiere?]
  24. SOLOMON AND SHEBA --  Malcolm Arnold.  Arnold did a couple cues for the film later after the director changed his mind on leaving two without score; Mario, for what ever reason, did not do it.  [Mario Nascimbene.]
    1962
  25. EVA --  Miles Davis, R.I.P..  First choice.  [Michel Legrand.]
  26. THE FOUR HORSEMEN OF THE APOCALYPSE --  Alex North, R.I.P.. [Andre Previn.]
  27. HOW THE WEST WAS WON --  Tiomkin:
    "While How The West Was Won was still in the planning stages, producer Bernard Smith envisioned it should have a score by Dimitri Tiomkin. Initially, Tiomkin had expressed interest, but he was forced to bow out of the project following eye surgery, and Alfred Newman was brought in as a replacement."
  28. IPNOSI --  Francesco De Masi, R.I.P..  [Angelo Francesco Lavagnino, Roman Vlad (together?).]
  29. LAWRENCE OF ARABIA --  Richard Rodgers.  May have recorded.  [Three guys.]
  30. LAWRENCE OF ARABIA --  Walton (for the marches), Khatchaturian (arabic music) & Arnold (the rest).  Wanted too long to score it.  [Benjamin Britten.]
  31. LAWRENCE OF ARABIA --  Benjamin Britten.  Wanted too long to score it as well.  [Maurice Jarre.]
  32. LE SETTE SPADE DEL VENDICATORE --  Francesco De Masi, R.I.P..  [Franco Mannino.]
  33. SODOM AND GOMORRAH --  Tiomkin. [Miklos Rozsa.]
    1963
  34. THE RUNNING MAN --  Ron Grainer.  Grainer redid the main theme only.  [Alwyn.]
    1964
  35. MARY POPPINS --  Nelson Riddle.  In the biographal book, September In the Rain, it says Riddle was offered, but turned down scoring the film.  [Irwin Kostal.]
  36. THE PAWNBROKER --  John Cage, Gil Evans or John Lewis.  Reportedly the director wanted any of these compsoers (not known whether he got any of them before Jones).  [Quincy Jones.]
    1965
  37. PROMISE HER ANYTHING --  John Barry.  IMDB.com trivia says Barry did a score which was not used.  [Lyn Murray.]
    1966
  38. BRIDES OF FU MANCHU --  Johnny Douglas.  Dropped out; don't know if he did anything or not.  [Bruce Montgomery, Douglas Gamely (additional).]
  39. GRAND PRIX --  Jerry Goldsmith.  Information from Deconstructing Goldsmith:
     EVIDENCE: July 11th 1995 - Jerry Goldsmith interview on America On Line (AOL Online Host).

    Question: Jerrald, I've listened to and admired your work for many, many years. THE SAND PEBBLES is a personal favorite. Were there any unique challenges, or anecdotes about doing that score?
    GoldsmithJ: Yes. Originally I was supposed to do GRAND PRIX, but I was under contract to 20th Century Fox at that time and Alex North was supposed to do THE SAND PEBBLES, but he got sick, so Fox preempted me out of GRAND PRIX, and to my good fortune, I got to do THE SAND PEBBLES. It was my first time working with Robert Wise and it was a great experience.
  40. THE SAND PEBBLES --  Alex North.  North became sick and had to drop out.  Didn't find out whether he has begun recording.  [Jerry Goldsmith.]
    1967
  41. BONNIE AND CLYDE --  Charles Strouse.  FSM:  EUGENE IEMOLA:
    "the rejected score to BONNIE AND CLYDE by Charles Strouse. The trailer has some of it and the Exit music exists on the DVD, but what of the rest of the score?"
    The answer being he didn't do any score than that really.
  42. MIDWAY --  John Cacavas.  In a book, Cacavas says the director wanted him to score the film, but Williams was hot at that time.  [John Williams.]
  43. SADISMO/MONDO SADISMO --  ?????.  Baxter scored US prints only.   Original composer?  [Les Baxter.]
  44. IN COLD BLOOD --  Leonard Bernstein.  One of the studio people clashed over Jones scoring the film just because he was black, as Jones recants in a story, and that they wanted Leonard Bernstein to score it.  [Quincy Jones.]
    1968
  45. BOOM! --  John Dankworth.  Don Black did songs.  [John Barry.]
  46. THE DEVIL'S BRIGADE --  Elmer Bernstein.  [Alex North.]
  47. HELLFIGHTERS --  John Williams.  According to Rosenman, Williams was supposed to score it, but Williams got appendicitis (seems to me there must be a lot of appendicitis doctors in Hollywood...).  [Leonard Rosenman.]
  48. ICE STATION ZEBRA --  Jerry Goldsmith.  - Turned it down to score PLANET OF THE APES.  [Michael Legrand.]
    1969
  49. CAMILLE 2000 --  Armondo Trovajoli.  Supposedly dropped out at the last minute.  [Piero Piccioni.]
  50. DAVID COPPERFIELD --  John Williams.  Scheduling conflict with "Goodbye, Mr. Chips".  [Malcolm Arnold.]
    1970
  51. THE BATTLE OF NERETVA --  Vladimir Kraus-Rajteric.  Herrmann scored the English language version. The USSR print of this Yugoslav picture was wholly or partially rescored by Soviet composer(s).  [Bernard Herrmann.]
  52. BENEATH THE PLANET OF THE APES --  Jerry Goldsmith.
    EVIDENCE: 1996 - Jerry Goldsmith interview for the Special Edition LaserDisc release of PATTON.

    At one point in the interview Jerry Goldsmith mentions that he was originally the composer signed to write the score to BENEATH THE PLANET OF THE APES; however, Frank Schaffner went to the Fox brass and insisted that Goldsmith do PATTON instead. Also in his discussion, Goldsmith alludes to the fact that he had already started his BENEATH THE PLANET OF THE APES score...
  53. DIAL HOT LINE --  Stanley Wilson.  [Oliver Nelson.]
  54. THE MOONSHINE WAR --  Neal Hefti?  [Fred Karger, Hefti]
    Credited to Karger, but with additional music by Hefti. As Hefti scored four previously for director Richard Quine, I assume he was first choice for this one, but MGM had Karger rescore most of it. True?
  55. UPON THIS ROCK (TV movie) --  William Walton.  As the Lewis tells in an old interview, Walton was offered the film, but turned it down; after the "Battle of Britain", he was no longer interested in scoring movies.  [Michael J. Lewis.]
    1971
  56. PSYCHOMANIA --  David Whitaker.  [John Cameron.]
    1972
  57. BROTHER SUN, SISTER MOON --  Leonard Bernstein.  Was chosen to score it, but don't know if he did or didn't.  [Riz Ortolani (overseas) / Ken Thorne (U.S.).]
  58. THE REVENGERS --  Pino Calvi.  Shot in Mexico, and presumably scored there. The Calvi version played in UK. Did Matz rescore the US print? [Peter Matz?]
  59. LAW AND DISORDER --  Aaron Copland, R.I.P..  In an interview, Badalamenti says this:
    "... He'd just finished Law and Disorder for them, a cop movie starring Carroll O'Connor and Ernest Borgnine. Id read the script, which was floating around the office, and was inspired enough to write some music for it on spec. So I caught Ivan as he was about to go out the door and told him how much I loved the script. Then I said, "Ivan, I'd like to play something for you." And he said, "Oh, I've got to go down and mail a letter. But I tell you what. Why don't you play me this music before I go?" So I played the themes for Carroll and Ernest, then showed Ivan how I could make the themes work together. Ivan really flipped over the music and asked me to score the film. I'd never done a movie before and immediately said yes. Then Ivan said, "You're lucky I didn't mail this letter." I asked him why, and Ivan took the letter out of his coat pocket. It was addressed to a composer he wanted named Aaron Copland! Ivan ripped the letter up and threw it in the garbage. ..."

    [Angelo Badalamenti.]
    1973
  60. PAT GARRETT & BILLY THE KID --  Jerry Fielding, R.I.P..  Supposedly backed out.  [Bo Dylan.]
    1974
  61. THE HAPPY PRINCE --  Howard Blake.  Blake says on his website that after being hired, writing a theme for the bird, and a song, he called the director and found out they hired Goodwin.  Calling Goodwin up, he got a terese reply on the situation.  [Ron Goodwin.]
    1975
  62. BARRY LYNDON --  Howard Blake.  In an interview Blake said he was asked to score the film, but he turned it down to continue on a piano quartet he was doing.  [Leonard Rosenman, R.I.P..]
  63. THE TAKING OF PELHAM ONE TWO THREE --  Jack Nitzsche.  Offered, but declined.  [David Shire.]
    1976
  64. CARRIE --  Bernard Herrmann.  Obviously not rejected, but was set to score the film until his death.  [Pino Donaggio.]
  65. FAMILY PLOT --  ?????.  In a news article from 1996, the following story was recanted:
    He was not the first to have been assigned that job and remembers asking the old boy why it hadn't worked out with the previous composer. "Well," said Hitchcock, "he kept writing this oppressive, lugubrious music." "But surely that's appropriate in a movie about murder?" replied Williams. "No, Mr Williams, you must understand - murder can be fun."

    [John Williams.]
  66. GOD TOLD ME TO --  Miklos Rozsa, R.I.P..  When the director asked him, he replied: "God told me not to.".  [Bernard Herrmann, R.I.P..]
  67. GOD TOLD ME TO --  Bernard Herrmann.  Met up with the director (after finishing scoring "Taxi Driver"), watched the film, mades notes on how he was going to score it, then died less than 24 hours later.  [Frank Cordell.]
  68. ROBIN AND MARIAN --  Maurice Jarre.  Turned it down after finding out Legrand had been rejected.
  69. ROCKY --  David Shire.  In an interview, Shire states if was too busy working on two other films at the same time (one "The Big Bus"), that he had to turn this offer down; totally regrets it.  [Bill Conti.]
    1977
  70. GULLIVER'S TRAVELS --  Peter Hunt mentioned in an interview that John Barry and Black had written a substantial amount, but when the film went into financial hiatus, and was effectively locked up, the whole project got shelved.  When the finance came back, Hunt contacted Barry and Black, but Barry had withdrawn his music by then.  Did he record anything though?  [Michel Legrand.]
  71. MIDNIGHT EXPRESS --  Vangelis.  In a DVD commentary, the director reveals he wanted Vangelis to score the film, but the studio felt otherwise; he points out now, Vangelis is famous (yet, for all 11 films later, he did not hire Vangelis).  [Giorgio Moroder.]
  72. THE SENTINEL --  John Williams.  Supposedly backed out at the last minute.  [Gil Melle, R.I.P..]
  73. TWILIGHT'S LAST GLEAMING --  Frank DeVol.  Had to bow out at the last minute because of health issues.  [Jerry Goldsmith.]
    1978
  74. THE FURY -  Bernard Herrmann.  Not rejected, but according to Varese Sarabande, "...would have been scored by the legendary Bernard Herrmann, if not for his untimely passing..."  [John Williams.]
  75. KING OF THE GYPSIES --  jimmie Haskell.  [David Grisman, Mike Marshall and John Carlini(additional); Jimmie Haskell (leftovers?).]
  76. SUPERMAN --  Jerry Goldsmith.
    EVIDENCE: 2001 - Richard Donner interview for the Special Edition DVD release of "Superman, The Movie".

    Richard Donner revealed that Jerry Goldsmith was in line to score the movie first but due to scheduling difficulties during 1977-78 had to pass on the assignment. John Williams also nearly missed out for the same reason and the project again was offered to Goldsmith. But further scheduling prevented Goldsmith working on the film and Williams was finally able to score it.
  77. SOLAMENTO NERO --  Goblin.  Supposedly a contractional dissagreemtn had them leave.  [Stelvio Cipriano.]
    1979
  78. ALIEN --  Isao Tomita.  Ridley wanted Tomita to score the film, the studio felt completely different.  [Jerry Goldsmith, R.I.P.]
  79. BREAKING UP IS HARD TO DO --  Richard Bellis  Arranged songs; never did a score.  [Gereld Fried.]
  80. BUTCH & SUNDANCE:  THE EARLY YEARS --  Jerry Goldsmith.  Script conflicts.
  81. THE CHAMP --  Marvin Hamlisch?  Song by Hamlisch. Did he write a rejected score?  [Dave Grusin]
  82. THE CHINA SYNDROME --  Jack Nitzsche.  [Then Michael Small, then nobody went in and it went scoreless.]
  83. ESCAPE TO ATHENA --  Jerry Goldsmith.  Script conflicts.
  84. THE GLOVE --  Robert O. Ragland.  Soundtrackcollector lists the score as not being used, yet IMDB still lists him.
    1980
  85. AIRPLANE! --  Miklos Rozsa, R.I.P..  Was offered the film and read the script, but couldn't tell if it was a comedy or serious from reading it, and ultimately passed on it, but thought Bernstein did a good job.  [Elmer Bernstein, R.I.P..]
  86. CARNY --  Robbie Robertson.  Only did songs and was never engadged to do the score.  [Alex North.]
  87. FLASH GORDON --  Pink Floyd.  [Howard Blake.]
  88. NIGHT OF THE JUGGLER --  Jerry Goldsmith.  Script conflicts.
    1980
  89. HIDE IN PLAIN SIGHT --  Michael Small.  A listing on SoundtrackCollector.com says so.  [Leonard Rosenman.]
    1981
  90. BODY HEAT --  Miklos Rozsa, R.I.P..  Was offered the film, but when he read the script, he found it "disgusting".  [John Barry.]
  91. THE COMING --  Arthur Kempel?  [Dana Kaproff]
  92. THE DEVIL AND MAX DEVLIN --  Marvin Hamlisch.  [Buddy Baker.]
  93. KENT STATE (TV movie) --  Ken Lauber.  Director said he ultimately dropped about 92% of the composer's score since each time it was put to it, it made the film lose the documentary feel.  [Ken Lauber (leftovers).]
  94. LOOKER --  Jerry Goldsmith.  Script conflicts.
  95. OUTLAND --  James Horner.  Here is an interesting post I found.  Very interesting:  (I forget who made the post)
    In 1986 there was an interview published in "Start Trek: Movies Files - The Wrath of Khan" (Ed Gross - Files magazine ? 1986 By PSI FI Movie Press, inc.), in where the writer does a Q&A with Horner about his career and his score for the Trek films. At some point Horner mentions that he had done some work on the film "OUTLAND," commenting that it was his first "A" picture.  Here is a bit of the snipped interview where Horner talks about his contribution to "Outland".
    This part comes after having talked about his big break into film scoring with Roger Corman:

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

    Horner: - A:  "I look at my career in terms of milestones. At the time I'm sure I felt it was an important advance. Then I did some work for Orion pictures on OUTLAND, which was my first "A" picture, if you consider that an "A" picture. It was my first big budgeted film. From there I did several other films, and I guess that my next big milestone was STAR TREK II. Now I've gone beyond that by doing such films as GORKY PARK, The DRESSER, UNCOMMON VALOR and TESTAMENT. Thank God I did TESTAMENT." "
  96. SPHINX --  Jerry Goldsmith.  Script conflicts.
    1982
  97. DANCE OF THE DWARFS --  John Barry.  [Perry Botkin, Jr.]
  98. DEATHWISH II --  Isaac Hayes.  Page had two weeks to do is score, usually a sign a previous composer did their score...  [Jimmy Page.]
  99. GANDHI --  ?????.  In a recent bio on Fenton for a concert performance, the statement was Fenton was called in to score the film after the previous composer supposedly dropped out.  [George Fenton & and Ravi Shankar.]
  100. THE NEIGHBORHOOD --  John Cacavas.  [Richard Markowitz.]
  101. TIR GOUPE --  Philippe Sarde.  A listing on SoundtrackCollector.com says so.  [Yvan Sullien, Hubert Rostaing.]
  102. YES, GIORGIO --  Jerry Goldsmith.  Script conflicts.
    EVIDENCE FOR 4 TO 9: March 4th 1981 - Jerry Goldsmith interview on OUTLAND by Allan Bryce.

    Allan Bryce:  "One of the more interesting of your telefilms was PURSUIT. Do you remember that one?"
    Jerry Goldsmith:  "That was the first time I worked with Michael Chrichton. It wasn't called PURSUIT in the States, it was called BINARY. (In fact it was based on Chrichton's novel BINARY, written under a pseudonym). I've since done COMA and THE GREAT TRAIN ROBBERY. I'm not doing LOOKER with him though, because I'm doing this picture now [OUTLAND], which is a direct conflict. I would be scoring LOOKER in three weeks if I had accepted it, whichis virtually impossible since I'm not done with this one yet. I will do his next film, CONGO." [Which Schaffner didn't film after all]
    Allan Bryce:  "Everyone thought you would be doing SPHINX."
    Jerry Goldsmith:  "That was a conflict also, with OMEN 3 - THE FINAL CONFLICT. I'm doing Schaffner's next picture, with Pavarotti." [YES, GIORGIO, which he obviously didn't]
    Allan Bryce:  "Will that mean you?re going to be writing a lot of opera?"
    Jerry Goldsmith:  "No, I don't think so -- the script's at home, I haven't read it yet."
    Allan Bryce:  "Sometimes you duck out of some films for various reasons... Can I try these on you? BUTCH AND SUNDANCE: THE EARLY YEARS?"
    Jerry Goldsmith:  "I did MAGIC for Fox instead."
    Allan Bryce:  "NIGHT OF THE JUGGLER?"
    Jerry Goldsmith:  "I took that but I didn't like the script. I liked the book, but that was something different."
    Allan Bryce:  "ESCAPE TO ATHENA?"
    Jerry Goldsmith:  "I didn't like the script for that either."
    1983
  103. LOVESICK --  Stanley Silverman.  Am told he didn't do a score.  [Philippe Sarde.]
  104. JAWS 3 --  John Williams.  [Alan Parker.]
  105. NEVER SAY NEVER AGAIN --  ?????.  In the book The Complete James Bond Movie Encyclopedia, which I do not have and am only using an excert from, the producer (Jack Schwartzman) was not happy with Legrand's score, and brought in another composer.  The excerpt does not name who, but says he had wanted James Horner, but Sean Connery vetoed that idea (coincidently just two years later Horner scored a film Connery starred in).  [Michel Legrand.]
  106. UNCOMMON VALOR --  ?????.  Milius hired a composer, Katzenberg -- angry about not being consulted -- threw Milius off the Paramount lot, and refused to let the composer do a score.  A common title requested by Horner fans for release, the master tapes are currently missing.  [James Horner.]
  107. WITHOUT A TRACE --  Bill Conti  [Jack Nitzsche.]
    1984
  108. MICKI + MAUDE --  Michel Legrand.  Supposedly became unavailable, but a song by him still appears in the film.  [Lee Holdridge.]
  109. OH, GOD! YOU DEVIL --  Mike Post.  A version of the film rental from Netflix (amybe the same version available everywhere else), still has Post credited; I was not able to see the film myself to find out what the credit reads.  [David Shire.]
  110. OXFORD BLUES --  George Romanis.  [John DuPrez.]
  111. THE TERMINATOR --  Tony Banks.  Was originally going to do the score, but who knows why not.  [Brad "BOOM BOOM BOOM BA BOOM" Fidel - CD.]
  112. TOP SECRET --  Elmer Bernstein - For some reason, this looks like one he probably did.  It just seems like something he would have been rejected from.  Plus, Jarre's score sounds like a replacement anyway.  [Maurice Jarre - CD.]
    1985
  113. BRAZIL --  Michael Kamen.  "...Brilliant orchestral, symphonic score...".  Supposedly a lot of his score was not used and replaced with songs to make it more "hip" to young people.  [Michael Kamen.]
  114. FLETCH -  Charles Gross  [Harold Faltermeyer.]
  115. FLETCH --  Tom Scott.  Supposedly a noir styled score.  [Harold Faltermeyer.]
  116. THE GOONIES --  Jerry Goldsmith  [Dave Grusin.]
  117. LADYHAWKE --  Gerard Schurmann.  Originally going to score it, but the producers changed their mind; a mistake if you ask me...  [Andrew Powell.]
  118. LIFEFORCE --  James Horner.  Horner was the original choice, but he ended up not being available.  [Henri Mancini.]
  119. SWEET DREAMS --  Stanley Myers? [Charles Gross.]
    1986
  120. CLUB PARADISE --  Van Dyke Parks.  Mansfield co-scored with Mr. Parks.  [David Mansfield.]
  121. ENTERTAINING ANGLES:  THE DOROTHY DAY STORY --  Elmer Bernstein, R.I.P..  Listed on imdb.com has having an "unused score".  I spoke to the film's director, and he said that Bernstein was in fact asked to score the film, but it soon became clear that his son would be doing most of the score, and he moved on to another composer.  So, I guess it should read: Peter Bernstein.  [Bill Conti, Ashley Irwin (additional).]
  122. FIREFIGHTER --  John Addison.  [Dana Kaproff.]
  123. NIGHT OF THE CREEPS --  Elmer Bernstein, R.I.P..  Was going to score it and use the ondes martenot, but for what ever reason he didn't score it (or maybe he did and that's just lost to time).  De Vorzon's score was released in October 2009, suggesting -- since no mention was made of Bernstein -- that perhaps no score was done, unless the partnership between Varese Sarabande and the Bernstein Estate makes this a future VSC CD.  [Barry De Vorzon.]
  124. THERESE AND ISABELLE --  Georges Delerue, R.I.P..  Was hired to score the film, but some kind of personal problem arose and he had to back out.  [Georges Auric.]
  125. THE TRIAL OF THE TIME LORD (AKA: Mindwrap -- Doctor Who) --  Dick Mills.  [Richard Hartley.]
    1987
  126. EXTREME PREJUDICE --  RY Cooder.  [Jerry Goldsmith.]
  127. THE SECRET OF MY SUCCESS --  John Williams? [David Foster.]
  128. QUICKSILVER --  Thomas Newman.  [Tony Banks.]
    1988
  129. CASUAL SEX? --  Carter Burwell.  Listed on SoundtrackCollector.com as "(score not used)".  [Van Dyke Parks.]
  130. LITTLE NIKITA --  James Horner.  [Marvin Hamlisch.]
  131. MYSTIC PIZZA --  Barry Coffing.  [David McHugh.]
  132. NIGHTMARE AT NOON --  Author Kempel, R.I.P..  According to record producer, offender extraordinaire, Ford A. Thaxton, Kempel was the first composer and made him "music supervisor"; Ford retains the credit (even on IMDB), though he was not involved with the final score.  And he hasn't exactly corrected it either, so...  [Stanley Myres & Hans Zimmer.]
  133. FRIDAY THE 13TH PART VII: THE NEW BLOOD --  Harry Manfredini.  Not rejected, but unavailable.  [Fred Mollin with music from Manfredini's scores to Parts 1, 2, 5, and 6]
  134. POLTERGEIST III --  Jerry Goldsmith.  Before he found out the budget.  [Joe Renzetti.]
    1989
  135. A GRAND DAY OUT WITH WALLACE AND GROMIT --  ?????.  In an interview, Nott says someone else was going to score it.  [Julian Nott.]
  136. THREE FUGITIVES --  Charles Gross.  David McHugh, the final composer on the project, was replaced by Gross.  Then they decided they wanted McHugh again...  [RY Cooder.]
  137. THREE FUGITIVES --  RY Cooder.  Once again they replaced McHugh and asked RY Cooder, but Cooder wasn't available and turned it down.  [David McHugh.]
  138. MISS FIRECRACKER --  Composer/Music Editor Joseph S. DeBeasi was Music editor on the rescore, but imdb.com lists two composers, not saying who did which.  I tried DeBeasi at his website and he didn't reply.  It's either Homer Denison or David Mansfield.  I've had success reaching Mansfield, so I will try him again.  [?????.]  Bad choice of words is all; Mansfield wasn't available for some changes and Denison came in and provided a little etra help.
  139. ONE FOR SORROW, TWO FOR JOY (AKA: Signs of Life) --  Richard Einhorn.  In a 1989 Soundtrack! magazine interview, he says he's jsut been hired to score the film, and about what the score will be, he says: "The score will be a real change of pace: all of it will be Portuguese music!".  [Howard Shore.]
  140. TO KILL A PREIST --  Zbignew Preisner.  [Georges Delerue, R.I.P..]
  141. TURNER & HOOCH --  James Horner.  [Charles Gross.]
  142. WHY ME? --  Basil Poledouris.  Why not?  [Phil Marshall.]
    1990
  143. CHILD'S PLAY 2 --  Danny Elfman.  Supposedly, he was unhappy with the finished film.  Don't know how far he got, but he at least wrote a theme; Revell took the job on the condition that he could use it.  Note from me, Justin:  There is a boot that has Elfman's recorded theme.  [Graeme Revell.]
  144. DANCES WITH WOLVES --  Basil Poledouris.  Backed out to score FLIGHT OF THE INTRUDER.  [John Barry.]
  145. DICK TRACY --  Stephan Sondheim.  Was asked to score the film on top of doing some songs, but turned down the offer to score it.  [Alan Silvestri.]
  146. DICK TRACY --  Alan Silvestri.  In an book where he was interviewed, it said he had already started work on the score.  Silvestri also mentions not having a score rejected up to that point, so if he recorded for this -- it would be his first rejected score.  [Danny Elfman.]
  147. EXORCIST III --  for a while -- and was cut into many different, some unrecognizable, shapes -- and DeVorzon's score was to be replaced by a more conventional (though still surely excellent) Christopher Young score.  (Quote from someone else)  [Duh.]
  148. HOME ALONE --  Bruce Broughton.  Supposedly a scheduling conflict with "Rescurers Down Under" that ran a month over and Broughton turned it down.  [John Williams.]
  149. STELLA --  John Barry.   Pulled out of it because he thought the film was going to be a disaster.  [John Morris.]
  150. LES ENFANTS DU PARADIS (AKA: Lacenaire) --  Georges Delerue, R.I.P..  In an Soundtrack! magazine interview, Delerue says he might score the film.  [Laurent Petitgirard.]
  151. LIONHEART --  ?????.  Another speculation on my part because someone said Scott did the score is less than two weeks.  [John Scott.]
  152. MOON 44 --  Christopher Young.  Turned it down for unknown reasons.  [Joel Goldsmith.]
  153. TIE ME UP! TIE ME DOWN! --  Miles Davis.  The director states in an interview he wanted Davis (doesn't state if that happened), and only hired Morricone because he was available, and also says all Morricone did was rip his theme off from "Frantic", and mentiones he only used half of Morricone's score.  [Ennio Morricone.]
  154. TOTAL RECALL --  Basil Poledouris.  Basil once said:
    "BP: When Paul asked me to score Total Recall I had already The Hunt For Red October. It nearly killed me but I had to refuse the assignment, as I don't score two films at once feeling it to be a great disservice to both pictures. His choice of Jerry was perfect and Jerry has provided him with wonderful soundtracks. Paul is loyal but is willing to cast composers like he would any other of his films. He once told me that he utilized Jerry for a more intellectual approach and me for a more emotional approach. It made perfect sense at the time and still does."
    But the problem with this being that these films were seperated by two or three years, and Basil was on TR for at least six months.  Conflicting.  [Jerry Goldsmith.]
    1991
  155. BACKDRAFT --  James Horner.  Wanted Horner, but supposedly Horner wasn't available.  [Hanzi Zimmer.]
  156. HIGHLANDER II: THE QUICKENING --  Ennio Morricone.  In a 1990 Soundtrack! magazine assignments listing, this is listed; all other assignemtns listed were accurate except one film which never got made (sorry, Elfman).  [Stewart Copeland.]
  157. LIVIN' LARGE! --  Kurt Farquhar.  An old article says he had scored it.  [Herbie Hancock.]
  158. TRUE COLORS --  Georges Delerue, R.I.P..  In an Soundtrack! magazine interview, Delerue says he would be scoring the film.  [Trevor Jones.]
    1992
  159. CITY OF JOY --  Richard Blackford.  Provided additional scoring, not for Morricone, but was never the full compsoer for the film.  [Ennio Morricone.]
  160. 1492 --  Hans Zimmer.  Said in an interview he was signed to score it.  [Vangelis.]
  161. INDIANA JED (Video) --  ?????  [imdb.com lists David Wurst, Marc & Michael Linn as doing the new score.  Reused cues from David's library.]
  162. TRESPASS --  James Horner.  [Cooder.]
    1993
  163. A BRONX TALE --  Bobby Watson.  As reported by FSM.  [Butch Barbella.]
  164. BENNY AND JOON  --  ?????  Someone posted at a board mentioning that the Special Edition LaserDisc had as an option, an alternate score that was rejected.  I do not know who, but imdb.com lists Charlie Reid.  I have no confirmation.  [Rachel Portman.]
    The LaserDisc features an option to see a different version of the film, or something like that and the beginning of the film uses Portman's un-used score piece, which was replaced by the song "500 Miles".  They say it's a wonderful cue too.  Maybe more.
  165. FALLING DOWN --  Graeme Revell.  I went ahead and checked his imdb.com listing and 1993 films.  He did 7.  I can only now assume it was a scheduling conflict.  Unless he was just that good.  [James Newton Howard.]
  166. THE NIGHTMARE BEFORE CHRISTMAS --  Giorgio Mororder.  [Danny Elfman.]
  167. ROMEO IS BLEEDING --  In an interview, Michael Kamen said he didn't.  [Mark Isham.]
  168. SLEEPLESS IN SEATTLE --  John Barry.  Offered the movie, read the script, was going to do, but according to himself in an FSM interview, found out there was a music supervisor attached; inquired about the song use, found out there was 20 pages of songs to be used, dropped out.  [Marc Shaiman.]
  169. SWING KIDS --  Jerry Goldsmith. Supposedly a schduling conflict.  [Georges Delerue, R.I.P..]
  170. SWING KIDS --  Georges Delerue.  Started writing the score, but passed away.  [James Horner.]
  171. THE VANISHING --  Carly Simon.  Simon was asked, but he had no interest in scoring movies at that time, again.  [Jerry Goldsmith.]
    1994
  172. A LOW DOWN DIRTY SHAME --  Bill Conti  [Marcus Miller.]
  173. COPS AND ROBBERS --  Bill Conti  [Alan Silvestri.]
  174. COPS AND ROBBERS -- Alan Silvestri.  Was hired to score the film.  [William Ross.]
  175. THE CLIENT --  Hans Zimmer.  Someone asked me if it was true if Zimmer had rejected stuff and was replaced by Shore.  Don't know.  And now someone else has asked that.  [Howard Shore]
  176. CLIFFORD --  Howard Shore.  Was never on the film; old magazine listing was incorrect.  [Richard Gibbs.]
  177. MILK MONEY --  Richard Robbins.  [Michael Convertino]
  178. MY BEST FRIEND'S WEDDING --  Alan Silvestri.  Was attached (don't know if officially) for at least four months.  [James Newton Howard.]
  179. THE JUNGLE BOOK --  Jerry Goldsmith.  [Bruce Broughton.]
  180. THE JUNGLE BOOK --  Bruce Broughton.  According to a magazine article (which I'll have later), he was working on the score.  Hopefully the article will clear up whether he recorded it.  [Basil Poledouris.]
  181. MONEY TROUBLE --  Richard Robbins.  HAD TO HAVE BEEN!  Look at all the composers!  [Hans Zimmer, Nick Glennie-Smith (additional), John Van Tongeren (additional), Mark Mancina.]
  182. PONTIAC MOON --  In an interview, Michael Kamen said he didn't.  [Randy Edleman.]
  183. READY-TO-WEAR --  Thomas Newman.  [Michael Legrand.]
  184. SONIC THE HEDGHOG 3 --  Michael Jackson.  Was hired to do the game, but the child molestations news broke. 
  185. SPEED --  Michael Kamen, R.I.P..  The studio was trying to hire Kamen, after Mancini was hired; no idea if they succeeded.  [Jerry Goldsmith (rejected), then Mark Mancini.]
  186. SUGAR HILL --  Jack Nitzche, R.I.P..  [Terrance Blanchard.]
  187. THE OUTLAWS:  LEGEND OF O.B. TAGGART --  Larry Gatlin.  [David Mansfield.]  Gatlin and the other guy did songs; no rejected score.
  188. THE QUICK AND THE DEAD --  Trevor Jones.  Was fired; don't know if he recorded anything.  [Alan Silvestri.]
  189. THE RIVER WILD --  Trevor Jones.  In an interview, Jarre states Jones was on the project, but didn't record anything.  [Maurice Jarre.  Rejected.  Then Jerry Goldsmith.]
  190. WOLF --  John Williams.  As reported by FSM.  [Ennio Morricone.]
    1995
  191. BABY'S DAY OUT --  Jerry Goldsmith, R.I.P..  As reported by FSM.  [Bruce Broughton.]
  192. FIRST KNIGHT --  Maurice Jarre.  [Jerry Goldsmith.]
  193. FREE WILLY 2 --  Nathan Wang.  [Basil Poledouris.]
  194. GOLDENEYE --  Elliot Goldenthal.  This was a false rumor and Goldenthal was never involved.  [Robert Folk.]
  195. GOLDENEYE --  Robert Folk.  [Eric Serra.]
  196. THE GRASS HARP --  John Barry.  Studio interference; the studio didn't think Barry was right for the job and never hired him.  [Elmer Berstein.]
  197. THE GRASS HARP --  Elmer Bernstein, R.I.P..  Just heresay, as Bernstein was never onboard.  [Patrick Williams.]
  198. THE JOURNEY OF THE AUGUST KING --  Carter Burwell.  [Stephen Endelman.]
  199. LORD OF ILLUSIONS --  Christopher Young.  "creative differences"  [Simon Boswell.]
  200. MONEY TRAIN --  Brad Fiedel.  As reported by FSM.  [Mark Mancina.]
  201. OPERATION DUMBO DROP --  Basil Poledouris.  [David Newman.]
  202. POWDER --  Bennett Salvay.  Not that I'm not glad he chose Jerry instead.  [Goldsmith.]
  203. SHOWGIRLS --  Jerry Goldsmith.  [David A. Stewart & Rena Riffel.]
  204. THE SCARLET LETTER --  Ennio Morricone.  (Before Bernstein).  [John Barry.]
  205. SOMETHING TO TALK ABOUT --  Randy Newman.  [Hans Zimmer, Graham Preskett.]
  206. TWELVE MONKEYS --  George Fenton.  [Paul Buckmaster.]
  207. THE USUAL SUSPECTS --  ?????.  [John Ottman.]
  208. THE VIKING SAGAS --  George Fenton.  [George S. Clinton.]
  209. WAITING TO EXHALE --  Quincy Jones.  [Kenneth Edmonds.]
    1996
  210. THE CRAFT --  Thomas Newman  [Graeme Revell.]
  211. DRAGONHEART --  Jerry Goldsmith.  See post HERE.  [Randy Edelman.]
  212. FAITHFUL --  David Newman.  As reported by FSM.  [Phillip Johnston.]
  213. THE GHOST AND THE DARKNESS --  James Newton Howard  According to Alex Kitman Ho, Howard never got to do the score because there was a conflict with his agency and the money.  Kitman wanted Howard and not Goldsmith..  [Jerry Goldsmith.]
  214. THE JUROR --  John Barry (FSM reported this).  [James Newton Howard.]
  215. HOMEWARD BOUND 2 --  Joel McNeely (FSM reported this).  Broughton, I am told, was on the film from the get-go, and that McNeely was never involved, but this was a mistake on the part of the person I spoke with, because McNeely was onboard before that person, and was going to score it but didn't in the end.  [Bruce Broughton.]
  216. MARS ATTACKS! --  Howard Shore.  [Danny Elfman.]
  217. MISSION: IMPOSSIBLE 1 --  Ryuichi Sakamoto.  Was aksed to score the film (later doing "Snake Eyes" for the director), but was busy; the directo asked him to drop whatever he was doing and score the film anyway, but Sakamoto declined.  [Alan Silvestri (rejected), then Danny Elfman.]
  218. MOJAVE MOON --  Scott Grusin.  [Johnny Caruseo.]
  219. NICKLE AND DIME (AKA: LARGER THAN LIFE) --  Mark Isham (FSM reported this).  [Miles Goodman, R.I.P..]
  220. THE ISLAND OF DR. MOREAU --  Wojciech Kilar.  [Then Zbigniew Preisner (who did), then Gary Chang.]
  221. LA CELESTINA --  Ennio Morricone.  [Patrick Doyle.]
  222. LA CELESTINA --  Patrick Doyle.  [Alejandro Masso.]
  223. LOCH NESS --  Rachel Portman.  As reported by FSM.  Supposedly production took longer than needed and when it was tiem for Portman to do her score, she wasn't available (isn't that what a contract is for?); I don't rule out that she may have done demos though.  [Trevor Jones.]
  224.  MARIETTE IN ECSTASY --  George Fenton.  Fenton was the initial choice of composer and was going to do the score, but production went on far longer than expected and when it was time for the score, Fenton was not available.  [Leonard Rosenman, R.I.P..]
  225. THE PROTRAIT OF THE LADY --  Michael Nyman.  [Woljciech Kilar.]
  226. PRIMAL FEAR --  Thomas Newman.  [James Newton Howard, J. Peter Robinson (additional).]
  227. THE QUEST --  Woljciech Kilar.  [Randy Edleman.]
  228. THE ROCK --  ?????.  Wasn't working out.  [Others.]
  229. SGT. BILKO --  Brad Fiedel.  As reported by FSM, Fiedel was stepping in after Silvestri was having a "schdule conflict", but that conflict seems to have been untrue now, doesn't it?  Confirmed: Fiedel was on to do the score.  [Alan Silvestri.]
  230. TRIGGER EFFECT --  Jerry Golsmith.  There was supposedly a bootleg for download from illegal file sharing programs, but someone downloaded it and informned me it's nothing more than his "2 Days In the Valley".  [James Newton Howard.]
  231. WHITE SQUALL --  James Horner.  [Vangelis.]
  232. WHITE SQUALL --  Vangelis.  Did not according to Ridley Scott.  [Jeff Rona.]
    1997
  233. A FURTHER GESTURE --  Three composer are associated with the film and I don't know who the final composer was: Shaun Davey / Harald Kloser / John M. Keane (not the same Keane from CSI).  [?????.]
  234. A SIMPLE WISH --  John Barry.  [Bruce Broughton.]
  235. CATS DON"T DANCE --  Randy Newman.  Was doing the songs and score, but only the songs were still in the film; don't know if he did the score.  (FSM reported this).  [.]
  236. THE 18th ANGEL --  Simon Boswell.  MovieMusicUk interview where Boswell taks a bit about it what happened.  In an interview I did with him (see Interviews page), he said it was not recorded.  [Starr Parodi & Jeff Edan Fair - a promo of score exists.]
  237.  FACE/OFF --  Hanzi Zimmer.  [Mark Isham (rejected), then: John Powell.]
  238. HOME BEFORE DARK --  Mason Daring.  Mason was too busy and recommended Cowen.  [Jeanine Cowen.]
  239. HOPE --  Dave Grusin.  [Steve Porcaro.]
  240. LA CONFIDENTIAL --  Elmer Bernstein.  [Jerry Goldsmith.]
  241. THE SAINT --  Maurice Jarre.  Contacted the director, Phillip Noce, and he said Jarre was never involved..  Yet Revell's score sounds like a CLEAR replacement score to me.  [Graeme Revell.]
  242. STARSHIP TROOPERS --  Jerry Goldsmith.  [Basil Poledouris.]
    1998
  243. A BUG'S LIFE --  Bruce Broughton.  [Randy Newman.]
  244. A CIVIL ACTION --  Ennio Morricone.  [Danny Elfman.]
  245. BLACK CAT RUN (TV movie) --  Hummie Mann.  Was set to score it, as FSM also listed.  [Jeff Rona.]
  246. CAN'T HARDLY WAIT --  IMDB lists both David Kitay and Matthew Sweet -- both recorded scores.  Film came on TV, both compsoers are credited together.  [David Kitay & Matthew Sweet.]
  247. EATING L.A. --  Brice Martin.  [Rick Butler, Randall Derchan, & Matthew Solomon.]
  248.  DANCING AT LUGHNASA --  Zbigniew Preisner .  [Bill Whelan.]
  249. DEAD MAN ON CAMPUS --  Dust Bros..  Was set to score it, as FSM also listed.  [Mark Mothersbaugh.]
  250. DEEP IMPACT --  Hanzi Zimmer.  [James Horner.]
  251. ENEMY OF THE STATE --  Hans Zimmer.  [Harry Gregson-Williams, Trevor Rabin, Tim Heintz (additional), Paul Linford (additional).]
  252. MULAN --  Rachel Portman.  FSM reported this as far back as January 1996.  Portman claims she didn't have time, with the birth of her child, but she was also doing "Dangerous Beauty", and she recorded score for that, so ... plus she had time before.  [Jerry Goldsmith.]
  253. THE KISS (AKA: LIVING OUT LOUD) --  Mervyn Warren.  [George Fenton.]
  254. ONE HELL OF A GUY (TV Movie) --  Russ Landau.  [Michael Whalen.]
  255. ORGAZMO --  The Dust Bros.  [Paul Robb.]
  256. RONIN --  Jerry Goldsmith, R.I.P..  Faced with a film full of car chases, Goldsmith didn't know what to do for it, so turned it down.  [Elia Cmiral.]
  257. STORM OF THE HEART --  Larry Groupe.  Pushed back to 2004.  [Richard Bellis.]
  258. THE TRUMAN SHOW --  Philip Glass.  Received and "additional" credit, but is said to have recorded a full score.  Kilar was also on the project at some point.  [Burkhard Van Dallwitz]
  259. QUEST FOR CAMELOT --  David Newman  While FSM listed it for Newman, the director said Newman wasn't onboard.  I am told in an old issue of FSM, it's mentioned that Doyle -- still in the hospital from Lukemia, did the score from his hospital bed.  [Patrick Doyle.]
  260. SHAKING ALL OVER --  David May.  Was set to score it, as FSM also listed.  [Larry Groupe.]
  261. THE UNKNOWN CYCLIST --  Hummie Mann.  Was set to score it, as FSM also listed.  [Donald Markowitz, Sydney Forest.]
    1999
  262. ANALYZE THIS --  Trevor Jones.  IMDB used to report it.  [Howard Shore.]
  263. ANIMAL FARM --  Trevor Jones.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  [Richard Harvey.]
  264. BICENTENNIAL MAN --  John Williams.  Left the project to score THE PHANTOM MENACE.  Now, though not clear, I have heard Williams actually started recording some before he "left".  [James Horner.]
  265. BUDDY BOY --  Michael Brook.  FSM reported him as the composer.  IMDB shows him, Brian Eno, and Revell.  I have no idea what kind of mess was created here.  [Graeme Revell.]
  266. 8MM --  Elliot Goldenthal.  [Danna.]
  267. FANTASIA 2000 --  Bruce Broughton  [Classical music and one original piece.]
  268. FIGHT CLUB --  Howard Shore.  [Dust Brothers.]
  269. HOOF BEETS (Later RUNNING FREE) --  Danny Elfman.  FSM reported it, and SoundtrackCollector.com has him as a rejected score.  [Nicola Piovani.]
  270. THE IRON GIANT --  Nicholas Pike.  There is a promo CD with two demo cues for it [4:43].  [Michael Kamen.]
  271. JAKOB THE LIAR --  (From another site) Zbigniew Preisner.  All of a sudden, Preisner was gone and king of the re-writes Edward Shearmur was brought in to score Robin Williams' shameless cash-in on the Life Is Beautiful style World War 2 comedy genre. Never saw the film, never heard either score, but you can bet there would have been lots of pauses in Preisner's.  [Edward Shearmur.]
  272. KIMBERLY --  Larry Groupe.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  [Basil Poledouris with additional music by Eric Colvin.]
  273. LIGHT IT UP --  Quincy Jones III (son).  FSM listed this in the "Upcoming Assignments" section.  [Harry Gregson-Williams, John E. Rhone(?).]
  274. LOVE STINKS --  Ira Newborn.  Vol. 4, No. 3 of FSM listed this in the "Upcoming Assignments" section, but in the end Newborn did not do any score.  [Bennett Salvay.]
  275. MAN ON THE MOON --  Thomas Newman.  According to CineMusic.net, September 17.  [Norman Henry Mamey, Mike Mills, Michael Stipe (R.E.M.).]
  276. MICKEY BlUE EYES --  Joseph Vitarelli.  Before either Basil Poledouris & Wolfgang Hammerschmid came together to write the music for Hugh Grant's gangster comedy, young New Yorker Joe Vitarelli was attached to this project -- something of a departure for a composer with a track record that includes thrillers such as The Last Seduction. No one really knows how much music Vitarelli wrote before he was dumped, but it couldn't have been much worse than the banal Nino Rota pastiches the film was ultimately saddled with.  [.]
  277. A MIDSUMMER NIGHT'S DREAM --  Ennio Morricone.  [Wojciech Kilar.]
  278. A MIDSUMMER NIGHT'S DREAM --  Wojciech Kilar.  An unusual choice in the first place, Kilar's could have turned Shakespeare's light and summery comedy of errors into something more approaching Greek tragedy, but it would have been interesting to hear. Simon Boswell eventually worked on this project, and made a great job of it.  (Listed in his "Other works" IMDB page as "unused", but I have completely failed in a way to reach him).  [From MMUK]
  279. MAGNOLIA --  Aimee Mann.  Was set to score it, as FSM also listed.  [Jon Brion.]
  280. MY FAVORITE MARTIAN --  Joel McNeely.  There is a demo CD-R, but it's unclear as to whether this is a compilation for submission, or an actual rejected score.  [John Debney.]
  281. MY FRIEND PAUL --  Tom Waits.  The director said Waits did the score, in an old bio about the film before it opened.  [Robert Musso.]
  282. MUPPETS IN SPACE --  Richard Gibbs.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  Was never on the film; old magazine listing was incorrect.  [Jamshied Sharifi with additional music by Rupert Gregson-Williams.]
  283. PLUNKETT & MACLAINE --  Trevor Jones.  [Craig Armstrong.]
  284. TEACHING MRS. TINGLE --  Christopher Young.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  Not sure how far he got, but somebody on eBay claimed to have a bootleg of Young's rejected score.  [John Frizzell.]
  285. THE 13th WARRIOR --  Lisa Gerrard.  [Eventually went to Goldsmith]- Did vocals for Revell's score, but didn't do her own -- at least, that's what I am told.
    2000
  286. A TASTE OF SUNSHINE --  Hans Zimmer.  Jarre was the initial composer, then Zimmer took over, then they went back with Jarre.  [Maurice Jarre.]
  287. THE ADVENTURES OF ROCKY & BULLWINKLE --  Michael Kamen.  As someone said in a moviemusic.com post, Kamen confirmed he was still scoring the movie, but that doesn't necessarily mean he recorded anything, though if you look at all the orchestrators Mark used (Not all of which are credited on imdb.com), I think that says something about how many people ghostwrote...   [Mark Mothersbaugh.]
  288. AFFECTION --  Graeme Revell.  Released later in 2002 with a different composer.  [.]
  289. AMERICAN PSYCHO --  Danny Elfman.  Was on the project.  [John Cale.]
  290. BEDAZZLED --  George Fenton.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  [David Newman.]
  291. CHOCOLAT --  Luis Bacalov.  Portman was the first composer, but for reasons not fully disclosed, she was dropped and they went to Luis -- whom they had scratched off the list of potential composers earlier; Mr. Bacalov played some beautiful piano ideas (unsure if they were recorded) but ultimately Portman was brought back in before Bacalov recorded any of his score.  [Rachel Portman.]
  292. THE CONTENDER --  Trevor Rabin.  [Larry Groupe.]
  293. DOLPHINS --  Sting.  Besides the song.  [Steve Wood.]
  294. HIGH FIDELITY --  Carter Burwell (some score left in).  [Howard Shore.]
  295. LABOR PAINS --  John DuPrez.  Was in talks, but might have not moved further than that.  [Michael Whalen.]
  296. LABOR PAINS --  Michael Whalen.  Contacted Mr. Whalen, and he said he didn't; didn't want to pay him enough..  [Brian Kirk.]
  297. MISSION: IMPOSSIBLE 2 --  Danny Elfman.  Elfman was hired to score the sequel, even saying so in at least one interview, but much like Silvestri ... he vanished.  Not that I hope he had a rejected score, but I LOVE his score to the first film, so even if he onlyu recorded a little, that would still be great news to me and other fans of his score to the first film.  [Hans Zimmer.]
  298. O BROTHER, WHERE ART THOU? --  Carter Burwell (some score left in).  [T-Bone Burnett.]
  299. 102 DALMATIONS --  Richard Gibbs.  Wrong film.  [David Newman.]
  300. RED PLANET --  David Bergeaud.  There is a Demo CD, but I can't find any info as to whether it's a compilation of various score cues or original Demos.  [Graeme Revell, Melissa R. Kaplan(additional).]
  301. THE REPLACEMENTS --  Alan Silvestri.  Was set to score it, as FSM also listed.  [John Debney.]
  302. THOMAS AND THE MAGIC RAILROAD --  John Barry.  Barry was on the film and Don Black was doing the songs with him, then something happened and Barry took Black and left.  [Hummie Mann.]
  303. THE 6TH DAY --  David Arnold.  [Trevor Rabin.]
  304. TITAN A.E. --  David Newman.  Was going to score it, but the studio wanted a different composer, and someone suggested Revell.  [Graeme Revell.]
  305. WHSIPERERS: AN ELEPHANT'S TALE --  Mark Adler.  [Jay Chattaway.]
  306. WHSIPERERS: AN ELEPHANT'S TALE --  Jay Chattaway.  [Trevor Rabin.]
  307. THE YARDS --  Jerry Goldsmith.  Definately was, but probably did't do anything.  [Howard Shore.]
    2001
  308. A KNIGHT'S TALE --  Jerry Goldsmith, R.I.P..  According to FSM.  [Carter Burwell.]
  309. ALONG CAME A SPIDER --  Basil Poledouris, R.I.P.  [Mark Isham.]
  310. ALTERED SPECIES --  Will Richter.  [Evan Evens.]
  311.  ALONG CAME A SPIDER --  Mark Isham.  According to a press junket for another film he was doing, this was among his upcoming scores.  [Jerry Goldsmith, R.I.P..]
  312. OUTLAWS (AKA: BANDITS) --  Ennio Morricone.  [Hans Zimmer.]
  313. OUTLAWS (AKA: BANDITS) --  Hans Zimmer.  Was still scoring two films, but the director offered to push the film back for Zimmer, who declined.  [Moby.]
  314. OUTLAWS --  Mobdy.  Was too busy to do it.  As you can see, Morricone must have not been the director's decision, because the other two sucked.  [Christopher Young.]
  315. BEYOND CITY LIMITS --  Tyler Bates.  [Billy White Acre.]
  316. CROCODILE DUNDEE IN LOS ANGELES --  Peter Best.  [Basil Poledouris, R.I.P..]
  317. DR. DOLITTLE 2 --  Terrance Blanchard.  Was being considered.  [David Newman.]
  318. EVOLUTION --  George Fenton.  Was set to score when the film was still GHOSTBUSTERS III.  Note from me:  FSM reported this too - and listed it as "Ghostbusters III"; no wonder the movie had a "Ghostbusters" like feeling ending...  [John Powell.]
  319. GABRIELA --  Alf Clausen.  [Craig Stuart Garfinkle, Leo Marchildon.]
  320.  THE HEIST (AKA: THE SCORE) --  David Newman.  [Howard Shore.]
  321. KATE & LEOPOLD --  Alan Silvestri.  [Rolfe Kent]
  322. LAST ORDERS --  Jerry Goldsmith - Appendicitis?  [Paul Grabowsky, again!]
  323. THE LORD OF THE RINGS --  Wojciech Kilar.  Info:
    Back in 1999, when "The Lord of the Rings"
    went  into the pre-production stage, Peter Jackson called Wojciech Kilar and asked him to score the movie... this was reported on Tolkienian sites, e.g.

    LINK

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

    Now, this is the curiosity: a while ago I read a piece on Kilar in a magazine, and it contained a mention of "scraps of his unused compositions for the hit film, LotR...", indicating that he *may* have written something after all.  Whether he did or not, and if he did, how much of that remains -- that seems unknown right now
    (I'm sorry, but I don't remember who e-mailed this to me many months ago.)  [Howard Shore]
  324. THE BIJOU (AKA: THE MAJESTIC) --  Thomas Newman.  [Mark Isham.]
  325. 3000 MILES TO GRACELAND --  Mark Isham.  The film opened in February 2001, but as close as October 24, 2000, Isham was scoring it; Mike Simpsons, half the The Dust Bros., was supposedly working with him (according to FSM); I contacted Simpson and he said he never got to do anything.  [George S. Clinton.]
  326. TO END ALL WARS --  Trevor Jones.  Was in talks for a while to score it, but ultimately negociations broke down.
  327. RAT RACE --  Jerry Goldsmith.  Appendicitis.  [John Powell.]
  328. RAT RACE --  Maurice Jarre.  David Maxx opinion:  Based on his relationship with Jerry Zucker, I have a feeling he was at least considered.  He was either busy with UPRISING or had already decided on retirement.  [John Powell.]
  329. THE FAST AND THE FURIOUS (AKA: REDLINE) --  Randy Edelman.  [B.T..]
  330. SCARY MOVIE 2 --  David Kitay  [George S. Clinton - who was rejected, then 15 composers did it.]
  331. THE SHIPPING NEWS --  Jerry Goldsmith.  When Fred Shepisi was still attached as the director; don't know if he got de-attached before, during, or after shooting (all of which happen to films sometimes).  [Christopher Young.]
  332. SUPERNOVA --  Mychel Danna.  Yes, another composer.  Again, reported by FSM.  [David Williams, Burkhard Dallwitz (leftovers).]
  333. THIR13TEEN GHOSTS --  Christopher Young.  According to Dan of soundtrack.net, Young, "WAS" scoring the film, at least, "according to Varese".  Don Davis was on the project for a year -- maybe he recorded something; I don't list him seperately because I don't know who was first/second.  [John Frizzell.]
  334. TOMB RAIDER 1 --  John Powell.  [Then some composer which got rejected.]
  335. VALENTINE --  Jamie Blanks.  Along with directing the movie, in an interview he said he was trying to score the film and that it would be his first score, but Warner Bros. didn't feel the same.  [Don Davis.]
    2002
  336. BOKSHU, THE MYTH --  Todd Hayen.  [Louis Banks.]
  337. BREAK OF DAWN --  Both Philippe Sarde and Xavier Jamaux are listed.  [Unsure.]
  338. CHICAGO --  George Fenton.  Was set to score it, as FSM also listed.  [Danny Elfman.]
  339. COLLATERAL DAMAGE --  James Newton Howard.  [Graeme Revell.]
  340. DANCER UPSTAIRS --  Pedro Malgheas.  [Iglesis.]
  341. D-TOX --  Basil Poledouris.   There is a Demo CD, but it's just various cues from previous scores he has done.  [John Powell, James McKee Smith (additional), Geoff Zanelli (additional); William Ross (leftovers?).]
  342. HALLOWEEN: THE HOMECOMING (AKA: Halloween: Resurrection) --  Christopher Young.  As reported by FSM.  [Marco Beltrami, Danny Lux (leftovers).]
  343. IMPRESSIONS UNDER WATER --  Giorgio Morodor.  Morodor co-composed.  [Daniel Walker & Giorgio Morodor.]
  344. MY BROTHER'S KEEPER --  John Willett.  [John Ottman.]
  345. LOCKDOWN --  John Frizzell.  [Tyler Bates.]
  346. PUMPKIN --  ?????.  [?????.]
  347. PUMPKIN --  ?????.  On Ottman's site, he says he was the third composer.  [John Ottman.]
  348. REIGN OF FIRE --  Mark Snow.  Originally hired to do the score and I think he did.  [Graeme Revell.]
  349. REIGN OF FIRE --  Graeme Revell.  Your typical replacement composer, was next in line, but for some reason they didn't like him either.  As of 7-29-2001, FSM was listing him.  [Hans Zimmer.]
  350. REIGN OF FIRE --  Hans Zimmer.  You know what that means, right?  Revell's score didn't go to well with someone (probably the studio), and Hans was likely preping 30 guys to do a last minute score, but...  [Edward Sheamur, Brad Wagner (additional).]
  351. RED DRAGON --  Lalo Schifrin.  He was in the movie, but didn't score it?  [Hans Zimmer.]
  352. RED DRAGON --  Hans Zimmer.  As much as the director loves working with Schifrin, appearently this time someone had more power over him and Lalo went bye-bye, cue Media Ventures.  FSM shows this for Hans as of 7-29-2001.  [Danny Elfman and his troupe.]
  353. RESIDENT EVIL --  Clint Mansell.  Was working on it for a few months, but then dropped out about November 2001.  [Ennio Morricone.]
  354. RESIDENT EVIL --  Ennio Morricone  [Marco Beltrami, Kevin Manthei (additional), Dennis Smith (additional).]  -  Went to a Morricone message board, asked and got a reply saying someone pointed out it was music from some Asian video game.  He couldn't remember who the composer was, but since then I found the answer on a message board: it's from a compilation CD of Resident Evil video game scores.
  355. ROLLERBALL --  BT.  btmusic.com  [Eric Serra.]
  356. 2 BIRDS WITH ONE STONE --  ?????.  [Bill Conti, Ashley Irwin; Pierre André (additional, apart from them).]
  357. THE STEPFORD WIVES --  Danny Elfman.  [David Arnold.]
  358. THE SUM OF ALL FEARS --  James Horner.  [Jerry Goldsmith.]
  359. TREASSURE PLANET --  Alan Silvestri.  [James Newton Howard.]
  360. WINDTALKERS --  Hans Zimmer & John Powell.  [James Horner.]
    2003
  361. BAD SANTA --  James L. Venable.  As late as 9-6-03 he was onboard. [David Kitay - promo CD.]
  362. THE CAT IN THE HAT --  Thomas Newman.  [Marc Shaiman.]
  363. THE CAT IN THE HAT --  Marc Shaiman.  Withdrew from the project, for what ever reason, before doing the score, but two songs he did are in the film; perhaps the backing instrumental music in the songs reflect what the score might have been like. [Randy Newman.]
  364. FREDDY vs. JASON --  Harry Manfredini & Charles Bernstein.  [Graeme Revell.]
  365. GOTHIKA --  Craig Armstrong.  FSM was listing it.  [John Ottman.]
  366. HOW TO LOOSE A GUY IN 10 DATES --  Richard Sortomme.  [David Newman.]
  367. IT RUNS IN THE FAMILY --  Jerry Goldsmith.  No, he didn't.  [Paul Grabowsky.]
  368. JUNGLE BOOK 2 --  Christopher Tyng.  Basil Poledouris protege was going to score this, according to FSM.  [Patrick Griffin.]
  369. THE JUNGLE BOOK 2 --  Patrick Griffin.  A false entry on IMDB, Griffin did not score the film, but did music for the bonus DVD.  [Joel McNeely.]
  370. THE LEAGUE OF EXTRAORDINARY GENTLEMEN --  Mark Isham.  Not sure if the news was ever true, but he did not do a score.  After Isham the choice came down to Harry Gregson-Williams and Jones; the winner is obvious >>>.  [Trevor Jones.]
  371. ONCE UPON A TIME IN MEXICO --  Los Lobos.  [Robert Rodriguez.]
  372. OPEN RANGE --  Basil Poledouris, R.I.P..  [Michael Kamen, R.I.P..]
  373. THE PASSION OF THE CHRIST --  James Horner.  [then Lisa Gerrard (see "Rejected" page); Rachel Portman.]
  374. THE PASSION OF THE CHRIST --  Rachel Portman.  At some point while Lisa Gerrard was still on the film, but had been moved to "co-composer", Portman's name was around as doing the score.  [Lisa Gerrard (rejected), Jack Lenz (rejected), then finally John Debney.]
  375. THE RUNAWAY JURY --  Mark Isham.  [Christopher Young, Wael Binali (additional).]
  376. SPOOKS --  ?????.  In an interview Musket tells that she had to come in late and write quickly after a first composer was not working out; I assume she just means the pilot.  [Jamie Muskett.]
  377. SWORDFISH --  Rabin.  [Young.]
  378. TARZAN --  Alan Silvestri.  [Mark Mancina.]
  379. TERMINATOR 3: RISE OF THE MACHINES --  Danny Elfman  [Marco Beltrami.]
  380. TOMB RAIDER 2: THE CRADLE OF LIFE --  Mark Mancina.  This was before Craig Armstrong came into play.  [Alan Silvestri.]
  381. A WRINKLE IN TIME --  Lesley Barber.  [Jeff Danna; Patric Caird, Shawn Pierce (additional?).]
    2004
  382. A LOT LIKE LOVE --  John Murphy.  [Alex Wurman.]
  383. BEING JULIA --  Lesley Barber.  Was attached to score the film for a year, but during that time the post production started late and when it came time for Barber to score the film, she wasn't available (James Newton Howard was also attached).  INFO.  [Mychael Danna.]
  384. BLACK CLOUD --  Brent Michael Davids.  Did not do a score, though originally hired by the director (not the director's choice to get another composer).  [Chad Fischer & John E. Nordstrom.]
  385. CATWOMEN --  Graeme Revell.  Was working with William Orbit, but then suddenly they were both gone due to a "scheduling conflict".  I wonder how much he recorded...  [Klaus Badelt, Geoff Zanelli (additional).]
  386. COLLATERAL --  Craig Armstrong.  Said Armstrong in a 2005 interview:
    "I really wanted to do the music for the last Michael Mann film, Collateral, with Tom Cruise. I was up for doing that actually and I went out and saw the film but at the last minute I didn't get it which was a bummer.".  [Hans Zimmer.]
  387. COLLATERAL --  Hans Zimmer.  [James Newton Howard, KK (additional), Tom Rothrock (leftovers?), Antonio Pinto (leftovers?), Zachary Koretz (additional?), Charlie Clouser (additional), Thomas Schobel (score, but any left in?).]
  388. THE DAY AFTER TOMORROW --  David Arnold.  Probably busy with THE STEPFORD WIVES.  [Harald Kloser & Thomas Wanker.]
  389. EXORCIST: THE BEGINNING --  Michael Kamen, R.I.P..  [Christopher Young.]
  390. EXORCIST: THE BEGINNING --  Christopher Young.  90% of the film has been reshot after the first director was fired.  [Trevor Rabin; Angelo Badalamenti (additional for a DVD cut; he was not rejected).]
  391. FINDING NEMO --  Danny Elfman.  Trivia says John Lasseter asked Elfman to score the film, but for what ever reason he didn't (or was replaced).  [Hans Zimmer.]
  392. FINDING NEMO --  Hans Zimmer.  Thankfully dropped out because he was scoring another film ("Shark Tale").  [Hans Zimmer.]
  393. GARFIELD:  THE MOVIE --  Rupert Gregson-Williams.  [Christophe Beck.]
  394. HAPPILY EVEN AFTER --  John DeBonte.  Though listed for "classical" music, the old news section on his site says he did the score.  [Kid Galahad.]
  395. IN ORANJE --  John Cameron.  [.]
  396. THE INCREDIBLES --  Michael Kamen, R.I.P..  Was going to score it but passed away.  [John Barry (see Demos), then Michael Giacchino.]
  397. + THE LAND BEFORE TIME XI --  Andrew James Thomas.  His official website talks briefly about some of the score being left in the film, and the artwork made for him says he used Horner's themes.  Website also says there is a bootleg, but I have neither heard of nor seen such a thing.  BUT THE REALITY, is far, far more disturbing.  The reality is that this never happened, in fact -- he claimed to have other rejected scores, like for "Wall-E" and other films; claimed to be a protege of Marc Shaiman, which Shaiman said was untrue and that he'd never had one; he claimed to know other composers, like Henry Mandefrini (who doesn't know him) and Joel Goldsmith.  When confronted about his lies, he denied everything -- even after Shaiman himself registered at the message board to the website where this was all going down, to deny the validity of the man's claims.  He then tried to threaten a lawsuit.  The man is deeply disturbed -- avoid him; he's got a MySpace page too, and tries to be friends with other composers.  [Michael Taverna.]
  398. MR. 3000 --  Vernon Reid  (Titled as "Music Supervisor on his website.  Why listed in the composer section on imdb.com?)  [John Powell.]
  399. NINE LIVES (AKA: UNSTOPPABLE) --  Sean Callery.  [Louis Febre.]
  400. THE PERFECT SCORE --  David Holmes.  [John Murphy.]
  401. SECRET WINDOW --  James Newton Howard  [Geoff Zanelli.]
  402. SHALL WE DANCE? --  John Altman  [Gabriel Yared.]  Altman scored with Yared.
  403. THUNDERBIRDS --  Elliot Goldenthal.  Was attached to the project for some time.  [Hans Zimmer and about a dozen other guys.]
  404. THE TOLLBOOTH --  Stephen Trask.  In an interview the director claims there was a last-minute sheduling conflict, but really ... scores are planned in advance.  [David Shire.]
  405. WALKING TALL --  Gomez (music group).  Wanted them, asked, but they were on tour.  [Graeme Revell.]
    2005
  406. ASK THE DUST --  James Horner.  Unofficially attached to the project for a while, then gone when Young was officially announced.  [Christopher Young.]
  407. ASK THE DUST --  Christopher Young.  Well, this didn't last very long.  I assume he didn't get far at all, beyond demos.  But I'd rather have had Young than the new composer(s).  [Hans Zimmer and 15 other guys.]
  408. CINDERELLA MAN --  James Horner.  [Thomas Newman.]
  409. THE DA VINCI CODE --  James Horner.  Was attached to the project for a long while.  Now whether that was official attachment and if he wrote anything...  [Hans Zimmer & others.]
  410. DOWN IN THE VALLEY --  Nathan Larson.  [Peter Salett.]
  411. FINDING NEVERLAND --  John Barry.  As someone posted in the (old) guestbook:
    "In an interview of the french magazine"l'fantastique n253",jan A.P Kaczmarek says about "Neverland", the film by Marc Foster with Johnny Depp:"(...)John Barry has started to write the music , and the things change enter him and the director(....)""  [.]
  412. FLIGHTPLAN --  Rachel Portman.  Only a bit over five months before the movie premieres.  Scores have been recorded well over five months before.  Maybe Portman's was one?  [James Horner.]
  413. THE FLOCK --  Christopher Young.  Film got pushed back a few years until 2007 and by that time Young wasn't available.  [Guy Farley.]
  414. RIPLEY UNDER GROUND --  Trevor Rabin.  FSM reported this.  Film's production took longer than expected and when Rabin was needed, he had already moved on.  [Jeff Danna.]
  415. ROME (Pilot) --  ?????.  In an interview Beal states they had a composer already, but he "wasn't working out".  [Jeff Beal.]
  416. SAM'S LAKE --  Nicholas Pike.  [Gary Chang.]
  417. SHADOWS (AKA: DUMA) --  Mark Isham.  [John Debney.]
  418. THUMBSUCKER --  Elliot Smith, R.I.P..  Was going to do the score and songs, but after recording a couple songs, he later died of an appearent suicide.  [Tim DeLaughter.]
  419. V FOR VENDETTA --  David Arnold.  Rumored to be, and but also the rumor states he was busy.  [Of debate, see next entry.]
  420. V FOR VENDETTA --  Craig Armstrong.  Armstrong was going to be working with Massive Attack on the score.  [Dario Marianelli.]
  421. WATER --  A. R. Rahman.  Was doing the score, but changed to songs only.  Film opened in April in the U.S.A., but opened as far back as September of 2005...  [Mychael Danna.]
  422. WHITE ON WHITE --  Trevor Rabin.  I vaguely recall an interview where Rabin said he didn't have time to work on the score, so he had to back out.  [Jeff Danna.]
    2006
  423. A SCANNER DARKLY --  Radiohead.  Were officially working on it, and a test screening, at one point, may have had some of their score (and the replacement score) in tact.  A "rumor" was that Radiohead were replacing a bad score before them, so...  [David Reynolds.]
  424. CANVAS --  John Debney.  ScoreMagacine reported that Lisbeth Scott would be co-composing on the score (and another one) with Debney.  When asked, Miss Scott only knew she had some songs left and didn't seem to know if Debney did his score.  [Joel Goodman.]
  425. CRYPTID --  Tim Jones.  [Alan Derian.]
  426. THE FALL --  Frederic Talgorn.  [Howard Shore.]
  427. THE FALL --  Howard Shore.  At one point they were listed as "co-composers", but that is highly unlikely.  [Krishna Levy.]
  428. FLYBOYS --  David Arnold.  [Trevor Rabin.]
  429. GOYA'S GHOSTS --  Alberto Iglasias.  [Jose Nieto.]
  430. GOYA'S GHOSTS --  Jose Nieto.  [Varhan Orchestrovich Bauer.]
  431. HEAVEN'S FALL --  David Reynolds.  [Tony Llorens.]
  432. HIGHLANDER:  THE SOURCE --  J. Peter Robinson.  According to his agency, he was working on the score in London (I assume Abbey Road).  [George Kallis.]
  433. MISSION: IMPOSSIBLE 3 --  Hans Zimmer.  Disappointing to the Zimmer fans when Giacchino was finally announced after months earlier Zimmer's announcement.  [Michael Giacchino.]
  434. THE PICTURE OF DORIAN GRAY --  Laura Karpman.  Supposedly wanted too much money and didn't start the score.  [Mogwai.]
  435. THE QUEEN --  George Fenton.  [Alexander Desplat.]
  436. SILENT HILL --  Ita Masahiro.  [.]
  437. STAY ALIVE --  Tyler Bates.  Makers claimed he was the first choice, but had to back out.  [John Frizzell.]
  438. WORLD TRADE CENTER --  John Williams.  Was asked and turned the film down.  [James Horner.]
  439. WORLD TRADE CENTER --  James Horner.  Don't know, was listed at IMDB at one point.  [Craig Armstrong.]
    2007
  440. AGGAR --  Himesh Reshammiya.  [Mithoon Sharma.]
  441. AMERICAN GANGSTER --  RZA and/or Hank Shocklee.  In an interview with someone named "Common", HERE, he said Shocklee "scored some of the movie".  And some places on the web still list RZA as the composer.  [Marc Streitenfeld.]
  442. BATHROY --  Mark Thomas.  [Stephen Warbeck; Tatiana Mikova (additional score, apart from Warbeck).]
  443. BITTERBLUE --  ?????.  Supposedly the previous composer had to bow out, leaving Adams little time to score.  [Doug Adams.]
  444. BOUNDARIES --  Christy Carew.  Mistake on my part; the one she scored was a short film.  [Justin Melland.]
  445. DOOMSDAY --  David Arnold.  Turned it down?  [Tyler Baits.]
  446. GHOST RIDER --  David Arnold.  Was attached to the project for a at least four months (in 2006).  [Christopher Young.]
  447. HANNIBAL RISING --  Thomas Newman.  Dino De Laurentiis said he was proud to have him aboard; was attached for quite a while.  [Shigeru Umebayashi & Ilan Eshkeri - CD.]
  448. HER MAJESTIC MANOR --  Alberto Iglesias.  Was officially on for half a year.  [Javier Navarrete.]
  449. I COULD NEVER BE YOUR WOMAN --  Magnus Fiennes.  [Mike Hedges (rejected), then David Kitay.]
  450. JUST ANOTHER LOVE STORY (K沬ighed p堦ilm) --  Marco Beltrami.  [Joachim Holbek.]
  451. THE INNER LIFE OF MARTIN FROST --  Philip Glass.  [Laurent Petitgand.]
  452. MOVIDAS --  Kurt Kuenne.  [Andreas Levin.]
  453.  MONGOL --  Altan Urag.  Two cues on the Varese Sarabande CD are credited to Urag, which as it turns out, is the name of a group of musicians from India; they composed a little for the film, at the director's request, but were never chosen to do the whole score.  [Tuomas Kantelinen.]
  454. MY KID COULD PAINT THAT --  Rondo Brothers.  [Mariusz Glabinski.]
  455. PARTITION --  Philip Glass.  [Brian Tyler.]
  456. RESIDENT EVIL:  EXTINCTION --  Tyler Bates.  [Charlie Clouser.]
  457. SARAH LANDON AND THE PARANORMAL HOUR --  Louis Febre.  [Joseph Conlan.]
  458. SAVAGE GRACE --  Alberto Iglesias.  Also officially on this.  [Fernando Velazquez.]
  459. THERE WILL BE BLOOD --  Jon Brion.  [Jonny Greenwood.]
  460. TYRANNOSAURUS AZTECA --  Paul Hartwig.  [Gerald Brunskill.]
  461. THE VISION --  Tyrone Lancaster.  Movie's official website reported he was scoring it back in January 2008, but in January 2009 they say Doug Adams is scoring it.  [Doug Adams.]
  462. WRONG TURN 2: DEAD END --  Mike Patton.  In an interview the director claims a scheduling conflict led to Patton not scoring it, though he hopes to work with the composer in the future.  [Bear McCreary; Jonathan Snipes & Robert L. Bennett Jr. (additional).]
    2008
  463.  A FOX'S TALE --  Mike Moran.  Was listed on his agency's site (and IMDB) for doing songs and score for the upcoming foreign fil, but it's all gone now.  For a short period Krisztain Som was listed as the composer.  [?????.]
  464. AMUSEMENT --  Debbie Wiseman.  [Marco Beltrami & others.]
  465. ANONYMA -- EINE FRAU IN BERLIN --  Jan P. Kackzamarek.  [Zbigniew Preisner.]
  466.  THE ATTIC --  Robert Een.  In a post by one the film's makers, Een was mentioned as doing the score.  [Mario Grigorov.]
  467. BABYLON A.D. --  RZA & Hans Zimmer.  RZA said in an interview he was going to score it with Zimmer.  [Atli Orvarsson.]
  468. BAGGAGE --  Alex Wurman.  [Kurt Oldman.]
  469. THE BROTHERS SOLOMEN --  Alan Elliot.  [John Swihart.]
  470.  CARMEN'S KISS --  Christopher Gunning.  [Paul Turner.]
  471.  CHOKE --  Radiohead.  [Nathan Larson.]
  472. DADDY'S LITTLE GIRLS --  Nathan Wang.  [Brian McKnight.]
  473. ROAD TO FAME (AKA: CASI DIVAS) --  Jermaine Stegall.  Left before recording.  [Hans Zimmer.]
  474. THE DAISY CHAIN --  David Holmes.  [David Julyan.]
  475. DRAGON HUNTERS --  Frederic Talgorn.  Was going to be recorded in October, in Germany ... don't know if it did or what recording facility.  [Klaus Badelt.]
  476. THE FINAL SONG --  Charles Denler.  [Mark Tschanz.]
  477. FROST/NIXON --  James Horner.  [Hanz Zimmer.]
  478. GENOVA --  Michael Nyman.  [Melissa Parmenter.]
  479.  THE GRIND --  Teddy Castelluchi.  [(which film by this name is unknown; two in 2008).]
  480.  IGOR --  Basil Poledouris, R.I.P..  The film got pushed back a few years, but originally Poledouris was going to score it; don't know how far along the film was at the time of his involvement.  [Patrick Doyle.]
  481.  JULIA --  Gert Janssen.  Janssen's first score.  [Pollard Berrier & Darius Keeler.]
  482. KANDISHA --  Richard Horowitz.  [Kenneth Lampl.]
  483. LARGO WINCH --  Fredreic Talgorn.  [Alexandre Desplat.]
  484. LIVING HELL --  Ivan Koutikov.  Originally part of a three picture deal, the producer and owner decided to let his son score.  [Terence Jay.]
  485. THE LOST TRIBE (AKA: PRIMAL) --  Wolfram de Marco.  Didn't end up doing a score.  [Bennett Salvay.]
  486. MAYA BAZAR --  Shankar Mahadevan, Ehsan Noorani & Loy Mendonsa.  [Rahul Raj.]
  487. MR. 73 --  Eric Demansen.  Was on the film for eight months.  [Bruno Coulais.]
  488. MUUKALAINEN --  Arvo Part.  [Helena Tulve.]
  489. NOT BY CHANCE --  Antonio Pinto.  [Ed Cortes.]
  490.  SHANGHAI --  Gabriel Yared.  Supposedly a scheduling conflict.  [Alex Heffes (See: Rejected), then Klaus Badelt.]
  491. THE READER --  Ozren K. Glaser.  [Alberto Iglesias.]
  492. THE READER --  Alberto Iglesias.  [Nico Muhly.]
  493.  ROLE MODELS --  Peter Salet.  [Craig Wedren.]
  494. THE SHREIKING --  ?????.  Kahler had to come in and do the score after another supposedly "stepped down".  [Christopher Kahler.]
  495. SILAMBATTAN --  Dhina.  [Yuvan Shankar Raja.]
  496. MR. 73 --  Eric Demansen.  Was on the film for eight months.  [Bruno Coulais.]
  497. THE UNBORN --  Ramin Djawaski.  [Steve Jablonsky.]
  498. WAR, INC. --  David Schommer.  Back in 2007, FilmMusicWeekly had a short aricle mentioning he had been hired to score the film.  [David Robbins.]
  499. WASTING AWAY --  Jane Antonia Cornish.  Turned it down.  [The Newton Brothers.]
    2009
  500. A SINGLE MAN--  Shigeru Umebayashi.  Being in Japan provided too great a working distance from the L.A.-bound director and what little score Umebayashi did, is in the movie and he is credited for.  [Abel Korzeniowski (who is being considered for the third Twilight film score).]
  501. ALL'S FAIRE IN LOVE --  David Robbins.  [Jeff Cardoni.]
  502. BLACK WATER TRANSIT --  Anne Dudley.  [Music group.]
  503. THE CHOSEN ONE --  John Hunter.  [Jeff Rona.]
  504. THE DREAM OF ROMANS (AKA: ARLEN FARBER) --  John Swihart.  [Teddy Castellucci.]
  505. EVERTHING'S EVENTUAL --  Court Stumpf (who as of late has been working with Paul Haslinger).  Busy schedule that turned out to be too conflicting.  [John Scott.]
  506. FREQUENTLY ASKED QUESTIONS ABOUT TIME TRAVEL --  James Edward Barker & Tim Despic.  With possibly another score rejected by a composer replacing them.  [James L. Venable.]
  507. THE GOODS --  Theodore Shapiro.  [Lyle Workman.]
  508. HAPPINESS RUNS --  Bobby Johnston.  [Reinhold Heil & Johnny Klimek.]
  509. HEXE LILLI --  Frederic Talgorn.  [Ian Honeyman.]
  510. IMAGINE THAT --  Theodore Shapiro.  In a ScoreNotes.com interview, the director doesn't even bother to mention Shapiro as the previous composer.  [Mark Mancina.]
  511. KNUCKLE DRAGGERS --  Deane Ogden.  [Austin Wintory.]
  512. LAST CHANCE HARVEY --  Michael Hill.  [Dickon Hinchliffe.]
  513. LIFE GOES ON --  Ludek Drizhal.  [Soumik Datta.]
  514. LIKE DANDILION DUST --  Mark Mancina.  [Nathan Larson.]
  515. MAGIC MAN --  Charles Bernstein.  [The Newton Brothers.]
  516. MEDITERRANEAN FOOD --  Sergio Moure.  [Josep Mas & Salvador Niebla.]
  517. THE MIRROR --  Vince Tividad.  Originally finished in 2006, the film for what ever reason showed at a festival a year later, and has been shelved since then with only just recently receiving some limited theaters.  [Bettie Ross.]
  518. MIDDLE MEN --  Chris Boardman.  Decided to go in a different direction.  [Brian Tyler.]
  519. PALOMINAS --  Charles David Denler.  [Sean Murray.]
  520. PATRIOTVILLE --  Steven Gutheinz.  Didn't.  [Scott Glasgow.]
  521. THE PRINCESS AND THE FROG --  Wynton Marsalis.  [Alan Menken.]
  522. THE PRINCESS AND THE FROG --  Alan Menken.  [Randy Newman.]
  523. SON OF SUNSHINE --  Alex Wurman.  [Matthew Montour.]
  524. THE UNION --  Sam Cardon.  Supposedly the composer was far too busy with other projects.  [Michael Teoli & Michael Jorns.]
  525. WHIP IT! --  Mark Mothersbaugh.
    MAY, 2009:
    "She hired me and fired me in all of like two weeks," Mothersbaugh said, laughing about it to OMG Yahoo. "I got snippy with her. She cancelled out on showing up at the studio three times and I kicked Devo out every single time and had an engineer come in and set up the studio and the third time I got pissy with her on the phone. And she said she just doesn't think our styles work together. So I got fired."
    [The Section Qaurtet; Robert Miller (additional).]
    2010
  526. LAW ABIDING CITIZEN --  ?????.  In a older Twitter.com update, the director talks about spotting the film with a composer, and in another entry talking about how the score has to be different and important, then a couple or so months later in Twitter, he announces he is meeting with a composer.  I have no idea who the previous composer was, but his last two films were scored by John Powell...  [Brian Tyler.]
  527. NANNY MCPHEE AND THE BIG BANG --  Thomas Newman.  [James Newton Howard.]
 
TITS  TITS 
 
UNKNOWN

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


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

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


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


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