----------My New-found Role----------

     Once upon a time there was a pretty-boy prince and some rebelious princess he rescued. They fucked like rabbits and lived happily ever after. Oh wait -- that's not the story.

     About two years ago [2006/2007] I was investigating a "supposedly rejected" title; a title which I don't recall the name of, but do recall not being from that long ago.  I found the composer was dead.  His orchestrator at that time, dead.  Even the replacement composer had passed on.  Not even the director and producer had survived.  There was no one to ask.  A part of film score history died with them.
     Originally the intents of my site were far less ambitious: nothing more than just listing the film and composer and missing titles from FSM's list.
     After some time I realized it made for a pretty damn boring read, as well as my hideously ugly HTML design at the time (not saying the new design is better, but it's not supposed to be all flashy and shiny).  After a year I re-designed the index and List pages and tried for interviews.
     I had other grandeous ideas, like CD releases and came sort of close a couple times.
     Over time my HTML got better, the site more informative and the interviews as well, but my intent went to a whole new level after doing what I described to you in the second paragraph; it was no longer just an informational database (though still half is now), it -- and I -- had evolved into much more: History.
I had unknowingly tranformed myself into a historian of film & television scores and rejected ones at that.  I stand now as the only one continuously and rigeruously documenting these parts of film music history.  There's another guy working at it (currently in the Bernstein Archives) but not like me.  No one shares the love & passion like I do.
     Over the years the internet has made even more film score lovers known (sadly not enough to invade Poland) and one thing has come clear:  with almost 67,000 hits and 34,000 visitors to this site, others share the interest.
And they want to know.  When "King Kong"> rejection broke, the surge in visitors ate all my bandwidth and they -- and I -- had to wait a few days before the site was available for viewing again.  I get an average of between 30 and 90 visitors a day (sometimes greater), so I think score fans and industry members are getting the picture: it's not something to hide and people want to know.

     I can't document over 400 scores alone.  I implore you -- if you have information, contact me; you can stay annonymous.  and I hope people who don't want to talk about it (Stu goldberg, singling you out) that you'll change your mind.
     Support FSM, Varese Sarabande, and Intrada Records, they are the leaders in releases.

(Novermber 14, 2007)