Supposedly Rejected Scores   TITS
Fixed design.  Still bask in awe, you continuous cur.
     It happens -- a composer is attached to a project, like John Williams and "Titanic", and you even see them listed on the movie posters, but come time for movie viewing (or checking out musicfromthemovies.com), you find out someone else is scoring the film.  So immediately, if you know what's good for you, you come to my website to find out what the fudge is wrong.  Ummm ... fudge...
Anyway, the following list is for rumors, was attached to reports, and possible rejected scores (unsolved mysteries).  When what happened is finally found, the title is striked out, and the answer put in bold red.
     Click HR lines to go back to the top of the page; "HR lines" are the semi translucent lines at the top of each year.
     Numbers by each entry only reflect count, not listing placement; the numbers automatically change by themselves when I add a new entry anywhere in the list.

This list last updated:  March 20, 2021  (Click to "jump" to title) (Black Widow, Stage Struck.
Slightly older updates: Coco, "Gimme Shelter" SOLVED, Fantasy Island [2020], Kelleway on "Cleopatra Jones" -- SOLVED, Scoob! [TWICE], Rumble Fish, "The Last Full Measure" SOLVED, Sye Raa Narasimha Reddy; Ad Astra, Henchmen, The Happytime Murders, Gemini Man, Poms; Come Sunday; The Hand, Lost in Space; The Last Full Measure; The Babysitter; Child Star, Half a Yellow Sun, Anne with an E, Live Evil, ?????, Battlestar Galactica, Pu-239, Black, The Tall Man, A Boire, "Geostorm" moved to REJECTED, Niente Di Serio, Samba, It's a Boy Girl Thing, Sahara, Hey Ram, Cézanne et Moi, Kodachrome, Lowriders, Breathe, The Man Who Killed don Quixote, Wish Upon, Jumanji 2, Geostorm, Mammoth, Rangoon; Hollister; Lost in Translation, No Good Deed, Bunyan & Babe, Captain Underpants, A Series of Unfortunate Events, The Russia House, Logan, The Big Kahuna, The Yards [AGAIN], Sacred & Secret, The Road to Freedom Peak, The Last Face, The Comedian, Eye of the Dolphin, Miguel and William, Quelques Jours en Septembre, Catch a Fire, Psychic Witness, Barnyard, And Quiet Flows the Don, Deuce Bigalow: European Gigolo, Kleiner Dodo, Shadow Divers, August Rush, Dragonball: Evolution, Mandrake the Magician, Dark Water, The Death and Life of Bobby Z, The New World [TWICE], The Tree of Life, Father of the Bride; The Prize Winner of Defiance, Ohio; Jeremy, "Sonic the Hedgehog 3" moved to REJECTED, Bordertown, Superman Returns, Assassination of a High School President, Inland Empire, Seed of Chucky, Unthinkable [AGAIN], Silence, Behold My Heart, "To the Wonder" moved to REJECTED, Voyage of Time, Patient Zero, Star Wars: Rogue One, Deadpool 2, ?????, "The Beaver" moved to REJECTED.

Older updates: Footloose, Dune; Tomboy, a Revenger’s Tale; Almost Christmas, Leatherface, Welcome to Hard Times; Crouching Tiger, Hidden Dragon 2; Ballerina.
)


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


    1933
  1. FIGHTERS --  Hanns Eisler.  [Dmitri Shostakovich.]
  2. FIGHTERS --  Dmitri Shostakovich.  A book explains production dragged on for a few years, and eventually he was unable to score the film.  [Hans Hauska.]
  3. I MARRIED AN ANGEL --  Richard Rogers.  A university that has some of his tapes and paper work, has papers for a score and songs to this film, and lists Lorenz Hart as the lyricist.  The film is from 1942, the the paper work indicates 1933.  [Herbert Stothart.]
    1934
  4. THE GAY DIVORCEE --  Cole Porter, R.I.P..  [Various.]
    1936
  5. DER KAMPF --  Dmitri Shostakovich, R.I.P..  Offered the film but things in his life and a delay in the film by a year, kept him from scoring it.  [Hans Hauska.]
    1937
  6. THE GOOD EARTH --  Arnold Schoenberg, R.I.P..  [Herbert Stothart.]
    1938
  7. PYGMALION --  William Walton.  According to the book David Lean (Howard Maxford), Walton turned down the offer from the producer to score the film.  [Arthur Honegger.]
  8. 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
  9. 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.]
  10. GONE WITH THE WIND --  Herbert Stothart.  Not beliving Steiner could complete the score in time, as it wasn't going very quickly, he asked Stothart to do a score just in case; while I have no idea if Stothart recorded anything, he did write score.  He appearently gloated about the assignment around town, and word of that got to Steiner, and that effectively ended Herbert's employ.  [Franz Waxman.]
  11. GONE WITH THE WIND --  Franz Waxman.  Still worried about Steiner, he then asked Waxman to do it.  Now this is where it gets confusing, because normally I would say I have no idea if he recorded anything, but he's credited for additional music on the film -- did he or was that stock from some other score he did?  Steiner finally got it together, realizing he needed to get the score done, and cranked it out; several other composers, according to IMDb, as listed as "additional".  In a 1975 interview with Jerome Moross, conducted by book author Noah Andre Trudeau, Trudeau states while talking about tossed scores, that Waxman did a complete score for the film.  [Max Steiner; IMDb credited "additional" folk: Adolph Deutsch, Hugo Friedhofer, Heinz Roemheld, and of course Waxman (inspite of IMDb listing it as "stock").  William Axt (stock music).]
    1941
  12. SOLITUDINE --  Unsure.  imdb.com lists both Mario Nascimbene and Ettore Montanaro  [Unsure.]
    1942
  13. 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.]
  14. JANE EYRE --  Igor Stravinsky.  Negotiations failed..  [Bernard Herrmann.]
    1943
  15. A GUY NAMED JOE --  Kaper.  An old news blurb mentioned he was doing the score.  [Herbert Stothart.]
  16. FOR WHOM THE BELL TOLLS --  Francisco Avellan.  An old news article said he was hired to score the film.  [Victor Young.]
  17. STORMY WEATHER --  William Grant Still.  Was hired to score the film.  [Cyril J. Mockridge.]
    1944
  18. 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.]
  19. 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
  20. 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?).]
  21. THE TRUE GLORY --  Marc Blitzstein.  Alwyn's book tells that the original composer fell ill.  [William Alwyn.]
    1946
  22. BECAUSE OF HIM --  Hans J. Salter.  An old news blurb mentioned he was doing the score.  [Miklos Rozsa, R.I.P..]
    1947
  23. THE OCTOBER MAN --  Kenneth Pakeman.  Alwyn's book tells: "The score was assigned to Kenneth Pakeman, whose film experience was a couple documentaries for Rotha and another for Greenpark. Pakeman wrote three sketches before the film went into production, but his music was dropped, ...".  [William Alwyn.]
  24. TIME OUT OF MIND --  Ferde Grofe.  Wrote a score which was not used, unknown if any of it was recorded.  [Miklos Rozsa, Mario Castelnuovo-Tedesco (stock music?).]
    1948
  25. PORTRAIT OF JENNIE --  Bernard Herrmann.  imdb.com lists him as uncredited.  Did some cues and a song, but only the song remained; he was going to score the whole film and arrange music, but the film's production got pushed back and Herrmann had other committments.  [Dimitri Tiomkin.]
  26. THE RED SHOES --  Allan Gray. As told in the book The Red Shoes: Turner Classic Movies British Film Guide, Gray was asked to do the score, but he was slow turning it out and when he did, what he wrote was not liked; he was allowed to continue until two more weeks had passed and director Emeric Pressburger, ended it.  [Brian Easdale.]
    1948
  27. OUTRAGE (AKA: THE LAWLESS) --  Paul Sawtell.  An old news blurb said he was signed to do the score.  [Mahlon Merrick.]
    1949
  28. CALAMITY JANE AND SAM BASS --  Walter Scharf.  An old news blurb mentioned he was doing the score.  [Milton Schwarzwald.]
  29. MY FRIEND IRMA --  Leigh Harline.  An old news blurb mentioned he was doing the score.  [Roy Webb.]
    1950
  30. BRIGHT LEAF --  Dimitri Tiomkin.  An old news blurb mentioned he was doing the score.  [Victor Young.]
  31. COUNTY FAIR --  Edward J. Kay.  An old article on the film (back in 1945) said a news reported claimed he was hired to score it, but it was unconfirmed.  [Ozzie Caswell.]
  32. GUILTY OF TREASON --  Dimitri Tiomkin.  An old article on the film said Tiomkin had been orginally signed.  [Emil Newman; Hugo Freidhofer (stock?).]
  33. LAWLESS --  Arthor Morton.  [.]
    1953
  34. KNIGHTS OF THE ROUND TABLE --  Clifton Parker.  A brief cue by Parker, source music in the castle, retained.  [Miklos Rozsa.]
  35. TONGA TIKA --  Unsure.  imdb.com lists both Victor Young and Les Baxter.  [Unsure]
    1955
  36. 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.]
  37. THE QUATERMASS XPERIMENT --  John Hotchkis.  Supposedly Hotchkis became ill and couldn't do the score.  [James Bernard.]
    1956
  38. THE SWAN --  Miklos Rozsa.  [Bronislau Kaper.]
  39. THE TEN COMMANDMENTS --  Victor Young.  Supposedly Mr. Young's "Overture" still exists on some release prints (this may just be inaccurate information spread around).  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).  In 2016 Intrada Records released the complete score, along with alternates and un-used score and an early demo, Bernstein score along with re-masters of the re-recordings.  [Elmer Bernstein.]
    1957
  40. 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.]
  41. SAYONARA --  George Duning.  Duning stated in a 1994 Soundtrack! magazine interview that Josh Logan wanted him to score the film, but a theme from a song by Irving Berlin made for the film made him decline after he realized he would not be able to do a score based on Berlin's theme.  [Franz Waxman.]
  42. THE VINTAGE --  Bronislau Kaper.  FSM notes that, when releasing Raksin's score, they found Kaper possibly scored the film, but paper work and tapes are missing.  [David Raksin.]
    1958
  43. THE DEFIENT ONES --  George Antheil.  Was going to do the score it, but right before the music was to be done (no idea if he started writing), he died of a heart attack.  [Ernest Gold.]
  44. TEACHER'S PET --  Irvin Talbot.  An old news blurb mentioned he was doing the score.  [Roy Webb.]
  45. TOO MUCH, TOO SOON --  Albert Glasser.  An old news blurb mentioned he was doing the score..  [Ernest Gold.]
  46. STAGE STRUCK --  Bernard Herrmann.  According to a March 9, 1957 issue of Billboard magazine, Herrmann was going to score the film.  [Alex North.]
    1959
  47. ON THE BEACH --  George Antheil.  Was going to do the score, but could not.  [Ernest Gold.]
  48. THE REDEEMER --  ?????.  Raksin tells in an interview, "they had a score written for it, but it turned out badly", but doesn't say who or if it was recorded.  IMDb.com lists a foreign composer with Raksin.  [David Raksin.]
  49. SIGN OF THE GLADIATOR --  Angelo F. Lavagnino.  Was this a rescore for U.S. prints?  [Dominic Frontiere?]
  50. 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.]
  51. THIS EARTH IS MINE --  Franz Waxman.  An old billboard magazine news blurb reported that Waxman would compose and conduct a score for this film.  [Hugo Friedhofer.]
    1960
  52. BELLS ARE RINGING --  Jule Styne.  An old news blurb mentioned he was doing the score.  [Andre Previn.]
  53. THE CRIMINAL --  Richard Lester (yes, the director).  Lester had already scored one film, and was asked to score this -- according to himself -- but had to drop out for unspecified reasons.  [John Dankworth.]
  54. THE MAGNIFICENT SEVEN --  Dimitri Tiomkin.  In the new 2015 book The Making of The Magnificent Seven: Behind the Scenes of the Pivotal Western, it states Tiokin was considered and passed on.  [Aaron Copeland.]
  55. THE MAGNIFICENT SEVEN --  Aaron Copeland.  >The book also says Copeland was considered.  [Alex North.]
  56. THE MAGNIFICENT SEVEN --  Aaron Copeland.  >Finally the book says North was considered as well.  [Elmer Bernstein.]
  57. WHERE THE BOYS ARE --  Joe Sherman (composer of some episode of the series "In the Heat of the Night").  [George Stoll; Calvin Jackson, Pete Rugolo (additional, "Original Dialectic Jazz by").]
    1961
  58. LOLA --  Quincy Jones.  Jones was hired (in 1959) to score the film, but three days later -- after viewing it, had to back out.  [Michel Legrand.]
  59. QUO VADIS --  Mario Nascimbene.  In a 1986 interview with Soundtrack! magazine, Nascimbene was asked about rumors of having scored the film, because of a quote in Rozsa's autobiography; Nascimbene explains producer Samuel Bronston asked him to write some dance themes (which Mario did, saying of them "tympani, with a rather brutal, violent rhythm, without any real melody"), then he was asked to score the film and when he came to America, Bronston showed him a pile of work from Jules Massenet's opera El cid, and told him that was the score, to essentially adapt it; Nascimbene found Bronston's behavior offenssive, flew home, tore up the contract, and Bronston apparently lied to Rozsa about not liking a score by Nascimbene, which in reality was never composed.  [Miklos Rozsa.]
    1962
  60. DAMON AND PYTHIAS --  Frank Loesser.  An old news blurb mentioned he was doing the score.  [Angelo F. .]
  61. EVA --  Miles Davis, R.I.P..  First choice.  [Michel Legrand.]
  62. THE FOUR HORSEMEN OF THE APOCALYPSE --  Alex North, R.I.P.. [Andre Previn.]
  63. HOW THE WEST WAS WON --  Tiomkin:
    "While How The West Was Won was still in the planning stages, producer Bernard Smith envisioned it should have a score by Dimitri Tiomkin. Initially, Tiomkin had expressed interest, but he was forced to bow out of the project following eye surgery, and Alfred Newman was brought in as a replacement."; the reality is, however, that he was replaced as composer and sued MGM over being replaced.
  64. HATARI --  Dimitri Tiomkin, R.I.P..  Tiomkin was hired by the director to score the film and he said no strings, along with another order on scoring; two or three days later Dimitri called him asking if he was serious, and the director fired him right there over the phone.  [Hoagy Carmichael, R.I.P..]
  65. IPNOSI --  Francesco De Masi, R.I.P..  [Angelo Francesco Lavagnino, Roman Vlad (together?).]
  66. LAWRENCE OF ARABIA --  Richard Rodgers.  May have recorded, but at least a dozen cues were written.  [Three guys.]
  67. LAWRENCE OF ARABIA --  Walton (for the marches), Khatchaturian (arabic music) & Arnold (the rest).  Wanted too long to score it supposedly, but according to one of them in an interview, upon watching the film, they found they hated it.  [Benjamin Britten.]
  68. LAWRENCE OF ARABIA --  Benjamin BrittenWanted too long to score it as well.  [Maurice Jarre.]
  69. LE SETTE SPADE DEL VENDICATORE --  Francesco De Masi, R.I.P..  [Franco Mannino.]
  70. SODOM AND GOMORRAH --  Dimitri Tiomkin.  An old news blurb mentions Tiomkin dropped out to do an "eye operation".  [Mario Nascimbene.]
  71. SODOM AND GOMORRAH --  Mario Nascimbene.  In a 1986 interview with Soundtrack! magazine, Nascimbene said he rejected an offer to score the film.  [Miklos Rozsa.]
    1963
  72. THE RUNNING MAN --  Ron Grainer.  Grainer redid the main theme only.  [Alwyn.]
    1964
  73. THE COOL WORLD --  Dizzy Gillespie.  An old news article said Dizzy was hired to score the film, but appearently later on he turned it down for some reason, yet he did play on Waldron's score, and an LP by the name of the film, with instrumental scoring not of Waldron's doing, was released.  [Mal Waldron.]
  74. MARY POPPINS --  Nelson Riddle.  In the biographal book, September In the Rain, Riddle says he was offered, but turned down scoring the film.  [Irwin Kostal.]
  75. THE NIGHT OF THE IGUANA --  Alex North, R.I.P..  Turned down scoring the picture and didn't care for it.  [Benjamin Frankel.]
  76. THE PAWNBROKER --  John Cage.  Lumet, the director, said in an interview he asked Cage, but Cage wasn't interested in doing a movie score.  [Gil Evans.]
  77. THE PAWNBROKER --  Gil Evans.  Evans turned it down and suggested Jones.  [John Lewis.]
  78. THE PAWNBROKER --  John Lewis.  Lumet, in the same interview, said he showed the film to Lewis, but didn't think Lewis liked it, so he moved on to find another composer.  [Quincy Jones.]
    1965
  79. A RAGE TO LIVE --  Dominic Frontiere.  An old Billboard article said he scored it (with Diahann Lampert on the song).  [Nelson Riddle.]
  80. JULIET OF SPIRITS --  Morton Gould, R.I.P.Turns out this was confused with the musical, which Gould scored, that the film was based off of.  [Nina Rota.]
  81. MISTER MOSES --  Dominic Frontiere.  An old Billboard article said he scored it (with Ferrante & Teicher on the song).  The tapes for Barry's score are missing (maybe destroyed), so if Frontiere did do a score, one would assume unless recorded elsewhere, his score is gone, too.  [John Barry.]
  82. THE SPY WHO CAME IN FROM THE COLD --  Ray Martin.  An old news blurb mentioned he was doing the score.  [Sol Kaplan, R.I.P..]
  83. THE TRAIN--  Leroy Holmes.  An old Billboard article said he scored it (with Noel Sherman on the song).  There is a 7" LP promo with one piece called the "theme" from "The Train" -- one would assume, if not a song, this is a score cue from his rejected score (anybody have that and can confirm?).  [Maurice Jarre.]
    1966
  84. A FINE MADNESS --  ?????.  Among some changes to the film, according to one source, was a new score.  [John Addison.]
  85. BRIDES OF FU MANCHU --  Johnny Douglas.  Dropped out; don't know if he did anything or not.  [Bruce Montgomery, Douglas Gamely (additional).]
  86. THE BIBLE --  Miklos Rozsa.  [then Ennio Morricone (rejected), then finally Toshirô Mayuzumi.]
  87. CAST A GIANT SHADOW --  Dov Seltzer.  An old news blurb mentioned he was doing the score.  [Elmer Bernstein, R.I.P..]
  88. THE FAMILY WAY --  Bernard Herrmann.  Turned it down when offered.  [Paul McCartney.]
  89. 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.
  90. THE MOVING TARGET (AKA: HARPER) --  Andre Previn.  Appearently a fairly late replacement, as many sources were still citing Previn as having done the score.  At least one song in the film is credited to Previn; it was also stated he was starting to write it right after finishing "Inside Daisy Clover".  [Johnny Mandel.]
  91. NO TOYS FOR CHRISTMAS (AKA: ONCE BEFORE I DIE) --  Richard LaSalle.  An old news blurb mentioned he was doing the score..  [Emmanual Vardi.]
  92. PISTOLS 'N' PETTICOATS: "Pilot" --  Jack Marshall.  An old BMI newsletter reported Marshall had score this.  [Russ Garcia.]
  93. THE SAND PEBBLES --  Alex North.  North became sick and had to drop out.  Didn't find out whether he has begun recording.  [Jerry Goldsmith.]
  94. SECONDS --  Quincy Jones.  In a interview with Jones, mention was made that he'd completed "The Pawnbroker" and was preparing to score this film.  [Jerry Goldsmith.]
  95. THIS GUN FOR HIRE --  Jack Marshall.  An old BMI newsletter reported Marshall had score this pilot which ultimately failed; it ended up airing as an episode of "Laredo" titled "Above the Law" and with a different composer.  [Russ Garcia.]
  96. YOU'RE A BIG BOY NOW --  John Sebastian (the film composer, not the long-gone classical composer).  An old news blurb mentioned he was doing the score.  [Robert Prince.]
    1967
  97. BONNIE AND CLYDE --  Earl Scruggs.  Hired to score the film and his band was going to perform it; don't know if it was done.  Charles Strouse.]
  98. 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.
  99. LUV --  Burt Bachrach.  Was assigned to score the film, but had to back out to finish scoring "Casino Royale".  [Gerry Mulligan.]
  100. 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.]
  101. TOBRUK --  Quincy Jones.  Was hired to score the film.  [Bronislau Kaper.]
  102. SADISMO/MONDO SADISMO --  ?????.  Baxter scored US prints only.   Original composer?  [Les Baxter.]
  103. 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.]
  104. KILL A DRAGON --  Richard LaSalle.  An old news blurd reported LaSalle had scored the film (this was months before it opened in the U.S.) with a song by Buddy Kaye.  [Philip Springer.]
  105. WELCOME TO HARD TIMES --  Dimitri Tiomkin.  As documented on the official website of the late composer, Tiomkin was hired to score the film; there were talks for a week and a few months of letters back and forth, Dimitri was announced, but for unspecified reasons he was dropped and told he would not be paid for any work he did during that time.  Sukman was coincidently, food friends with Tiomkin.    [Harry Sukman.]
    1968
  106. THE CATCHABLES (AKA: THE TOUCHABLES) --  Traffic.  An old news article on Billbaord reported the music group was going to score the film; the film contains at least one song by them, in the opening.  [Ken Thorne.]
  107. THE DEVIL'S BRIGADE --  Elmer Bernstein.  Billboard reported Bernstein had scored the film, and their track record -- at least for every assignement I read in their papers -- has been 100% accurate, with rejections listed as well.  [Alex North.]
  108. HELLFIGHTERS --  John WilliamsAccording 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.]
  109. ICE STATION ZEBRA --  Jerry GoldsmithTurned it down to score PLANET OF THE APES.  [Michael Legrand.]
  110. KILLERS THREE --  Merle Haggard.  An old news blurb mentioned that he would do the score, on top of the song for the film.  [Mike Curb, Harley Hatcher, Jerry Styner.]
  111. L'ODISSEA (mini series) --  ?????.  Rustichelli explains in an interview he had very little time to score each episode because he came on late, taking over for an un-named composer whom he said turned out to not be up to the task (he makes no word on whether anything had been recorded).  [Carlo Rustichelli.]
  112. LATIGO --  The Nitty Gritty Dirt Band.  Along with a song, were also hired to score the film.  [Jeff Alexander.]
  113. THE LOST CONTINENT --  Nino Rota, R.i.P..  Letters were sent to Rota and he was asked to score the film; I have no idea what happened after that.  [Frankel (rejected); Gerard Schurmann; Howard blake (source music -- I will of course inquire further on if he also did a score which was not used...).]
  114. NIGHT HUNT --  Sammy Fain.  An old report in Billbaord said Fain was scoring the film.  [Harry Sukman.]
  115. SHALAKO --  John BarryFrom a February 1979 interview handled by Martin Crosthwaite; when asked about why he doesn't do many westerns or horror films, replied:  "No, I think it’s due to the fact that most of the time up through the past few years I was using England as my base for writing and we don't make westerns out of England. I was offered one with Sean Connery and Brigitte Bardot, Shalako, which I thought I might like to do. Then I saw the film and decided I didn't. So there was an opportunity." (also adding he had never been offered a horror film).  [Robert Farnon.]
  116. THE SWEET RIDE --  Lee Hazelwood.  An old article mentioned he was hired to score the film, and also have an acting role.  [Pete Rugolo.]
  117. THE PICASSO SUMMER --  Randy Newman.  An old article mentioned he was hired to "compose, arrange and score" the film, along with providing the title song.  Supposedly the film got changed a good deal and that necessitated a new score.  [Michel Legrand.]
    1969
  118. 80 STEPS TO JONAH.  David White & Erik Faulkner.  An old Billboard article said they not only did the songs, but the score as well.  [George Shearing.]
  119. THE APRIL FOOLS --  Burt Bacharach.  An old news blurb mentioned he was doing the score; ASCAP lists registered cues.  [Marvin Hamlisch.]
  120. ANNE OF A THOUSAND DAYS --  John BarryIn a February 1979 interview handled by Martin Crosthwaite, Barry was asked if he ever turned any films down and replied: "I was going to do Love Story (1970) when the director Anthony Harvey, was involved with it. I also turned down Anne of the Thousand Days (1969), but overall I've been pretty lucky in that sense.".  [Georges Delerue.]
  121. THE ARRANGEMENT --  Manos Hadijidakis, R.I.P..  An old news blurb mentioned he was doing the score.  [David Amram.]
  122. CAMILLE 2000 --  Armondo Trovajoli.  Supposedly dropped out at the last minute.  [Piero Piccioni.]
  123. DAVID COPPERFIELD --  John Williams.  Scheduling conflict with "Goodbye, Mr. Chips".  [Malcolm Arnold.]
  124. THE MAGIC CHRISTIAN --  Paul McCartney.  Mention was made McCartney was asked to score the film, but wasn't excited about doing it.  Another source said Lennon was writing the score with him.  [Ken Thorne.]
  125. MAROONED --  Wendy Carlos and Rachel Elkind.  Were originally hired to score the film (I can't recall the story if they did or didn't).  [No original score.]
  126. THE WILD BUNCH --  Lalo Schifrin.  Feldman had wanted Schifrin, but Peckinpah wanted Feidling.  [Jerry Feilding.]
    1970
  127. 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.]
  128. 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...
  129. DIAL HOT LINE --  Stanley Wilson.  [Oliver Nelson.]
  130. LOVE STORY --  John BarryIn a February 1979 interview handled by Martin Crosthwaite, Barry was asked if he ever turned any films down and replied: "I was going to do Love Story (1970) when the director Anthony Harvey, was involved with it. I also turned down Anne of the Thousand Days (1969), but overall I've been pretty lucky in that sense.".  [Jimmy Webb (rejected), then Francis Lai.]
  131. THE MOONSHINE WAR --  Neal 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?.  [Fred Karger; Neal Hefti (additional).]
  132. MYRA BRECKINRIDGE --  Rod McKuen.  An old news blurb said he had been signed to do the score.  [John Phillips.]
  133. THE OVER-THE-HILL GANG RIDES AGAIN --  Hugo Friedhoffer.  Earle Hagen tells in his book, Memoirs of A Famous Composer Nobody Ever Heard Of, that he suggested they hire Hugo again, which worked, until the next day when they changed their minds. After having trouble picking a composer, they settled on Raksin. Things didn't go well, and producer Aaron Spelling walked out during the scoring of the first reel; on their end they tried to save as much, but used Hagen's suggestion to re-record music from the first film (because of union music rules), so Hagen re-did some score from the first film, after a session of "The Mod Squad"; the network was happy and surprised Rakin could do that after having worked on "Bonanza" for so many years, at which Hagen told them that was David Rose, and the reply Hagen says he got from them, says it all: "Huh?".  If you like stories like this, the book is recommended.  [David Raksin.]
  134. PERFORMANCE --  Randy Newman.  [Jack Nitzsche.]
  135. 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
  136. A CLOCKWORK ORANGE --  Ennio Morricone.  In a February mini ivideo nterview for Channel 4, Morricone explains he was asked by the director to score the film and accepted.  But the director of another film he had finished scoring, told Kubrick that Ennio wasn't done; he lost the job and Kubrick never called him again.  He expressed how deeply he wished he had scored the film.  [No original score; Wendy Carlos (additional); Erika Eigen (additional?).]
  137. CLAY PIGEON --  Tommy Boyce & Bobby Hart.  An old artilce says they were going to score the film.  [.]
  138. THE DAY OF THE WOLVES --  Ferde Grofe.  An old article said he was going to score the film; Mr. Grofe also served in other capacities on the film, including a producer; one can assume the schedule and multiple positions just proved to be too much to handle with the addition of a score.  [Sean Bonniwell.]
  139. DR. JECKYLL & SISTER HYDE --  Harry Robinson.  Whitaker mentions in an old interview he was asked to score the film, replacing a composer who was having disagreements with the director; Robinson said in an interview he did not like the movie and asked to be let go.  Before leaving, he suggested Whitaker as a replacement.  [David Whitaker.]
  140. HAPPY BIRTHDAY, WANDA JUNE --  Duke Ellington.  An old news blurb mentioned he was doing the score.  [Hal Schuler.]
  141. THE KREMLIN LETTER --  Toshiro Mayuzumi.  Many listings have him along side Drasnin as composer, and he had worked twice before with the director.  I can't confirm this, as I don't own the CD, but appearently the linear notes for Drasnin's score infact mention Mayuzumi in fact having done a score, but goes into no further detail.  [Robert Drasnin.]
  142. PSYCHOMANIA --  David Whitaker.  [John Cameron.]
    1972
  143. BLACK BELT BROTHERS --  Eddie Harris, R.I.P..  An old article reported Harris would be making his film scoring debut by scoring this film.  [Charles Earland.]
  144. 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.).]
  145. COME BACK, CHARLESTON BLUE --  Quincy Jones.  An old artilce says Jones was hired to do the score; two or three months later the same magazine reported the replacement composer as being hired.  [Donny Hathaway.]
  146. THE HOT ROCK --  Phil Spector.  An old news article, I think it was in Billboard, reported Spector would be doing his first film score for this film.  Spector, whom had otherwise made a career in the song and music industry, currently is in prison on a murder conviction.  [Quincy Jones.]
  147. 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?]
  148. LIVING FREE --  John BarryIn a February 1979 interview handled by Martin Crosthwaite, Barry was asked why he didn't score this sequel, he replied: " I was asked to do Living Free (1972) after Born Free (1966), but I refused because I don't think you can pull it off twice. You might be lucky. I think the 'Bond' and 'Pink Panther' films are a unique exception. I thought it would be best to have someone else score Zulu Dawn and so I let it be known I wasn't interested.".  [Sol Kaplan.]
    1973
  149. A DOLL'S HOUSE --  John Dankworth.  In a 1976 interview with Soundtrack! magazine, Dankworth stated he was offered the film, but turned it down because he thought it was immoral to put music in the film.  Reportedly the film only contains one cue by Legrand.  [Michel Legrand.]
  150. CLEOPATRA JONES --  Joe Simon.  An old issue of JET says Simon was going to do the film's score, "joining the ranks" of songwriters who had crossed over to scoring.  [Roger Kelleway.]
  151. CLEOPATRA JONES --  Roger Kellaway.  An old news article that said he had recorded a score at the new Burbank Studios, was false and jsut very poorly written; Kellaway did two pre-recorded songs, arranged and conducted, "Am I Blue?" and "Swing Down Chariot".  [J.J. Johnson; Carl Brandt (additional).]
  152. THE EXORCIST --  George Crumb.  Recalls in an interview he was asked to the score the film, but declined as he wasn't interested in scoring films.  [Lalo Schifrin (rejected), then Jack Nitesche (rejected), no original score.]
  153. JEREMY --  ?????.  In a 2016 interview, Holdridge said he was a replacement composer on the film, but doesn't say who the original composer was or any further details.  [Lee Holdridge.]
  154. LIVE AND LET DIE (James Bond) --  John BarryIn a February 1979 interview handled by Martin Crosthwaite, Barry was asked why he didn't score the film and replied: "I was doing Billy for the London stage at the time and also had fallen out with the producer Harry Saltzman (but not with Cubby). So it was a combination of the two things.".  [George Martin.]
  155. MOSES THE LAWGIVER --  Anthony Burgess, R.I.P..  According to Burgess, Producer Lew Grade rejected him.  Supposedly Burgess only got as far as piano sketches.  [Ennio Morricone.]
  156. PAT GARRETT & BILLY THE KID --  Jerry Fielding, R.I.P..  The producers wanted Fieldingand Dylan to work together, but Fielding didn't exactly agree and backed out; Dylan was offered to score the film.  [Bo Dylan.]
  157. THE STING --  Joshua Rifkin.  Was asked to score it, but had prior committments.  [Marvin Hamlisch.]
    1974
  158. THE GIRL FROM PETROVKA --  Roy Budd.  An old news blurb mentioned he was doing the score.  [Henry Mancini.]
  159. THE GREAT GATSBY --  Andre Previn.  Was asked to score it, but turned it down.  [Nelson Riddle.]
  160. 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.]
  161. 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.]
  162. MAME --  Fred Werner.  An old news article said he had recorded the score at the Burbank Studios (which was still new at the time).  [Jerry Herman.]
  163. NEWMAN'S LAW --  Billy Goldenberg.  An old news blurb mentioned scores that would be recorded at Universal's stage in the next "four weeks", and this was one of them; Goldenberg was noted to also conduct the score, too.  [Robert Prince.]
    1975
  164. BARRY LYNDON --  Howard BlakeIn 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..]
  165. THE TAKING OF PELHAM ONE TWO THREE --  Jack Nitzsche.  Offered, but declined.  [David Shire.]
  166. W.W. AND THE DANCEKINGS --  Bill Conti.  According to an article on Conti over at RunMovies (home of Soundtrack! magazine), Conti had met the director but Burt Reynolds stepped in and called up Lionel Newman because he wanted somebody else.  No huge loss as the director then recommended Conti for another film: "Rocky"; to this day Conti is still known for his score and song to the "Rocky" film while Reynolds is known as that guy who used to be famous that also had a mustache.  [Dave Grusin.]
    1976
  167. A STAR IS BORN --  Richard Perry.  A book on the actress, singer, says he was hired to score the film, but quit.  [Rupert Holmes.]
  168. A STAR IS BORN --  Rupert Holmes.  A book on the actress, singer, says he was hired to score the film, but quite.  [Rupert Holmes.]
  169. A STAR IS BORN --  Rupert Holmes.  Various reports say he was working on the score, and some cite songs; he did at least two songs which were not used.  [Roger Kellaway.]
  170. BAROCCO --  Ennio Morricone.  [Philippe Sarde.]
  171. CARRIE --  Bernard HerrmannObviously not rejected, but was set to score the film until his death.  [Pino Donaggio.]
  172. 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.]
  173. 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..]
  174. 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.]
  175. ROBIN AND MARIAN --  Maurice Jarre.  Turned it down after finding out Legrand had been rejected.
  176. 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.]
  177. THE SEVEN PERCENT SOLUTION --  Bernard Herrmann.  An old news blurb mentions he was signed to do the score, but he passed away before he could (or did he?).  [John Addison.]
  178. THE QUEST --  Billy Goldenberg.  An old billboard magazine blurb mentioned Goldenberg had been hired to score this.  [Richard Shores.]
  179. A WHALE OF A TALE --  Herb Bernstein.  An old BMI newsletter reported Bernstein was scoring it (reported in 1965).  [Jonathan Cain.]
    1977
  180. ????? --  David Bowie.  Bowie's site mentions in late 1977, he attended a screening for a film he was asked to score, but IMDb shows no scoring projects that early for him.  [?????.]
  181. THE DEEP --  John Williams.  An old news blurb mentioned that Williams would do the score.  [John Barry.]
  182. IL DESERTO DEI TARTARI --  Mario Nascimbene.  In a 1986 interview with Soundtrack! magazine, Nascimbene saiys he regretted not scoring the film.  [Ennio Morricone.]
  183. 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.]
  184. THE HILLS HAVE EYES --  Martin Heller.  An old news article reported he had been hired to score the film; this is the only know credit for this obscure musician.  Hitchcock Media Records released the replacement score, they also released the replacement score to "The People Under the Stairs", and not the rejected score, so there's a chance Heller did his score.  [Don Peake.]
  185. MATI (AKA: BEYOND REASON) --  John Cacavas.  An old report stated Koch, one of the producers, had hired Cacavas to do the score.  [Robert Randles.]
  186. MIDNIGHT EXPRESS --  VangelisIn 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.]
  187. PETE'S DRAGON --  Al Kaska & Joel Hirschoen.  An old news blurb said they were doing the songs, and score; the article was just lacking a more informative explination -- the two did the songs and the general score, and Kostal did score arrangements.  [Irwin Kostal.]
  188. THE SENTINEL --  John Williams.  Supposedly backed out at the last minute.  [Gil Melle, R.I.P..]
  189. THE SPY WHO LOVED ME (James Bond) --  John BarryIn a February 1979 interview handled by Martin Crosthwaite, Barry was asked why he didn't score the film and replied: "Right. The union rules are that if the picture is made in England, the score must be done in London, and I no longer work there. The new Bond film, Moonraker, is an Anglo-French co-production; and therefore it will be recorded in Paris. So I’ll be doing it there.".  [Marvin Hamlisch.]
  190. TWILIGHT'S LAST GLEAMING --  Frank DeVol.  Had to bow out at the last minute because of health issues, supposedly.  [Jerry Goldsmith.]
    1978
  191. 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.]
  192. THE GREAT BRAIN --  Don Costa.  An old news blurb said he had been signed to do the score.  [Merrill B. Jenson.]
  193. KING OF THE GYPSIES --  Jimmie Haskell.  [David Grisman, Mike Marshall and John Carlini(additional); Jimmie Haskell (leftovers?).]
  194. MIDNIGHT EXPRESS --  Jean Michael Jarre.  Jean told in an early July, 2013 Q&A at the International Music Summit, that he was offered the film but turned it down.  [Giorgio Moroder.]
  195. SIX WEEKS --  Marvin Hamlisch.  An old news report said David Seltzer would being doing a film based on the Fred Stewarts book, and that Hamlisch was scoring it; based on the plot and checking IMDb, there is no film matching this; I have no idea if it was shelved or never made.  [Marvin Hamlisch?]
  196. 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.
  197. SOLAMENTO NERO --  Goblin.  Supposedly a contractional dissagreement had them leave.  [Stelvio Cipriano.]
    1979
  198. ALIEN --  Howard Blake.  Ridley asked Blake if he wanted to score the film, but studio heads were planning otherwise....  [Isao Tomita.]
  199. ALIEN --  Isao Tomita.  Ridley wanted Tomita to score the film, the studio felt completely different, suggesting Goldsmith or Williams.  [Jerry Goldsmith, R.I.P.]
  200. ALL THAT JAZZ --  Allan Ferguson.  An old news blurb said he had been hired to score this.  [Ralph Burns.]
  201. THE BLACK STALLION --  Bill Russo.  [?????.]
  202. THE BLACK STALLION --  ?????.  In an interview, Walker tells the story:
    "You know, Carmine was not Carroll Ballard's choice as the composer. Carroll had hired a composer who was in academia.

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

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

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

    [Carmine Coppola & Shirley Walker.]
  203. BREAKING UP IS HARD TO DO --  Richard Bellis  Arranged songs; never did a score.  [Gereld Fried.]
  204. BUTCH & SUNDANCE:  THE EARLY YEARS --  Jerry Goldsmith.  Script conflicts.
  205. THE CHAMP --  Marvin Hamlisch.  Song by Hamlisch; an old news article reported he was scoring it.  [Dave Grusin.]
  206. THE CHINA SYNDROME --  Jack Nitzsche.  [Then Michael Small, then nobody went in and it went scoreless.]
  207. DOCTOR DEATH: SOUL SEEKER --  William Tasker.  An old news blurb mentions he was signed to do the score.  [Richard LaSalle.]
  208. ESCAPE TO ATHENA --  Jerry Goldsmith.  Script conflicts.
  209. THE GLOVE --  Robert O. Ragland.  Soundtrackcollector lists the score as not being used, yet IMDb still lists him, and the film credits him -- did he do two different scores?  Was his score replaced but he's still credited?  [Robert O. Ragland.]
  210. THE HOUSE ON GERIBALDI STREET --  ?????.  Just speculation, since Bernstein said in an interview he wrote the score in six days; typically schedules like this only happen when replacing a score.  [Charles Bernstein.]
  211. HURRICANE --  Bill Conti.  An old news blurb mentions he was doing the score; the picture was still being filmed.  [Nina Rota.]
  212. EISENHOWER (AKA: IKE: THE WAR YEARS, mini series) --  Leonard Rosenman, R.I.P..  An old issue of Bernstein's "Film Music Notebook" reports that this was one of hisnext assignments; the mini series was originally six hours, and cut down to four instead.  One would assume that at that poin, if he did a score, it no longer fit.  This would have been one of his next scores, if not the very next, after completing "Lord of the Rings" -- if that gives any idea of what it might have been along the lines of.  [Fred Karlin.]
  213. JUST YOU AND ME, KID --  Sammy Fain.  An old news blurb mentions the signing to do the score.  [Jack Elliot.]
  214. THE MAGICIAN OF LUBLIN --  Don Seltzer.  An old news blurb mentioned he was doing the score.  [Maurice Jarre.]
    1980
  215. AIRPLANE! --  Miklos Rozsa, R.I.P..  In a 1982 Soundtrack! interview, he said he 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..]
  216. ALLIGATOR --  James Horner.  Supposedly Horner was originally going to score the film, but a musician's strike left him unable to do so.  [Craig Huxley; and stock music from other films (including a Jerry Goldsmith cue).]
  217. CARNY --  Robbie Robertson.  Only did songs and was never engadged to do the score.  [Alex North.]
  218. THE CONTENDER (mini series) --  Leonard Rosenman, R.I.P..  [James Di Pasquale.]
  219. CURLILAND (AKA: WHY WOULD I LIE?) --  Billy Goldenberg.  An old news blurb mentioned he was doing the score..  [Charles Fox.]
  220. FLASH GORDON --  Pink Floyd.  [Howard Blake.]
  221. NIGHT OF THE JUGGLER --  Jerry Goldsmith.  Script conflicts.
    1980
  222. AMERICAN GIGOLO --  Jean Michael Jarre.  Jean told in an early July, 2013 Q&A at the International Music Summit, that he was offered the film but turned it down.  [Giorgio Moroder.]
  223. HIDE IN PLAIN SIGHT --  Michael Small, R.I.P..  An old news article in April the previous year, reports Small had been signed to score the film, and a listing on SoundtrackCollector.com says he had a score that wasn't used.  March 2, 2011, FSM released Rosenman's score; curious, I contacted Lukas; their search couldn't turn up Small having done one either.  Whomever you are out there that added that listing to SoundtrackCollector, if you know better or even have tapes/know someone who does, for Small, please contact me (see home/index page for e-mail).  [Leonard Rosenman.]
    1981
  224. ALL NIGHT LONG --  Dave Grusin.  An old article on the film stated Grusin was doing the music, and if you've read the various films she [Streisand] did on the "Rejected" list, you know it's a problem if you are the first composer on any of her films...  [Ira Newborn, Richard Hazzard.]
  225. BODY HEAT --  Miklos Rozsa, R.I.P..  Was offered the film, but when he read the script, he found it "disgusting".  [John Barry.]
  226. THE COMING (AKA: Burned at the Stake) --  Dana Kaproff.  [Arthur Kempel.]
  227. THE DEVIL AND MAX DEVLIN --  Marvin Hamlisch.  An old news blurb said Hamlisch was scoring the film.  [Buddy Baker.]
  228. HEARTBEEPS --  Ira Newborn.  An old article on the film stated Newborn was doing the music.  [John Williams.]
  229. 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).]
  230. LOOKER --  Jerry Goldsmith.  Script conflicts.
  231. MOMMIE DEAREST --  Miklos Rozsa, R.I.P..  In a 1982 Soundtrack! magazine interview, he said (when being asked about films he declined): "I didn’t do the Joan Crawford picture, MOMMIE DEAREST. I knew the lady. She was a lovely woman in life. I cannot force myself to make her more vicious and horrible with my music.".  [Henry Mancini, R.I.P.]
  232. 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." "
  233. SPHINX --  Jerry Goldsmith.  Script conflicts.
  234. TATTOO --  Pino Donaggio.  [Barry De Vorzon.]
  235. TRUE CONFESSIONS --  Bill Conti.  Supposedly the film got pushed back and Conti wasn't avaiable, scoring the Bond picture.  [Georges Delerue.]
    1982
  236. ANNIE --  Ralph Burns.  An old news blurb mentions he was signed to do the score.  [Charles Strouse.]
  237. CAT PEOPLE --  Jean Michael Jarre.  Jean told in an early July, 2013 Q&A at the International Music Summit, that he was offered the film but turned it down.  [Giorgio Moroder.]
  238. DANCE OF THE DWARFS --  John Barry.  [Perry Botkin, Jr.]
  239. DEATHWISH II --  Isaac Hayes.  Page had two weeks to do his score, usually a sign a previous composer did their score...  [Jimmy Page.]
  240. GANDHI --  ?????.  In a bio' on Fenton for a concert performance (sometime 201o to 2015), the statement was Fenton was called in to score the film after the previous composer supposedly dropped out.  [George Fenton & Ravi Shankar.]
  241. GREASE 2 --  Charles Fox.  Apparently didn't see eye-to-eye with the director.  [Louis St. Louis.]
  242. THE HAND --  Tangerine Dream.  In Edgar Froese's autobiography he reveals they met with the director several times in 1980 about scoring the film.  [James Horner.]
  243. THE NEIGHBORHOOD --  John Cacavas.  Cacavas is credited with the opening and closing score cues; perhaps that is all that is left, assuming he didn't provide themes for Markowitz.  [Richard Markowitz.]
  244. THE THING --  Jerry Goldsmith.  Decided to do "Poltergeist" instead.  [Ennio Morricone (who had most of his score dropped), then the director -- John Carpenter -- scored it.]
  245. TIR GOUPE --  Philippe Sarde.  A listing on SoundtrackCollector.com says so.  [Yvan Sullien, Hubert Rostaing.]
  246. 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
  247. FIRE AND ICE --  John Corigliano.  Supposedly he was offered the film, but turned it down to work on his opera The Ghosts of Versailles (which didn't premiere until 1991).  In April, 2013, BuySoundtrax Records released Kraft's score.  [William Kraft.]
  248. JAWS 3 --  John Williams.  Didn't, for what ever reason.[Alan Parker.]
  249. 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.]
  250. LAST RIVER TO CROSS/THE EIGHT (AKA: UNCOMMON VALOR) --  ?????.  Milius hired a composer, Katzenberg -- angry about not being consulted -- threw Milius off the Paramount lot, and refused to let the composer do a score.  Basil Poledouris was hired to score the film, and paid, but in spite of his working relationship with Milius, it doesn't necessarily mean he was the one the story refers to (if you know otherwise, please inform me).  A common title requested by Horner fans for release, the master tapes are currently missing.  [James Horner.]
  251. LOVESICK --  Stanley Silverman.  I am told he didn't do a score.  [Philippe Sarde.]
  252. PRINCESS DAISY (TV movie) --  Maurice Jarre.  In a 1985 interview with Soundtrack! magazine, Jarre said he turned down the offer to score the film.  [Lalo Schfrin]
  253. THE RIGHT STUFF --  Bill Conti.  I can't personally vouch for the veracity of this, but on top of having to replace Barry, Conti supposed did three complete scores for the film because the director couldn't make up his mind, and that parts of all three were used in the film, creating even more of a disjointed listen with the other music used.  But since the tapes are missing and what little could be found was put on the Varese Sarabande CD Club release, we'll never really know the extent of what Conti did and how each score stood on its own.  [Bill Conti.]
  254. RUMBLE FISH --  ?????.  Supposedly a previous composer had either backed out or was fired.  [Stewart Copeland.]
  255. SADAT (TV movie) --  Maurice Jarre.  In a 1985 interview with Soundtrack! magazine, Jarre said he turned down the offer to score the film.  [Charles Bernstein.]
  256. WARGAMES --  John Williams.  [Marvin Hamlisch.]
  257. WARGAMES --  Marvin HamlischBoth composers were being considered for the score before Rubinstein, but as nothing was on the Intrada CD, my guess is neither did anything.  [Arthur B. Rubinstein.]
  258. WITHOUT A TRACE --  Bill Conti.  [Jack Nitzsche.]
    1984
  259. BOLERO --  Alex North.  Did not like violent films and when offered to score the film, turned it down.  [Peter Bernstein.]
  260. DUNE --  Brian Eno.  A rumor online is that Eno did a whole score which was not used, except that one cue.  [Toto.]
  261. FOOTLOOSE --  Toto.  Toto member Steve Lukather stated in a 1992 interview they were given the offer to score the film but turned it down.  [Miles Goodman.]
  262. MICKI + MAUDE --  Michel Legrand.  Supposedly became unavailable, but a song by him still appears in the film.  [Lee Holdridge.]
  263. OH, GOD! YOU DEVIL --  Mike Post.  A version of the film rental from Netflix (maybe the same version available everywhere else), still has Post credited; I was not able to see the film myself to find out what the credit reads.  [David Shire.]
  264. OXFORD BLUES --  George Romanis.  [John DuPrez.]
  265. THE TERMINATOR --  Tony Banks.  When in talks to score, Mr. Fiedel was told they had a British composer who would score the film for free; unknown to him was that Cameron had sent Banks a copy of the script, wanting him to compose, and that desperate for the work and experience, Banks was offering to take on scoring projects for free; ultimately Banks was tied up on "2010" (see "DEMOS") and had to turn down the film.  [Brad "BOOM BOOM Boom BA Boom" Fidel - CD.]
  266. 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
  267. A CHRISTMAS PRESENT--  Nick Bicat.  [Mark Isham.]
  268. 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.]
  269. FLETCH --  Charles Gross.  This was nothing more than an inaccurate rumor that ended up being passed along until no one was sure.  [Henry Mancini.]
  270. FLETCH --  Henry Mancini, R.I.P..  [Tom Scott.]
  271. FLETCH --  Tom Scott.  Supposedly a noir styled score.  [Harold Faltermeyer.]
  272. JAGGED EDGE --  Brad Fiedel.  Was asked to rescore scenes in the film, but declined.  [John Barry.]
  273. THE GOONIES --  Jerry Goldsmith.  Since Varese Sarabande CD Club released Grusin's complete score in 2010 (as I write this, it has not sold out yet), and there's simply no way they would pass up a Goldsmith score, it then goes without saying Jerry did not do a score for the film, but "why" ... is still unknown.  [Dave Grusin.]
  274. LADYHAWKE --  Gerard Schurmann.  Originally going to score it, but the producers changed their mind; a mistake if you ask me...  [Andrew Powell.]
  275. LIFEFORCE --  James Horner.  Horner was the original choice, but he ended up not being available, though Kamen stated in an interview with Soundtrack! magazine there were some problems and Horner left. Kamen also stated he was first asked to score the film but was busy scoring "Brazil" and had to turn it down (oddly enough at one point it was going around his "Brazil" score was going to be dumped and that another composer was being sought, having Kamen calling them up and asking if it was true).  [Henri Mancini; Michael Kamen with James Guthrie (additional).]
  276. SWEET DREAMS --  Stanley Myers.  [Charles Gross.]
    1986
  277. CLUB PARADISE --  Van Dyke Parks.  Mansfield co-scored with Mr. Parks.  [David Mansfield.]
  278. 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).]
  279. HOWARD THE DUCK --  Bruce Broughton.  In a 1986 interview with Soundtrack!, Broughton said he wanted to score the film; he was being considered and had a ticket to go meet director, but then Barry was hired. Then he saw the movie and was grateful for missing out. There was also another film he wished he had scoed, but he could not remember the name of it (the interview makes rerference to another interview where Broughton does mention it, but does not say whom conducted the interview, and for what publication).  The choice had come down to Barry or Poledouris.  [John Barry.]
  280. NIGHT OF THE CREEPS --  Elmer Bernstein, R.I.P..  Was going to score it and use the ondes martenot, but for what ever reason he didn't score it.  [Barry De Vorzon.]
  281. NOTHING IN COMMON --  Thompson Twins.  In a 1985 interview the group mentions they are going to score the film; supposedly because of family problems, in the end they only did a song.  [Patrick Leonard.]
  282. SALVADOR --  ?????.  The composer on the film originally, quit and so Stone hired Delerue --- whom he had worked with before (which begs the question: why not hire Delerue in the first place?).  [Georges Delerue, R.I.P..]
  283. 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.]
  284. THE TRIAL OF THE TIME LORD (AKA: Mindwrap -- Doctor Who) --  Dick Mills.  [Richard Hartley.]
  285. WHEN THE WIND BLOWS --  David Bowie.  Was asked to score the film, but apparently -- from what I read -- he was in too poor of shape from a bad drug habit.  [Roger Waters (of Pink Floyd).]
    1987
  286. FLOWERS IN THE ATTIC --  David Shire.  The director was originally going to hire him, but for what ever reason supposedly didn't.  [Christopher Young.]
  287. EXTREME PREJUDICE --  RY Cooder.  [Jerry Goldsmith.]
  288. THE SECRET OF MY SUCCESS --  John Williams? [David Foster.]
  289. QUICKSILVER --  Thomas Newman.  Credited with additional music at the end of the film; no word on whether that was leftovers from a rejected score, or just supplementing.  [Tony Banks; Thomas Newman (additional; leftovers?).]
    1988
  290. CASUAL SEX? --  Carter Burwell.  Listed on SoundtrackCollector.com as "(score not used)".  [Van Dyke Parks.]
  291. CHILL FACTOR --  John Tatgenhorst.  [John Ross.]
  292. THE DECIEVERS --  Richard Robbins.  The director wanted/possibly hired him, but there were disputes over who would do the score; ultimately I don't know if Robbins did or did not.  [John Scott
  293. FRIDAY THE 13TH PART VII: THE NEW BLOOD --  Harry ManfrediniNot rejected, but unavailable.  [Fred Mollin with music from Manfredini's scores to Parts 1, 2, 5, & 6]
  294. LITTLE NIKITA --  James Horner.  [Marvin Hamlisch.]
  295. MYSTIC PIZZA --  Barry Coffing.  [David McHugh.]
  296. 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.]
  297. POLTERGEIST III --  Jerry Goldsmith.  Before he found out the budget.  [Joe Renzetti.]
  298. TUCKER: A MAN AND HIS DREAM --  John Williams.  Originally doing the score.  [Leonard Bernstein.]
  299. TUCKER: A MAN AND HIS DREAM --  Leonard Bernstein.  Hired and were discussing it (Bernstein even brought up being careful about it, lest another "Apocolypse Now"), but the studio interfered; Bernstein had written one song and had flown to another country with the director to work on the music.  [Joe Jackson.]
  300. SCROOGED --  John Williams.  An old listing of scores recently recorded (London Symphony Orchestra; Elfman used the Hollywood Symphony Orchestra), had this among it; all the other entries were accurate; surely this can't be right...  [Danny Elfman.]
  301. SHERLOCK AND ME (AKA: WITHOUT A CLUE) --  John Williams.  An old listing of scores recently recorded listed this amongst the titles (London Symphony Orchestra).  [Heny Mancini, R.I.P..]
    1989
  302. A GRAND DAY OUT WITH WALLACE AND GROMIT --  ?????.  In an interview, Nott says someone else was going to score it.  [Julian Nott.]
  303. 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.]
  304. THREE FUGITIVES --  RY Cooder.  Once again they replaced McHugh and asked RY Cooder, but Cooder wasn't available and turned it down.  [David McHugh.]
  305. 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.
  306. ONE FOR SORROW, TWO FOR JOY (AKA: Signs of Life) --  Richard Einhorn.  In a 1989 Soundtrack! magazine interview, he says he's just been hired to score the film, and about what the score will be, he says: "The score will be a real change of pace: all of it will be Portuguese music!".  I contacted Mr. Einhorn and he said he did not do a score in the end.  [Howard Shore.]
  307. THE RED KING, WHITE KNIGHT (TV movie) --  ?????.  Speculation, as Scott said he wrote the score in ten days, a schedule that usually only happens when replacing another score.  [John Scott.]
  308. TO KILL A PREIST --  Zbignew Preisner.  [Georges Delerue, R.I.P..]
  309. TURNER & HOOCH --  James Horner.  [Charles Gross.]
  310. WHY ME? --  Basil Poledouris.  [Phil Marshall.]
    1990
  311. CHILD'S PLAY 2 --  Danny ElfmanSupposedly, 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.]
  312. DANCES WITH WOLVES --  Peter BuffetIn his 2010 book, Buffet explains Costner asked him if he would want to score the film, but Buffet elaborates he didn't actually know how to score and didn't know any of the basics, and contacted some composers/orchestrators for a crash course, but the studio nixed him; the "Firedance" cue in the film, on the two Barry score CD's, is a piece writen for the film afterwards, at Costner's behest (which Barry did not want on the CD).  [Basil Poledouris.]
  313. DANCES WITH WOLVES --  Basil PoledourisBacked out to score FLIGHT OF THE INTRUDER. Ironically, Basil had been trying to get the film; schedules overlapped and Costner was okay with the overlapping schedules, but the producers on the other film were not.  Of related interest: composer Stephen Graziano explained in an interview another composer had scored the trailer but they didn't like it, so he got the job; he rescored it and they didn't like it, so he went home and in an extremely short period of time, but together the music that was used in the trailer.  The original trailer composer isn't known and the first piece Graziano did, has not been heard.  [John Barry.]
  314. 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.]
  315. 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.]
  316. EDWARD SCISSORHANDS --  Robert Smith (The Cure).  Originally asked to score the film, and sent him a copy of the script, but Smith hadn't heard of Burton and turned it down.  [Danny Elfman.]
  317. EXORCIST III --  Christopher Young.  The film was re-cut heavily and DeVorzon's score was going to be replaced, for a good while, but the budget did not allow for it, and Young backed out (after writing an unknown amount of score).  [Barry DeVorzon.]
  318. HOME ALONE --  Bruce Broughton.  Supposedly a scheduling conflict with "Rescurers Down Under" that ran a month over and Broughton turned it down.  [Jonathan Sheffer.]
  319. HOME ALONE --  Jonathan Sheffer.  After Broughton, Sheffer was picked, but when Williams expressed interest...  [John Williams.]
  320. 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.]
  321. LIONHEART --  ?????.  Another speculation on my part because someone said Scott did the score is less than two weeks.  [John Scott.]
  322. MOON 44 --  Christopher Young.  Turned it down for unknown reasons.  [Another composer, then Joel Goldsmith.]
  323. THE RUSSIA HOUSE --  Michael Kamen.  The director wanted Kamen, since Sean Connery was playing a sax in the film and Kamen and Sanborn had just done an album like that.  [Jerry Goldsmith.]
  324. 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.]
  325. 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
  326. BACKDRAFT --  James Horner.  Wanted Horner, but a scheduling conflict made him unavailable; Zimmer says it was always himself onboard.  [Hanzi Zimmer.]
  327. HOLLISTER (AKA: BROTHERHOOD OF THE GUN) --  ?????.  In an old interview with the late Joel Goldsmith, Joel stated he was the replacement composer on the project (and didn't name the previous composer).  [Joel Goldsmith; Jerry Goldsmith (theme).]
  328. FATHER OF THE BRIDE --  ?????.  Just speculation, but in a November, 2016 video interview with Film Music Media, Silvestri was asked about his fatested score and this was the first one named, with little time to score; no specific word is given that he was taking over for somebody else.  [Alan Silvestri; Steve Tyrell (additional).]
  329. 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 and George S. Clinton.]
  330. LIVIN' LARGE! --  Kurt Farquhar.  An old article says he had scored it.  [Herbie Hancock.]
  331. RETURN TO BLUE LAGOON --  Gary Chang.  [Basil Poledouris.]
  332. SUPER MARIO BROS. --  Jerry Goldsmith.  Back when the film was being directed by Greg Beeman, Goldsmith had been signed on to score it.  The film came out in 1993, and was directed by somebody else.  [Alan Silvestri.]
  333. TRUE COLORS --  Georges Delerue, R.I.P..  In an Soundtrack! magazine interview, Delerue says he would be scoring the film.  [Trevor Jones.]
    1992
  334. 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%).  La La Land Records released Silvestri's score in late 2012; eventually at the Film Score Monthly forum they said Barry did not record anything.  [Alan Silvestri; Allen Dennis Rich (additional).]
  335. CITY OF JOY --  Richard Blackford.  Provided additional scoring, not for Morricone, but was never the full comopser for the film.  [Ennio Morricone.]
  336. THE DEAD LIQUER --  Stamatis Spaanoudakis.  [Nikos Kypourgos.]
  337. 1492 --  John Barry.  Barry was called and asked if he would score the film, and that was that -- he never heard back.  [Hans Zimmer.]
  338. 1492 --  Hans Zimmer.  Said in an interview he was signed to score it.  [Vangelis.]
  339. INDIANA JED (fan film) --  David Wurst.  IMDb had listed Michael & Marc Linn as doing a "new score", but this was just poorly selected wording; despite the film listing Wurst as the composer, library music by him was used in the film (no original score) and the Linn's did original additional material.  The Linn's were also acted, directed, wrote, and produced on their fan film.  [David Wurst (library music); Michael & Marc Linn (additional original material).]
  340. IMAN TROUBLE --  Jean-Claude Petit.Delerue stated in an interview Petit didn't accept the offer to score the film.  [Georges Delerue.]
  341. MIDDLE AGES (mini series) --  James Newton Howard and/or Jack Nitzsche?  [James Newton Howard and/or Jack Nitzsche?]
  342. NEWSIES --  Alan Menken & Jack Feldman.  Confused listing with the stage musical?  [J.A.C. Redford.]
  343. SCENT OF A WOMAN --  Danny Elfman.  Appearently the recent Elfman Box states in the linear notes that Elfman was going to do the film, but turned it down, and suggested a composer he was a fan of, Thomas Newman.  [Thomas Newman.]
  344. TRESPASS --  James Horner.  [John Zorn (rejected), then RY Cooder.]
    1993
  345. A BRONX TALE --  Bobby Watson.  As reported by FSM.  [Butch Barbella.]
  346. 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.
  347. FALLING DOWN --  Graeme Revell.  I went ahead and checked his IMDb.com listing and 1993 films.  He did seven.  I can only now assume it was a scheduling conflict.  Unless he was just that good.  [James Newton Howard; Marc Bonilla (additional).]
  348. HOCUS POCUS --  .  James Horner.  "Sara's Theme" is credited to Horner, who was the original composer (no idea if he went any further); when he couldn't do the score, he initially suggested somebody else.  [Rachel Portman.]
  349. HOCUS POCUS --  Rachel Portman.  Eventually Portman turned the film down, unable to figure out how to meet the scoring needs.  Again, Horner suggested another composer: Debney..  [John Debney.]
  350. THE NIGHTMARE BEFORE CHRISTMAS --  Giorgio Mororder.  I need another person to verify this is even real.  [Danny Elfman.]
  351. POSSE --  ?????.  Colombier states in an FSM interview they originally wanted "a black composer" (saying the same thing about "New Jack City"; see: REJECTED) but does not state who.  Speculation, but Stanley Clarke scored his next film -- possibly he was the first composer on this film.  [Michael Colombier.]
  352. ROMEO IS BLEEDING --  In an interview, Michael Kamen said he didn't.  [Mark Isham.]
  353. 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.]
  354. SWING KIDS --  Jerry Goldsmith, R.I.P..  Supposedly a scheduling conflict.  [Georges Delerue, R.I.P..]
  355. SWING KIDS --  Georges Delerue, R.I.P..  Started writing the score, but passed away.  [James Horner.]
  356. TOMBSTONE --  Jerry Goldsmith, R.I.P..  Supposedly a scheduling conflict.  [Basil Poledouris.]
  357. TOMBSTONE --  Basil Poledouris, R.I.P.. Basil was asked to score it and wanted two-and-a-half weeks to do it, so they sought another composer; ironically, Broughton was allowed the same amount of time to do his score.  [Bruce Broughton.]
  358. THE VANISHING --  Carly Simon.  Simon was asked, but he had no interest in scoring movies at that time, again.  [Jerry Goldsmith.]
    1994
  359. A LOW DOWN DIRTY SHAME --  Bill Conti.  [Marcus Miller.]
  360. ANGIE --  Elmer Bernstein, R.I.P..  In a 1993 interview, Bernstein said this was his next film, working again with the director.  Appearently Bernstein was assuming he would, as I am told he was never going to score this film, and Goldsmith was the only choice.  [Jerry Goldsmith, R.I.P..]
  361. COPS AND ROBBERSONS --  Bill Conti.  [Alan Silvestri.]
  362. COPS AND ROBBERSONS -- Alan Silvestri.  Was hired to score the film.  [William Ross.]
  363. 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]
  364. CLIFFORD --  Howard Shore.  Was never on the film; old magazine listing was incorrect.  [Richard Gibbs.]
  365. THE CRUSADES (TV movie) --  Jerry Goldsmith.  An old upcoming scores list had this on his credits.  [Jose Nieto.]
  366. ED WOOD --  Henry Mancini.  [Howard Shore.]
  367. FOUR WEDDINGS AND A FUNERAL --  Trevor Jones.  In an interview with Soundtrack! magazine in 1999, Jones stated he had been approached to score the film but he was too busy scoring "The Name of the Father".  [Richard Rodney Bennett.]
  368. THE JUNGLE BOOK --  Jerry Goldsmith.  The film was delayed and Jerry moved on, ironically, to Judge Dredd, after Dredd went through two composers.  When they asked him again, he was fresh off a rushed three and-a-half weeks of rescoring "The River Wild" and only had a few weeks to do it and turned it down.  [Bruce Broughton.]
  369. 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.]
  370. M.A.N.T.I.S.: "Pilot" --  Terence Blanchard.  Blanchard was originally announced as the composer for the pilot, even joking in an interview he had no idea who the director was, but he was flying out to score it.  [Joseph LoDuca.]
  371. M.A.N.T.I.S.: "(unknown episode; possibly the Pilot)" --  Shirley Walker, R.I.P..  Walker's website used to list this was being a score that wasn't used; it has been since amended and just shows the credit only.  She is not credited with any episode score. [Since I don't know which episode, I can't name the replacement composer; series composers: HERE.]
  372. MILK MONEY --  Richard Robbins.  Supposedly, during the first meeting to score the film, the composer and executives disagreed so much that Robbins left the film, thus never writing the score.  [Michael Convertino.]
  373. MY BEST FRIEND'S WEDDING --  Alan Silvestri.  Was attached (don't know if officially) for at least four months.  [James Newton Howard.]
  374. NATURAL BORN KILLERS --  Spiritualized.  At one point, as one of the film's producers says in an interview, the UK synth music group was signed to score the film but a conflict in their schedule prevented them from doing so.  [Brent Lewis; tomandandy (additional).]
  375. PONTIAC MOON --  In an interview, Michael Kamen said he didn't.  [Randy Edleman.]
  376. READY-TO-WEAR --  Thomas Newman.  [Michael Legrand.]
  377. SPEED --  Michael Kamen, R.I.P..  The studio was trying to hire Kamen, after Mancina was hired; no idea if they succeeded.  [Jerry Goldsmith (rejected), then Mark Mancina.]
  378. SUGAR HILL --  Jack Nitzche, R.I.P..  [Terrance Blanchard.]
  379. THE OUTLAWS:  LEGEND OF O.B. TAGGART --  Larry Gatlin.  Gatlin and the other guy did songs; no rejected score.  [David Mansfield.]
  380. THE QUICK AND THE DEAD --  Trevor Jones.  Was fired; don't know if he recorded anything (though Lukas Kendall said once that Jones didn't write a note).  [Alan Silvestri.]
  381. THE RIVER WILD --  Trevor JonesIn an interview, Jarre states Jones was on the project, but didn't record anything.  [Maurice Jarre.  Rejected.  Then Jerry Goldsmith.]
  382. WOLF --  John Williams.  As reported by FSM.  [Ennio Morricone.]
    1995
  383. BABY'S DAY OUT --  Jerry Goldsmith, R.I.P..  As reported by FSM.  [Bruce Broughton.]
  384. CASINO --  Elmer Bernstein, R.I.P..  An old news blurb mentioned he was doing the score.  [No original score.]
  385. CONGO --  James Newton Howard.  Was hired to do the score, but supposedly had to back out over a conflict with another score.  [Jerry Goldsmith.]
  386. COPYCAT --  James Newton Howard.  As the director puts it: "Several weeks into the process, he unceremoniously dumped our movie because he had been offered a large sum of money to do the score for Waterworld.".  [Christopher Young.]
  387. FIRST KNIGHT --  Maurice Jarre.  Jarre said in an FSM interview the original cut of the film was three hours; Jerry Zucker asked him to score it, but he declined saying he could not write 90 minutes of music in six weeks and that he did not use "outside orchestrators to help me write scores".  [Jerry Goldsmith.]
  388. FREE WILLY 2 --  Nathan Wang.  [Basil Poledouris.]
  389. GOLDENEYE --  Elliot GoldenthalThis was a false rumor and Goldenthal was never involved.  [Robert Folk.]
  390. GOLDENEYE --  Robert Folk.  [Eric Serra; John Altman (one rescored scene, refered to as the "tank scene").]
  391. THE GRASS HARP --  John Barry.  Studio interference; the studio didn't think Barry was right for the job and never hired him.  [Elmer Berstein.]
  392. THE GRASS HARP --  Elmer Bernstein, R.I.P..  Just heresay, as Bernstein was never onboard.  [Patrick Williams.]
  393. THE JOURNEY OF THE AUGUST KING --  Carter Burwell.  [Stephen Endelman.]
  394. LORD OF ILLUSIONS --  Christopher Young.  "creative differences"  [Simon Boswell.]
  395.  MONEY TRAIN --  Brad Fiedel.  FSM reported in an old issue the same story they did with "Sgt. Bilko": the previous composer wasn't avaiable because of a scheduling conflict, and Fiedel was taking over; while Mr. Fiedel had worked for the director before, this news from FSM was false and he was never onboard or in talks.  [Mark Mancina.]
  396. OPERATION DUMBO DROP --  Basil Poledouris.  Poledouris said in an FSM interview that this was his next film after "Free Willy 2" and "Under Seige 2".  [David Newman.]
  397. POWDER --  Bennett Salvay.  Upon asking the director, Jerry was the first choice.  [Jerry Goldsmith.]
  398. SHOWGIRLS --  Jerry Goldsmith.  [David A. Stewart & Rena Riffel.]
  399. THE SCARLET LETTER --  Ennio Morricone.  [Elmer Bernstein (rejected), then John Barry.]
  400. SOMETHING TO TALK ABOUT --  Randy Newman.  [Hans Zimmer, Graham Preskett.]
  401. TWELVE MONKEYS --  Michael Kamen.  Kamen stated in a mega interview with FSM that there was some talk with the director about it, but that the director was waiting to see the movie first and wanted a more classical approach, so this is unsolved because at the time no decision was made yet.  [George Fenton.]
  402. TWELVE MONKEYS --  George Fenton.  As reported in an old listing in the FSM magazine.  [Paul Buckmaster.]
  403. THE USUAL SUSPECTS --  ?????.  Originally another un-named composer was onboard, and Ottman had three weeks to do his score.  [John Ottman.]
  404. VENDETTA --  Ennio Morricone.  Shaw said once his first job scoring in Sweden, was replacing Morricone on the film.  [Francis Shaw.]
  405. THE VIKING SAGAS --  George Fenton.  [George S. Clinton.]
  406. WAITING TO EXHALE --  Quincy Jones.  [Kenneth Edmonds.]
    1996
  407. A TIME TO KILL --  Jesse Johnson.  Singer/songwriter Johnson has occassionally broken into film scoring.  [Elliot Goldenthal.]
  408. CHAIN REACTION --  James Newton Howard  Supposedly left because of a scheduling conflict.  [Jerry Goldsmith.]
  409. THE CRAFT --  Thomas Newman  [Graeme Revell.]
  410. DRAGONHEART --  Jerry GoldsmithSee post HERE.  [Randy Edelman.]
  411. 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; the time frame leads me to believe he replaced a score, but that is not confirmation (so this entry is speculatory).  [John Carpenter & Shirley Walker, R.I.P. - CD.]
  412. EXECUTIVE DECISION --  Basil Poledouris, R.I.P..  An old news blurb mentioned he was doing the score.  [Jerry Goldsmith.]
  413. FAITHFUL --  David Newman.  As reported by FSM.  [Phillip Johnston.]
  414. THE GHOST AND THE DARKNESS --  David Newman.  BMI or ASCAP lists cues for Newman, but I am unaware of any stock music in the film being by him.  [James Newton Howard.]
  415. 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.]
  416. 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, being attached only briefly.  [Bruce Broughton.]
  417. MARS ATTACKS! --  Howard Shore.  Did not record a score.  [Danny Elfman.]
  418. MISSION: IMPOSSIBLE 1 --  Ryuichi Sakamoto.  Was aksed to score the film (later doing "Snake Eyes" for the director), but was busy; the director asked him to drop whatever he was doing and score the film anyway, but Sakamoto declined.  [Alan Silvestri (rejected), then Danny Elfman.]
  419. MOJAVE MOON --  Scott Grusin.  [Johnny Caruseo; Craig Stuart Garfinkle (additional).]
  420. NICKLE AND DIME (AKA: LARGER THAN LIFE) --  Mark Isham (FSM reported this).  [Miles Goodman, R.I.P..]
  421. THE ISLAND OF DR. MOREAU --  Wojciech Kilar.  [Then Zbigniew Preisner (who did), then Gary Chang.]
  422. LA CELESTINA --  Ennio Morricone.  [Patrick Doyle.]
  423. LA CELESTINA --  Patrick Doyle.  [Alejandro Masso.]
  424. 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.]
  425.  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..]
  426. THE PROTRAIT OF THE LADY --  Michael Nyman.  [Woljciech Kilar.]
  427. PRIMAL FEAR --  Thomas Newman.  [James Newton Howard, J. Peter Robinson (additional).]
  428. THE QUEST --  Woljciech Kilar.  [Randy Edleman.]
  429. THE ROCK --  ?????.  An old interview I read said the original composer wasn't working out, though it it may turn out that was refering to Nick, as he was originally going to score the film himself.  [Nick Glennie-Smith, Hans Zimmer; Harry Gregson-Williams (aditional); Steven M. Stern, Don Harper (additional co-composing).]
  430. TRIGGER EFFECT --  Jerry Goldsmith.  There was supposedly a bootleg for download from illegal file sharing programs, but someone downloaded it and informned me it's nothing more than his "2 Days In the Valley".  [James Newton Howard.]
  431. WHITE SQUALL --  James Horner.  [Vangelis.]
  432. WHITE SQUALL --  VangelisDid not according to Ridley Scott.  [Jeff Rona.]
    1997
  433. A FURTHER GESTURE --  Three composers 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).  [?????.]
  434. A SIMPLE WISH --  John Barry.  [Bruce Broughton.]
  435. CATS DON"T DANCE --  Randy Newman.  Was doing the songs and score, but only the songs were still in the film; don't know if he did the score.  (FSM reported this).  [Steve Goldstein; Randy Newman (songs).]
  436. COMMANDMENTS (TV mini series) --  Danny Elfman.  [Joseph Vitarelli.]
  437. COP LAND --  Terrence Blanchard.  Blanchard stated in an interview he was asked to do the score, and met with the director and saw the film; he then said he went on to describe how he saw the film, being in four different parts, and how the scoring should go, and that the director had this blank look on his face.  The director admitted later, he was surprised Blanchard "Got it", and was surprised by the comments, so this begs the question: why did Shore score the film, and not Blanchard?  [Howard Shore.]
  438. 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.]
  439. HOME BEFORE DARK --  Mason Daring.  Mason was too busy and recommended Cowen.  [Jeanine Cowen.]
  440. HOPE --  Dave Grusin.  [Steve Porcaro.]
  441. LA CONFIDENTIAL --  Elmer Bernstein.  [Jerry Goldsmith.]
  442. LIAR, LIAR --  James Newton Howard.  Was originally going to score it himself, but due to a scheduling conflict, had to bow out, but he provided theme(s) and, as I recall, suggested Debney as replacement.  He may have also recorded a few cues with the theme.(s).  [John Debney, James Newton Howard (themes).]
  443. METRO --  James Newton Howard.  Porcaro, a friend of Howard's, ended up getting recommended for the film.  [Steve Porcaro.]
  444. MURDER AT 1600 --  Basil Poledouris, R.I.P..  [Christopher Young.]
  445. THE SAINT --  Maurice Jarre.  Contacted the director, Phillip Noce, and he said Jarre was never involved..  [Graeme Revell.]
  446. STARSHIP TROOPERS --  Jerry Goldsmith.  The administrator at JerryGoldsmithOnline.com told this story -- take it for what it's worth: "I heard from a v good source that Goldsmith's services were requested for Starship Troopers but for some odd reason his Agency declined the offer without JG knowing. Apparently when JG found out he was furious and was going to leave. But they got JG Air Force One to make up for it."  [Basil Poledouris.]
  447. THAT OLD FEELING --  Marc Shaiman.  An old news blurb mentioned he was doing the score.  [Patrick Williams.]
  448. VOLCANO --  Gary Chang  For a score supposedly (at least according to one website) wasn't done, people have been rather tight-lipped about talking about it.  [Alan Silvestri.]
  449. THE WRONG GUY --  Steven Page (of The Bare Naked Ladies).  Apparently Dave Foley was talking to them about it, but the studio wanted a name composer.  The BNL did a song for the film, though.  [Lawrence Shragge.]
    1998
  450. A BUG'S LIFE --  Bruce Broughton.  [Randy Newman.]
  451. A CIVIL ACTION --  Ennio Morricone.  Did something, but I don't know what.  [Danny Elfman.]
  452. BLACK CAT RUN (TV movie) --  Hummie Mann.  Was set to score it, as FSM also listed.  [Jeff Rona.]
  453. CAN'T HARDLY WAIT --  IMDb lists both David Kitay and Matthew Sweet -- both recorded scoresFilm came on TV, both composers are credited together.  [David Kitay & Matthew Sweet.]
  454. EATING L.A. --  Brice Martin.  [Rick Butler, Randall Derchan, & Matthew Solomon.]
  455. DANCING AT LUGHNASA --  Zbigniew Preisner.  [Bill Whelan.]
  456. DEAD MAN ON CAMPUS --  Dust Bros..  Was set to score it, as FSM also listed.  [Mark Mothersbaugh.]
  457. DEEP IMPACT --  Hanzi Zimmer.  Turned it down, after being offered two similar films during that time.  [James Horner.]
  458. DESPERATE MEASURES --  Wojciech Kilar.  In a lengthy interview, no longer dated but going back at least to 2007, Kilar says he turned the offer down to score the film because it was not his type of film and he did not feel the genre.  [Trevor Jones.]
  459. ENEMY OF THE STATE --  Hans Zimmer.  In a 1998 interview with Soundtrack!, Rabin stated another composer had been hired but fell through; I thought he surely would not be refering to Harry or Hans that way, but it turned out Zimmer was indeed that composer, dropping out because he was tied up heavily in "The Thin Red Line".  [Harry Gregson-Williams, Trevor Rabin, Tim Heintz (additional), Paul Linford (additional).]
  460. HEART OF THE STORM --  Larry Groupe.  Pushed back to 2004.  [Richard Bellis.]
  461. THE KISS (AKA: LIVING OUT LOUD) --  Mervyn Warren.  The old Film Score Monthly listing with Mr. Warren as composer, was inaccurate; he worked on songs on the film only.  [George Fenton.]
  462. 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.  In a March 9, 2018 audio interview on the BBC website (conducted by Donald Macleod), Portman said he due date was abut the time of the recording sessions and Disney didn't feel comportable with it and decided not to have her score the film; but they did come back and give her a large sum of money anyway.  [Jerry Goldsmith.]
  463. ONE HELL OF A GUY (TV Movie) --  Russ Landau.  [Michael Whalen.]
  464. ORGAZMO --  The Dust Bros.  [Paul Robb.]
  465. 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.]
  466. 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]
  467. 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.]
  468. SHAKING ALL OVER --  David May.  Was set to score it, as FSM also listed.  [Larry Groupe.]
  469. THE SIEGE --  James Horner.  [Graeme Revell.]
  470. THE UNKNOWN CYCLIST --  Hummie Mann.  Was set to score it, as FSM also listed.  [Donald Markowitz; David Vanacore (additional); Sydney Forest (songs).]
  471. THE VELOCITY OF GARY --  Harry Gregson-Williams.  Decided to help score "Ants" instead.  [Peitor Angell.]
    1999
  472. ABILENE (AKA: SHADOWS OF THE PAST) --  John Hills.  As reported by FSM.  [Charles Engstrom.]
  473. ANALYZE THIS --  Trevor Jones.  IMDb used to report it.  [Howard Shore.]
  474. ANIMAL FARM --  Trevor Jones.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  [Richard Harvey.]
  475. THE BEST MAN --  Terence Blanchard.  [Stanley Clarke.]
  476. 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 parted ways.  [James Horner.]
  477. THE BIG KAHUNA --  John Barry.  [Christopher Young.]
  478. 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.]
  479. 8MM --  Elliot Goldenthal.  [Danna.]
  480. END OF DAYS --  Mark Isham  Wanted Isham, but he was scoring another film.  [John Debney.]
  481. FANTASIA 2000 --  Bruce Broughton  [Classical music and one original piece.]
  482. FIGHT CLUB --  Howard Shore.  [Dust Brothers.]
  483. HOOF BEETS (Later RUNNING FREE) --  Danny Elfman.  FSM reported it, and SoundtrackCollector.com has him as a rejected score.  [Nicola Piovani.]
  484. THE IRON GIANT --  Danny Elfman.  In a 1995 Film Score Monthly interview, this exchange was given between the interviewer and Kamen:
    I was recently asked to rescore a film that Danny Elfman was working on.  They were making deals already for me to come: "Be there and see it and set up times." And I said, "Has anybody told Danny Elfman yet?" They said, "Oh, no...!"
    I have found no further evidence on what Elfman did or did not do.  [Michael Kamen.]
  485. THE IRON GIANT --  John Williams.  Both were being considered.  [Michael Kamen.]
  486. THE IRON GIANT --  Nicholas Pike.  There is a promo CD with two demo cues for it [4:43].  [Michael Kamen.]
  487. JAKOB THE LIAR --  Zbigniew Preisner.  Never saw the film, never heard either score, but you can bet there would have been lots of pauses in Preisner's.  [Edward Shearmur.]
  488. JESUS: THE EPIC MINI SERIES --  Ennio Morricone.  In an old interview they asked Williams about Morricone being before him, and he didn't know about it; Morricone had worked with the director before.  I seem to recall some listings saying Morricone provided the theme (maybe the only retained piece?).  [Patrick Williams.]
  489. KIMBERLY --  Larry Groupe.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  [Basil Poledouris with additional music by Eric Colvin.]
  490. LIGHT IT UP --  Quincy Jones III (son).  FSM listed this in the "Upcoming Assignments" section.  [Harry Gregson-Williams, John E. Rhone(?).]
  491. 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.]
  492. MAN ON THE MOON --  Thomas Newman.  According to CineMusic.net, September 17.  [Norman Henry Mamey, Mike Mills, Michael Stipe (R.E.M.).]
  493. MICKEY BlUE EYES --  Joseph Vitarelli.  MMUK had reported back then: "Before either Basil Poledouris & Wolfgang Hammerschmid came together to write the music for Hugh Grant's gangster comedy, young New Yorker Joe Vitarelli was attached to this project -- something of a departure for a composer with a track record that includes thrillers such as The Last Seduction. No one really knows how much music Vitarelli wrote before he was dumped, but it couldn't have been much worse than the banal Nino Rota pastiches the film was ultimately saddled with."; Vitarelli did in fact write score, but it ended up not making it to the recording stage as the film sufferend problems with folks in charge butting heads.  [Two other composers -- both of which rejected (See "Rejected" page), then finally Basil Poledouris.]
  494. A MIDSUMMER NIGHT'S DREAM --  Ennio Morricone.  [Wojciech Kilar (see "DEMOS" on the main lists page); Simon Boswell.]
  495. MAGNOLIA --  Aimee Mann.  Was set to score it, as FSM also listed.  [Jon Brion.]
  496. 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.]
  497. MY FRIEND PAUL --  Tom Waits.  The director said Waits did the score, in an old bio about the film before it opened.  [Robert Musso.]
  498. 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.]
  499. ONEGIN --  Zbiganew Preisner.  According to somebody who worked on the film, the choice of composer had come down to him, Anne Dudley, and the used composer; the director said she consulted an "oracle" on the composer, and Presiner was the winner.  The "oracle" later turned out to be her dead mother.  No word on whether Preisner did anything...  [Magnis Fiennes.]
  500. PLUNKETT & MACLEANE --  Trevor Jones.  [Craig Armstrong.]
  501. 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.]
  502. TOM'S MIDNIGHT GARDEN --  John Barry, R.I.P..  An informal conversation with the director, but was never hired.  [Debbie Wiseman.]
  503. THE 13th WARRIOR --  Lisa Gerrard.  Did vocals for Revell's score, but didn't do her own -- at least, that's what I am told.  [Graeme Revell (rejected); Jerry Goldsmith]
  504. THE WHITE RIVER KID --  Camaran Kambon.  As reported by FSM.  [John Frizzell.]
    2000
  505. A TASTE OF SUNSHINE --  Hans Zimmer.  Jarre was the initial composer, then Zimmer took over, then they went back with Jarre.  [Maurice Jarre.]
  506. 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.]
  507. AFFECTION --  Graeme Revell.  This was in an old listing of upcoming assignments, but no director was listed and I can't find whether he was replaced (since there's no film by this name in 2000, 2001, and 2002 [except a short]) or if it was something that changed names and he still ended up doing.  [.]
  508. AMERICAN PSYCHO --  Danny Elfman.  Was on the project.  [John Cale.]
  509. BEDAZZLED --  George Fenton.  Vol. 4, No. 3 of FSM lists this in the "Upcoming Assignments" section.  [David Newman.]
  510. 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.]
  511. THE CONTENDER --  Trevor Rabin.  [Larry Groupe.]
  512. DOLPHINS --  Sting.  Besides the song.  [Steve Wood.]
  513. EXPECTING MERCY--  Gary Koftinoff.  As reported by FSM.  [Victor Delorenzo (and songs); Norman Orenstein(?).]
  514. THE FAMILY --  David Holmes & Primal Scream (Andrew Innes).  I have no idea what happened to the film, if it wasn't shot, or got shelved, but Don Murphy and Susan Montcord were directing.  [.]
  515. HANGING UP --  Alan Silvestri.  [David Hirschfelder.]
  516. HEY RAM --  L. Subramaniam.  Subramaniam was hired to score the film, asked for more money then insisted on composing first; after finishing the songs, he demanded more money; that didn't work out.  [Ilaiyaraaja.]
  517. HIGH FIDELITY --  Carter Burwell (some score left in).  [Howard Shore.]
  518. LABOR PAINS --  John DuPrez.  Was in talks, but might have not moved further than that.  [Michael Whalen.]
  519. LABOR PAINS --  Michael WhalenContacted Mr. Whalen, and he said he didn't; didn't want to pay him enough..  [Brian Kirk.]
  520. 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.]
  521. O BROTHER, WHERE ART THOU? --  Carter Burwell (some score left in).  [T-Bone Burnett.]
  522. 102 DALMATIONS --  Richard Gibbs.  Wrong film.  [David Newman.]
  523. 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).]
  524. THE REPLACEMENTS --  Alan Silvestri.  Was set to score it, as FSM also listed.  [John Debney.]
  525. 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.]
  526. THE 6TH DAY --  David Arnold.  [Trevor Rabin.]
  527. TITAN A.E. --  David Newman.  Was going to score it, but the studio wanted a different composer, and someone suggested Revell.  [Graeme Revell.]
  528. WHSIPERERS: AN ELEPHANT'S TALE --  Mark Adler.  Was being considered, but Disney was really keen on Rabin for what ever reason.  [Jay Chattaway.]
  529. WHSIPERERS: AN ELEPHANT'S TALE --  Jay Chattaway.  Didn't end up doing a score.  [Trevor Rabin.]
  530. X-MEN --John Ottman.  In a 1998 interview with Soundtrack! magazine (as well as an old Upcoming Assignments listing in Film Score Monthly), Ottman said he would be editing and scoring the film; ultimate he did neither (I don't know why).  [Michael Kamen, R.I.P..]
  531. THE YARDS --  Jerry Goldsmith.  Definately was, but probably didn't do anything.  [Edward Shearmur.]
  532. THE YARDS --  Edward Shearmur.  [Howard Shore.]
    2001
  533. A DAY WITHOUT A MEXICAN --  Sergio Arau.  In a BMI news letter, they stated the director was scoring his movie (BMI has never once, that I have seen, inccorectly listed a composer/film title).  [Juan Colomer.]
  534. A KNIGHT'S TALE --  Jerry Goldsmith, R.I.P..  According to FSM.  [Carter Burwell.]
  535. ALONG CAME A SPIDER --  Basil Poledouris, R.I.P.  The film got pushed back for reshoots (don't know if that was during or after Basil); perhaps this is what lead to the possible rejections or bowing out when it crossed paths with other asignments.  [Mark Isham.]
  536. 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..]
  537. ALTERED SPECIES --  Will Richter.  [Evan Evens.]
  538. AMELIE --  Michael Nyman.  Wanted Nyman, but he was busy elsewhere.  [Yann Tiersen.]
  539. OUTLAWS (AKA: BANDITS) --  Ennio Morricone.  [Hans Zimmer.]
  540. OUTLAWS (AKA: BANDITS) --  Hans Zimmer.  Was still scoring two films, but the director offered to push the film back for Zimmer, who declined.  [Moby.]
  541. OUTLAWS --  Moby.  Was too busy to do it.  As you can see, Morricone must have not been the director's decision, because the other two sucked.  [Christopher Young.]
  542. BEYOND CITY LIMITS --  Tyler Bates.  There's also a "promo" with two scores by Jeff Rona floating around, and one of them is to this film (don't ask, I have no idea if that mislabled, or a real rejected score).  [Billy White Acre.]
  543. BIRTHDAY GIRL --  Angelo Badalamenti.  FSM reported the assignment.  [Stephen Warbeck.]
  544. CROCODILE DUNDEE IN LOS ANGELES --  Peter Best.  [Basil Poledouris, R.I.P..]
  545. DR. DOLITTLE 2 --  Terrance Blanchard.  Was being considered.  [David Newman.]
  546. 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.]
  547. FROM HELL --  Jason Pierce (Spiritualized).  This is speculation, but as you'll see, this is the only film that matches: in a 1998 interview with two of the producers on "Natural Born Killers" and "Permanent Midnight", one of them goes on to say they would have Jason Pierce score a film for them down the line; after "Permanent Midnight", this is the only film they did.  And it fits even more when you take into this one quote regarding a piece of music Pierce worked on for Spiritualized: "Jason Pierce is a guy best known for massed orchestral, damaged psychedelic pop magnum opuses that rocket from hell straight to space"; clearly a perfect fit.  [Trevor Jones.]
  548. GABRIELA --  Alf Clausen.  [Craig Stuart Garfinkle, Leo Marchildon.]
  549. THE HEIST (AKA: THE SCORE) --  David Newman.  [Howard Shore.]
  550. KATE & LEOPOLD --  Alan Silvestri.  [Rolfe Kent]
  551. LAST ORDERS --  Jerry Goldsmith - Appendicitis?  [Paul Grabowsky.]
  552. THE LORD OF THE RINGS --  Wojciech Kilar.  Info:
    Back in 1999, when "The Lord of the Rings" went into the pre-production stage, Peter Jackson called Wojciech Kilar and asked him to score the movie... this was reported on Tolkienian sites, e.g.
    (LINK)

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

    Now, this is the curiosity: a while ago I read a piece on Kilar in a magazine, and it contained a mention of "scraps of his unused compositions for the hit film, LotR...", indicating that he *may* have written something after all.  Whether he did or not, and if he did, how much of that remains -- that seems unknown right now
    (I'm sorry, but I don't remember who e-mailed this to me)  [Howard Shore]
  553. THE MUSKETEER --  Jerry Goldsmith, R.I.P..  [Bruce Broughton.]
  554. THE MUSKETEER --  Bruce Broughton.  [John Debney.]
  555. THE MUSKETEER --  John Debney.  In an interview Debney states there was a contractual obligation that the score, regardless of who did it, had to be recorded overseason (and it was in the end), and Debney was unable to do so and had to leave the project.  [?????.]
  556. THE MUSKETEER --  ?????.  In an old interview conducted with Arnold, the interviewer talks briefly about the composer changes and along with all the composers above, also states two other composers -- not named -- were also in there "somewhere".  [?????.]
  557. THE MUSKETEER --  ?????.  [David Arnold.]
  558. THE BIJOU (AKA: THE MAJESTIC) --  Thomas Newman.  [Mark Isham.]
  559. 3000 MILES TO GRACELAND --  Mark Isham & Mike Simpson.  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.]
  560. TO END ALL WARS --  Trevor JonesWas in talks for a while to score it, but ultimately negociations broke down.
  561. RAT RACE --  Jerry Goldsmith.  Appendicitis.  [John Powell.]
  562. RAT RACE --  Maurice Jarre.  FSM member David Maxx had an opinion at their messege board one time:  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.]
  563. THE FAST AND THE FURIOUS (AKA: REDLINE) --  Randy Edelman.  [B.T..]
  564. SCARY MOVIE 2 --  David Kitay  [George S. Clinton (rejected), then 15 composers did it.]
  565. 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.]
  566. SLAP HER, SHE'S FRENCH --  Christophe Beck.  Eight days into the film, director Evan Dunsky (whom Beck had worked with on "The Alarmist") was fired.  A new composer was chosen.  [David Michael Frank.]
  567. SUPERNOVA --  Mychel Danna.  Yes, another composer.  Again, reported by FSM, but in 2010 Intrada Records release both the final score and the rejected Dallwitz score, so one would assume Danna did nothing (unless Danna didn't want it out).  [David Williams, Burkhard Dallwitz (leftovers).]
  568. 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.]
  569. TOMB RAIDER 1 --  John Powell.  At some point Mark Mancina's name was also reportedly attached as composer.  [Then some composer which got rejected.]
  570. 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
  571. THE BACCHAE --  Anne Dudley.  Girard, whom scored the stage musical version (the film did not use the stage score themes), ended up scoring the film after production kept delaying the film and Dudley eventually moved on after two or more years onboard.  [Peter Girard.]
  572. BOKSHU, THE MYTH --  Todd HayenDidn't end up doing a score.  [Louis Banks.]
  573. BREAK OF DAWN --  Both Philippe Sarde and Xavier Jamaux are listed.  [Unsure.]
  574. CHICAGO --  George Fenton.  Was set to score it, as FSM also listed.  [Danny Elfman.]
  575. COLLATERAL DAMAGE --  James Newton Howard.  [Graeme Revell.]
  576. CURSE OF THE FORTY-NINER --  Nicholas Rivera.  [Pierpaolo Tiano.]
  577. DANCER UPSTAIRS --  Pedro Malgheas.  [Iglesis.]
  578. 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?).]
  579. FEMME FATALE --  Wojciech Kilar.  In a lengthy interview, no longer dated but going back at least to 2007, Kilar says he turned the offer down to score the film but regretted it as he wanted to score it.  He says he was busy scoring "The Pianist" at the time.  [Ryûichi Sakamoto.]
  580. HALLOWEEN: THE HOMECOMING (AKA: Halloween: Resurrection) --  Christopher Young.  As reported by FSM.  [Marco Beltrami, Danny Lux (leftovers).]
  581. HEAVEN --  Marius Ruhland.  FSM listed Ruhland as the composer, but no composer is credited for the overall score.  The end credits list multiple original works, including one cue by Ruhland.  [Tom Tykwer (some original scoring); cue "Heaven & Hell" by Marius Ruhland; original piece "Heaven Elisir" by Goetano Donizetti; "Escape" by Niki Peiser; "Wedding Music" by Marco Schiavoni; "Sogno D'amore" by an annonymous composer; several existing pieces by Avro Part.]
  582. HEIST (AKA: RIDERS) --  B5 Atomic.  [Andy Gray.]
  583. IMPRESSIONS UNDER WATER --  Giorgio MorodorMorodor co-composed.  [Daniel Walker & Giorgio Morodor.]
  584. MY BROTHER'S KEEPER --  John Willett.  [John Ottman.]
  585. NO GOOD DEAD --  Michael Small.  The old VHS video cover still credits Small; presumably the replacement came so late the covers were already being made.  [Jeff Beal.]
  586. LOCKDOWN --  John Frizzell.  [Tyler Bates.]
  587. LOVE, SEX, DRUGS AND MONEY (AKA: SWEAPT AWAY) --  ?????.  The director said in an interview the final composer was the third composer on the film, and the previously two were not working out.  [Angelo Badalamenti.]
  588. LOVE, SEX, DRUGS AND MONEY (AKA: SWEAPT AWAY) --  Angelo Badalamenti.  FSM reported in an old upcoming assignments list this film.  [Michael Colombier.]
  589. PUMPKIN --  ?????.  [?????.]
  590. PUMPKIN --  ?????.  On Ottman's site, he says he was the third composer.  [John Ottman.]
  591. REIGN OF FIRE --  Mark Snow.  Originally hired to do the score and I think he did.  [Graeme Revell.]
  592. 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.]
  593. 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).]
  594. RED DRAGON --  Lalo Schifrin.  He was in the movie, but didn't score it?  [Hans Zimmer.]
  595. 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.]
  596. RESIDENT EVIL --  Clint Mansell.  Was working on it for a few months, but then dropped out about November 2001.  [Ennio Morricone.]
  597. RESIDENT EVIL --  Ennio Morricone.  -  I went to a Morricone message board, asked and got a reply saying someone pointed out it was music from some Asian video game.  The member couldn't remember whom 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.  [Marco Beltrami; Kevin Manthei (additional), Dennis Smith (additional).]
  598. THE STEPFORD WIVES --  Danny Elfman.  At least back in 2002 when Tim Burton was going to direct the film.  I have no idea when Burton parted with it and why, but a few months after that he took on "Big Fish".  The draft Burton was attached to never made it to filming.  [David Arnold.]
  599. THE SUM OF ALL FEARS --  James Horner.  [Jerry Goldsmith.]
  600. TREASSURE PLANET --  Alan Silvestri.  [James Newton Howard.]
  601. WINDTALKERS --  Hans Zimmer & John Powell.  [James Horner.]
    2003
  602. BAD SANTA --  James L. Venable.  As late as 9-6-03 he was onboard. [David Kitay - promo CD.]
  603. BATTLESTAR GALACTICA (video game) --  ?????.  In a 2013 interview (conducted by Andrew Bain), Cris stated he submitted a demo for the game, but the game already had a composer, however they lvoed the demo and used it; over time he was given mroe and more minutes of score in the game and eventually they just offered for him to be the new composer.  [Cris Valesco.]
  604. CARNIVALE --  Bill Brown.  [Jeff Beal.]
  605. THE CAT IN THE HAT --  Randy Newman.  Reportedly he had been signed.  One thing is for sure: somebody with the last name "Newman" was going to end up with it.  [Thomas Newman.]
  606. THE CAT IN THE HAT --  Thomas Newman.  [Marc Shaiman.]
  607. 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.  [David Newman.]
  608. FREDDY vs. JASON --  Harry Manfredini & Charles Bernstein.  [Graeme Revell.]
  609. GOTHIKA --  Craig Armstrong.  FSM was listing it.  [John Ottman.]
  610. HOW TO LOOSE A GUY IN 10 DATES --  Richard Sortomme.  [David Newman.]
  611. IT RUNS IN THE FAMILY --  Jerry Goldsmith.  No, he didn't.  [Paul Grabowsky.]
  612. JOHNNY ENGLISH --  Harry Gregson-Williams.  Originally Gregson-Williams was scoring it; indeed, the replacement was apparently late as a song Zimmer worked on for the film, was used and is on the commercial CD release.  Gregson-Williams doesn't say much about it (in the only interview I've seen him mention it), but excellent film score review James Southall says in his review of Shearmur's score that Gregson-Williams had a score tossed.  [Edward Shearmur; Magnus Fienness (additional); Howard Goodall (theme music; rejected score?).]
  613. JUNGLE BOOK 2 --  Christopher Tyng.  Basil Poledouris protege was going to score this, according to FSM.  [Joel McNeely.]
  614. 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.]
  615. 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.]
  616. LOONEY TUNES: BACK IN ACTION --  Danny Elfman.  Dark Horizons and Variety reported him as the composer.  [Jerry Goldsmith; John Frizzell (one cue), and John Debney supposedly finished up the score after Jerry became too ill to do so.]
  617. LOST IN TRANSLATION --  Dennis McCarthy.  Said McCarthy in and interview before the film opened, "I’m also starting work on a film that’s in pre-production called Lost In The Translation.".  [Kevin Shields; Roger Joseph Manning, Jr. (additional), Brian Reitzell (additional), William Storkson (additional).]
  618. MOMENTUM (TV Movie) --  Bill Brown.  [Joseph Williams.]
  619. ONCE UPON A TIME IN MEXICO --  Los Lobos.  [Robert Rodriguez.]
  620. OPEN RANGE --  Basil Poledouris, R.I.P..  Said Basil on the topic:
    "It's very important for a composer to have the room, to have the freedom, to explore these things. I tried to do that with Kevin Costner, on his last film, Open Range. I was set to do it. Then Disney called, and they needed a temp track for the movie. And you know what they temp-tracked it with? Starship Troopers! Honest to god! And I heard it and said 'This is not what we talked about. I can't do this'. And I got out of the movie. This is not a space opera! This is very classic western. Absolutely. Very intimate, in the mud, in the rain. Unfortunately, it was the end of Kevin and I relationshionship.".  [Michael Kamen, R.I.P..]
  621. THE PASSION OF THE CHRIST --  James Horner.  [then Lisa Gerrard (see "Rejected" page); Rachel Portman.]
  622. 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.]
  623. THE RUNAWAY JURY --  Mark Isham.  [Christopher Young, Wael Binali (additional).]
  624. 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.]
  625. SWORDFISH --  Rabin.  [Young.]
  626. TARZAN --  Alan Silvestri.  [Mark Mancina.]
  627. TERMINATOR 3: RISE OF THE MACHINES --  Danny Elfman  [Marco Beltrami.]
  628. TOMB RAIDER 2: THE CRADLE OF LIFE --  Mark Mancina.  This was before Craig Armstrong came into play.  [Alan Silvestri.]
  629. A WRINKLE IN TIME --  Lawrence Shragge.  Oroginally planned as a four-hour mini series, an hour was cut and it was shown in Canada with a score by Pierce & Caird, then the film version was scored by Danna, but during the early stages of the film, FSM reported Shragge as composer; Shragge stated he never got to do anything.  [Lesley Barber.]
  630. A WRINKLE IN TIME --  Lesley Barber.  [Jeff Danna (film version); Patric Caird & Shawn Pierce (mini series version).]
  631. THE YOUNG BLACK STALLION --  Basil Poledouris.  In one of the last interviews he did, Basil states he was scoring Wincer's new film.  [William Ross.]
    2004
  632. A BOIRE --  Alexandre Desplat.  [Nico Bogue.]
  633. A LOT LIKE LOVE --  John Murphy.  [Alex Wurman.]
  634. AND QUIET FLOWS THE DON --  Maurice Jarre.  [Luis Bacalov.]
  635. 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.]
  636. 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.]
  637. 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 (the film lists Badelt as the composer, but his Evolution Music Partners resume says additional music -- WTF?); Blake Neely (additional), Junkie XL (additional), Geoff Zanelli (additional); Christian Halten (arranger), Ian Honeyman (arranger).]
  638. CHILD STAR --  Lesley Barber.  [Christopher Dedrick.]
  639. 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.]
  640. COLLATERAL --  Hans Zimmer& Paul Oakenfold.  [James Newton Howard; Kevin "KK" Kerrigan (additional), Tom Rothrock (leftovers?), Antonio Pinto (leftovers?), Zachary Koretz (additional?), Charlie Clouser (additional), Lisa Gerrard (additional), Rick Shaffer (one cue), Thomas Schobel (score, but any left in?); Gustavo Santaolalla (stock source cue).]
  641. THE DAY AFTER TOMORROW --  David Arnold.  Probably busy with THE STEPFORD WIVES.  [Harald Kloser & Thomas Wanker.]
  642. EXORCIST: THE BEGINNING --  Michael Kamen, R.I.P..  [Christopher Young.]
  643. EXORCIST: THE BEGINNING --  Christopher Young.  90% of the film has been reshot after the first director was fired.  Rabin stated in an interview in 2005 (conducted by Pablo Nieto) that when Renny Harlin was hired to direct the film (replacing Paul Schrader), he fired Young and brought Rabin in.  [Trevor Rabin; Angelo Badalamenti (additional for a DVD cut; he was not rejected).]
  644. 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.]
  645. FINDING NEMO --  Hans Zimmer.  Thankfully dropped out because he was scoring another film ("Shark Tale").  [Hans Zimmer.]
  646. GARFIELD:  THE MOVIE --  Rupert Gregson-Williams.  Before he was replaced as composer, the news reported was that scoring dates were planned for April and May of 2004, in Los Angeles; I have no idea if the sessions took place.  [Christophe Beck.]
  647. HAPPILY EVEN AFTER --  John DeBonte.  Though listed for "classical" music, the old news section on his site says he did the score.  [Kid Galahad.]
  648. IN ORANJE --  John Cameron.  [Fons Merkies.]
  649. THE INCREDIBLES --  Michael Kamen, R.I.P..  Was going to score it but passed away.  [John Barry (see Demos), then Michael Giacchino.]
  650. 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.]
  651. MR. 3000 --  Vernon Reid.  (Titled as "Music Supervisor" on his website, but at the time the film had opened, on IMDb he was listed in the composer section, and before the film opened, he was the sole credited composer)  [John Powell.]
  652. NINE LIVES (AKA: UNSTOPPABLE) --  Sean Callery.  Ended up because of work on another project, being unable to do the score.  [Louis Febre.]
  653. THE PERFECT SCORE --  David Holmes.  [John Murphy.]
  654. RETURN TO SENDER --  David Arnold.  Originally when FSM reported Arnold as the composer, the director of the film was going to be Aisling Walsh (that changed).  [Harry Gregson-Williams; Stephen Barton, Toby Chu, Heitor Pereira (additional).]
  655. SECRET WINDOW --  James Newton Howard.  [Geoff Zanelli.]
  656. SHALL WE DANCE? --  John Altman.  [Gabriel Yared.]  Altman scored with Yared.
  657. THUNDERBIRDS --  Elliot Goldenthal.  Was attached to the project for some time.  [Hans Zimmer and about a dozen other guys.]
  658. 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.]
  659. WALKING TALL --  Gomez (music group).  Wanted them, asked, but they were on tour.  [Graeme Revell.]
    2005
  660. ASK THE DUST --  James Horner.  Unofficially attached to the project for a while, then gone when Young was officially announced.  [Christopher Young.]
  661. ASK THE DUST --  Christopher Young.  Young stated in an interview he was thinking of what he was going to do and the instruments he would use, then shortly afterward, he was left go.  In 2013, Young released a CD of recordings based upon score he had written for the film, at his website.  [Hans Zimmer and 15 other guys.]
  662. BLACK --  Mychael Danna.  [Monty Sharma.]
  663. CINDERELLA MAN --  James Horner.  After a hand injury, Crowe's film was pushed back and when it came time for a score, he decided on not using any, instead opting for period classical music (presumably Horner simply moved on), but then decided otherwise.  [Thomas Newman.]
  664. THE DA VINCI CODE --  James Horner.  Horner was attached to the project for a long while, though I'm not sure if it was a rumor or not.  This would have to have occured before the film was shot, as Zimmer was onboard then.  [Hans Zimmer & others.]
  665. DARK WATER --  John Debney.  [Angelo Badalamenti; Phil Marshall (additional).]
  666. DEUCE BIGALOW: EUROPEAN GIGOLO --  Teddy Castellucci.  [James L. Venable; John Debney (additional), Geoff Levin (additional).]
  667. DOWN IN THE VALLEY --  Nathan Larson.  Salett says the previous composer wasn't working out, on his site.  [Peter Salett.]
  668. 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(....)' "

      [Jan A.P. Kaczmarek.]
  669. FLIGHTPLAN --  Rachel Portman.  A little over five months before the movie premiered, they changed composers.  Scores have been recorded well over five months before.  Maybe Portman's was one?  Portman was also not the only compsoer to work on the film before Horner; another composer had done some music, but I am looking into further details before I list it on the REJECTED list.  [James Horner.]
  670. THE FLOCK --  Christopher Young.  Film got pushed back a few years until 2007 and by that time Young wasn't available.  [Guy Farley.]
  671. INTO THE WEST (mini series) --  Eric Colvin.  In one of the last interviews Basil Poledouris gave, he said he had to turn the film down because of health issues, and said Colvin might get it.  [Geoff Zanelli & others.]
  672. THE LONGEST YARD --  Christopher Young.  Supposedly Young backed out due to a conflict with "An Unfinished Life".  [Teddy Castellucci.]
  673. THE NEW WORLD --  Hans Zimmer.  Listed on the film's IMDb page in early 2005.  [J. Peter Robinson.]
  674. THE NEW WORLD --  J. Peter Robinson.  Shortly thereafter, Hans' name was replaced with Robinson's.  In quick order Robinson's name vanished and was replaced with Horner, who finally worked through a difficult ordeal of scoring the movie, which in the end didn't use most of his score.  [James Horner.]
  675. THE PRIZE WINNER OF DEFIANCE, OHIO --  James Horner.  In a 2006 interview Frizzell stated he was the second composer on the film, but doesn't name who the original was.  [John Frizzell; Gabriel Mann (arranger); Brian Kirk (additional).]
  676. PSYCHIC WITNESS --  John Scott.  [Ed Smart.]
  677. 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.]
  678. THE ROAD TO FREEDOM PEAK --  Michael Nyman.  Reported by the agency that was representing him at the time.  Nyman is listed under the "Thanks" section on IMDb.  [Samite Mulondo, Patrick Savage, Holeg Spies.]
  679. ROME (Pilot) --  ?????.  In an interview Beal states they had a composer already, but he "wasn't working out".  There is a submission demo CD-R from MArk Mancini floating out there.  [Jeff Beal.]
  680. SAHARA --  Brian Tyler.  [Clint Mansell.]
  681. SAM'S LAKE --  Nicholas Pike.  [Gary Chang.]
  682. SEED OF CHUCKY --  Graeme Revell.  Listed on his IMDb page for a short while.  [Pino Donaggio.]
  683. SHADOWS (AKA: DUMA) --  Mark Isham.  [John Debney.]
  684. 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.]
  685. V FOR VENDETTA --  David Arnold.  Rumored to be, and but also the rumor states he was busy.  [Of debate, see next entry.]
  686. V FOR VENDETTA --  Craig Armstrong.  Armstrong was going to be working with Massive Attack on the score (I wonder if it was anything like "Clash of the Titans").  [Dario Marianelli.]
  687. WATER --  A. R. Rahman.  Was doing the score, but changed to songs only.  The film opened in April in the U.S.A., but opened as far back as September of 2005...  [Mychael Danna.]
  688. 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
  689. A GOOD YEAR --  Hans Zimmer.  FSM reported this in an old issue in the upcoming assignments listing.  Streitenfeld previous had worked for Zimmer, so my assumption is Zimmer had a scheduling conflict and recommended Marc.  [Marc Streitenfeld.]
  690. 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.]
  691. ANNAPOLIS --  Klaus Badelt.  [Brian Tyler.]
  692. BARNYARD --  Robert Folk.  [John Debney.]
  693. BETWEEN THE WALLS --  John Kaefer.  [Andrew Griffiths.]
  694. BORDERTOWN --  Dave Grusin.  Listed on IMDb at the time as the composer.  [Graeme Revell; Los Tigres del Norte (additional).]
  695. 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.]
  696. CATCH A FIRE --  Craig Armstrong.  [Phillip Miller.]
  697. CLICK --  Teddy Castellucci.  One film score siute claimed Castellucci walked off the picture.  [Alan Silvestri.]
  698. CLICK --  Alan Silvestri.  Reportedly fired.  Perhaps the director was just hard to work with.  [Ruper Gregson-Williams; Tony Clarke, Clay Duncan (additional).]
  699. CRYPTID --  Tim Jones.  [Alan Derian.]
  700. EYE OF THE DOLPHIN --  Tim Jones.  Either a freaky coincidence or Jones knows Derian and suggested him on both.  [Alan Derian.]
  701. THE FALL --  Frederic Talgorn.  [Howard Shore.]
  702. THE FALL --  Howard Shore.  At one point they were listed as "co-composers", but that is highly unlikely.  [Krishna Levy.]
  703. FIREWALL --  Alan Silvestri.  Supposedly a conflict with "The Wild".  [Alexandre Desplat.]
  704. FLYBOYS --  David Arnold.  [Trevor Rabin.]
  705. GOYA'S GHOSTS --  Alberto Iglasias.  [Jose Nieto.]
  706. GOYA'S GHOSTS --  Jose Nieto.  [Varhan Orchestrovich Bauer.]
  707. HEAVEN'S FALL --  David Reynolds.  [Tony Llorens.]
  708. HIGHLANDER:  THE SOURCE --  J. Peter Robinson.  According to his agency, he was working on the score in London (I assume Abbey Road).  [George Kallis.]
  709. HOPE AND A LITTLE SUGAR --  Rick Baitz.  FSM reported it.  [Wayne Sharpe.]
  710. THE INITIATION OF SARAH (TV movie) --  Johnny Harris ("Wonder Woman" composer).  [John van Tongeren.]
  711. INLAND EMPIRE --  Angelo Badalamenti.  Listed on his IMDb page before the film opened, the David Lynch film opened with no original scoring and a bunch of credited tracked music.  [No original score.]
  712. IT'S A BOY GIRL THING --  Rupert Gregson-Williams.  [Christian Henson.]
  713. JOURNEY TO THE END OF THE NIGHT --  Mos Def.  An news blurb said he was scoring it.  [Elia Cmiral.]
  714. MIGUEL AND WILLIAM --  Trevor Jones.  Jones was reported as the composer back before the film opened.  [Stephen Warbeck.]
  715. MISSION: IMPOSSIBLE 3 --  Hans Zimmer.  Disappointing to the Zimmer fans when Giacchino was finally announced after months earlier Zimmer's supposedly announcement.  [Michael Giacchino.]
  716. OPEN SEASON --  Paul Westerberg.  Westerberg had doen a dozen songs and 80% of his score, with Ramin coming in to help, but then the film was shelved for three years.  When it came out, only Ramin was credited with the score; since I have no idea if any of Westerberg's score, done with Ramin, is retained or kept in the film, I cannot say it was rejected.  [Ramin Djawadi; Paul Westerberg (leftover songs).]
  717. THE PICTURE OF DORIAN GRAY --  Laura Karpman.  Supposedly wanted too much money and didn't start the score.  [Mogwai.]
  718. PU-239 --  ?????.  In an October 1, 2014 interview (conducted by Garrett Tiedemann), Abel said he didn't get the job and they hired another composer, but a few months later he was called again because the previous composer wasn't working out.  [Abel Korzeniowski.]
  719. THE QUEEN --  George Fenton.  [Nathan Larson (See: Rejected), then Alexander Desplat.]
  720. QUELQUES JOURS EN SEPTEMBRE --  Philippe Sarde.  Martin's only fil m score.  Martin is listed as a piano advisor on a another Sarde score, so I would presume Sarde was too busy to score and film and suggested Martin.  [Laurent Martin.]
  721. SILENT HILL --  Ita Masahiro.  [Jeff Danna.]
  722. SPLINTER CELL: DOUBLE AGENT --  Cris Velasco & Sascha Dikiciyan.  Originall reports were they were going to score it, but in the end the game only has a theme by them.  [Michael McCann.]
  723. STAY ALIVE --  Tyler Bates.  Makers claimed he was the first choice, but had to back out.  [John Frizzell.]
  724. SUPERMAN RETURNS --  David Newman.  Back in 2004 when it was still going by the title "Superman" and was to be directed by McG and written by Jeffrey Abrams, Newman was listed on IMDb as the composer.  [John Ottman.]
  725. WORLD TRADE CENTER --  John Williams.  Was asked and turned the film down.  [James Horner.]
  726. WORLD TRADE CENTER --  James Horner.  Don't know, was listed at IMDb at one point.  [Craig Armstrong.]
    2007
  727. AGGAR --  Himesh Reshammiya.  [Mithoon Sharma.]
  728. 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.]
  729. AUGUST RUSH --  Hans Zimmer.  Zimmer was the originally announced composer, but his schedule was so packed, it looks like he had to bow out and hand it off to Mancina.  In the end Zimmer is credited for a theme in the film.  [Mark Mancina; Hans Zimmer (theme).]
  730. BATHROY --  Mark Thomas.  Supposedly other composers after him, in this production which is so troubled it's too hot to touch right now -- even years later.  IMDb also shows Jan Jirásek as a composer.  [Simon Boswell; Tatiana Mikova (additional score, apart from Boswell).]
  731. BATTLE FOR HADITHA --  Christian Henson.  [Nick Laird-Clowes.]
  732. BITTERBLUE --  ?????.  Supposedly the previous composer had to bow out, leaving Adams little time to score.  [Doug Adams.]
  733. BOUNDARIES --  Christy Carew.  Mistake on my part; the one she scored was a short film.  [Justin Melland.]
  734. CHAOTIC ANA --  Alberto Iglesias.  Originally hired and on the film for half a year or more.  [Conrad Pope.]
  735. CHAOTIC ANA --  Conrad Pope.  [Jocelyn Pook.]
  736. THE DEATH AND LIFE OF BOBBY Z --  J. Peter Robinson.  [Tim Jones.]
  737. DOOMSDAY --  David Arnold.  Turned it down?  [Tyler Baits.]
  738. GHOST RIDER --  David Arnold.  Was attached to the project for a at least four months (in 2006).  [Christopher Young.]
  739. 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.]
  740. HER MAJESTIC MANOR --  Alberto Iglesias.  Was officially on for half a year.  [Javier Navarrete.]
  741. I COULD NEVER BE YOUR WOMAN --  Magnus Fiennes.  [Mike Hedges (rejected), then David Kitay; Jess Bailey (additional).]
  742. IN BLOOM (AKA: THE LIFE BEFORE HER EYES) --  Danny Elfman.  Did not record anything, possibly leaving due to a scheduling conflict.  [James Horner.]
  743. THE INTERIOR (Pilot) --  Edward Rogers.  Supposedly a scheduling conflict.  [Edwin Wendler.]
  744. JUST ANOTHER LOVE STORY (K?ighed p?ilm) --  Marco Beltrami.  [Joachim Holbek.]
  745. THE INNER LIFE OF MARTIN FROST --  Philip Glass.  [Laurent Petitgand.]
  746. LUCKY YOU --  Alexandre Desplat.  Young was the first composer on board, then for reasons unknown, Desplat took over (even mentioning working on the score in a January, 2006 interview with Soundtrack.net), but then six months later Young was back on board; I have no idea if Desplat recorded anything.  [Christopher Young.]
  747. MAMA'S BOY --  John Kaefer.  [Mark Mothersbaugh.]
  748. THE MESSENGERS --  Christopher Young.  Originally Young was hired as the composer, but the film kept getting pushed back, and eventually there were some reshoots, and LoDuca was suddenly announced as the new composer.  [Joseph LoDuca.]
  749. MOVIDAS --  Kurt Kuenne.  [Andreas Levin.]
  750. 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.]
  751. MY KID COULD PAINT THAT --  Rondo Brothers.  [Mariusz Glabinski.]
  752. PARTITION --  Philip Glass.  [Brian Tyler.]
  753. RESIDENT EVIL:  EXTINCTION --  Tyler Bates.  [Charlie Clouser.]
  754. SARAH LANDON AND THE PARANORMAL HOUR --  Louis Febre.  Ended up too busy to do the score, with his work on "Smallville".  [Joseph Conlan.]
  755. SAVAGE GRACE --  Alberto Iglesias.  Also officially on this.  [Fernando Velazquez.]
  756. THERE WILL BE BLOOD --  Jon Brion.  [Jonny Greenwood.]
  757. THIS CHRISTMAS --  Christopher Lennertz.  In an interview Lennertz states he had started working on the score to this, and "Comebacks" (he specifically mentions the production company's name, so it's not the other Christmas film he scored, which at one point was going by the same name).  [Marcus Miller.]
  758. THE TUDORS (Pilot) --  ?????.  In an August 2010 interview, the replacement compsoer says he replaced another who supposedly had to drop out Morris has since won an award, as I recall, and had a CD release for each season of the series -- one wonders who missed out of those shots...  [Trevor Morris.]
  759. TYRANNOSAURUS AZTECA --  Paul Hartwig.  [Gerald Brunskill.]
  760. THE VISION --  Tyrone Lancaster.  Movie's official website reported he was scoring it back in January 2008, but in January 2009 they said Doug Adams was scoring it.  [Doug Adams.]
  761. 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
  762. A FOX'S TALE --  Mike Moran.  Was listed on his agency's site (and IMDb) for doing songs and score for the upcoming foreign film (recorded), but it's all gone now.  [Krisztain Som.]
  763. AMUSEMENT --  Debbie Wiseman.  [Marco Beltrami & others.]
  764. ANONYMA -- EINE FRAU IN BERLIN --  Jan P. Kackzamarek.  [Zbigniew Preisner.]
  765. ANVIL: THE STORY OF ANVIL --  ?????.  In a May 20, 2011 interview, Mr. Meister says the previous composer wasn't working out and after running into one of the film's makers, an old friend, Cindy Burstein, he gave some advice on how to work with the composer; some time passed and eventually, he said, they hired him as the composer.  [Gary Meister.]
  766. ANVIL: THE STORY OF ANVIL --  Gary Meister.  Even though Mr. Meister says he had been hired, he's not the credited composer over at IMDb.  [David Torn.]
  767. ANVIL: THE STORY OF ANVIL --  David Torn.  Apparently when the documentary premiered, it was with a "Mogwai-like score" by Mr. Torn, but when the film finally came out in Spring, 2009, they must have changed composers again because IMDb lists...  [David Norland; David Torn (additional).]
  768. ASSASSINATION OF A HIGH SCHOOL PRESIDENT --  Tim DeLaughter.  [Daniele Luppi.]
  769. THE ATTIC --  Robert Een.  In a post by one the film's makers, Een was mentioned as doing the score.  [Mario Grigorov.]
  770. BABYLON A.D. --  RZA & Hans Zimmer.  RZA said in an interview he was going to score it with Zimmer.  [Atli Orvarsson.]
  771. BAGGAGE --  Alex Wurman.  [Kurt Oldman.]
  772. THE BROTHERS SOLOMEN --  Alan Elliot.  [John Swihart.]
  773. CARMEN'S KISS --  Christopher Gunning.  [Paul Turner.]
  774. CHOKE --  Radiohead.  [Nathan Larson.]
  775. THE CREW --  Mark Hinton Stewart.  [James Edward Baker.]
  776. THE COFFIN --  Marco Werba.  [Bruno Brugnano.]
  777. DADDY'S LITTLE GIRLS --  Nathan Wang.  [Brian McKnight.]
  778. ROAD TO FAME (AKA: CASI DIVAS) --  Jermaine Stegall.  Left before recording.  [Hans Zimmer.]
  779. THE DAISY CHAIN --  David Holmes.  [David Julyan.]
  780. 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.]
  781. THE FINAL SONG --  Charles Denler.  Was set to score the film, but ended up just doing the theme, with the composer using it.  [Mark Tschanz.]
  782. FROST/NIXON --  James Horner.  [Hanz Zimmer.]
  783. GENOVA --  Michael Nyman.  [Melissa Parmenter.]
  784. THE GRIND --  Teddy Castellucci.  [(which film by this name is unknown; two in 2008).]
  785. 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.  He recieves a special thanks in the credits of the film.  [Patrick Doyle.]
  786. JULIA --  Gert Janssen.  Janssen's first score.  [Pollard Berrier & Darius Keeler.]
  787. KLEINER DODO --  Hans Zimmer.  [Henning Lohner; Mario Argandona (additional), Max Knoth (additional), Dieter Müller (additional), Carsten Raabe (additional).]
  788. LARGO WINCH --  Fredreic Talgorn.  [Alexandre Desplat.]
  789. LIVING HELL --  Ivan KoutikovOriginally part of a three picture deal, the producer and owner decided to let his son score it.  [Terence Jay.]
  790. THE LOST TRIBE (AKA: PRIMAL) --  Wolfram de MarcoDidn't end up doing a score.  [Bennett Salvay.]
  791. MAYA BAZAR --  Shankar Mahadevan, Ehsan Noorani & Loy Mendonsa.  [Rahul Raj.]
  792. MR. 73 --  Eric Demansen.  Was on the film for eight months.  [Bruno Coulais.]
  793. MUUKALAINEN --  Arvo Part.  [Helena Tulve.]
  794. NOT BY CHANCE --  Antonio Pinto.  [Ed Cortes.]
  795. PASSCHENDALE --  Mychael Danna. UpcomingFilmScores (now FilmMusicReporter) reported this back in March, 2008.  [Jan A.P. Kaczmarek.]
  796.  SHANGHAI --  Gabriel Yared.  Supposedly a scheduling conflict.  [Alex Heffes (See: Rejected), then Klaus Badelt.]
  797. THE READER --  Ozren K. Glaser.  [Alberto Iglesias.]
  798. THE READER --  Alberto Iglesias.  [Nico Muhly.]
  799. ROLE MODELS --  Peter Salet.  [Craig Wedren.]
  800. THE SHRIEKING --  ?????.  Kahler had to come in and do the score after another supposedly "stepped down".  [Christopher Kahler.]
  801. SILAMBATTAN --  Dhina.  [Yuvan Shankar Raja.]
  802. THE UNBORN --  Ramin Djawaski.  [Steve Jablonsky.]
  803. WAR, INC. --  David Schommer.  Back in 2007, FilmMusicWeekly had a short aricle mentioning he had been hired to score the film.  [David Robbins.]
  804. WASTING AWAY --  Jane Antonia CornishTurned it down.  [The Newton Brothers.]
    2009
  805. A SINGLE MAN--  Shigeru Umebayashi.  Being in Japan provided too great a working distance from the L.A.-bound director and what little score Umebayashi did, is in the movie and he is credited for.  [Abel Korzeniowski (who was being seriously considered for the third Twilight film score, but instead Howard Shore was hired).]
  806. ALL'S FAIRE IN LOVE --  David Robbins.  [Jeff Cardoni.]
  807. BLACK WATER TRANSIT --  Anne Dudley.  [Music group.]
  808. THE CHOSEN ONE --  John Hunter.  [Jeff Rona & Lisa Gerrard.]
  809. DRAGONBALL: EVOLUTION --  Hans Zimmer.  Back in 2007 when the film was going by the name "DragonBall Z" on IMDb and has Tedi Sarafian listed as a writer (but no diretcor listed), Zimmer was listed as the composer.  [Brian Tyler; T.J. Lindgren (additional music aranger), Matthew Margeson (additional music aranger).]
  810. THE DREAM OF ROMANS (AKA: ARLEN FARBER / THE ANSWER MAN) --  John Swihart.  [Teddy Castellucci.]
  811. 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.]
  812. WONDERWALL (AKA: FALLING AWAKE) --  Tom Hiel.  Back in 2009, the composer announced on his MySpace page he was scoring the film; it opened in 2012 with a score by other people.  [Kevin A. Stuart & Andrew Cisneros; Ze Luis (additional), Johnny Juice Rosado (additional).]
  813. THE FIFTH MAFIA --  Kevin McDaniels.  McDaniels reported on his website he was scoring it; IMDb had David C. Williams as the composer.  The film got shelved or unfinished and remains in hiatus.  [David C. Williams.]
  814. FREQUENTLY ASKED QUESTIONS ABOUT TIME TRAVEL --  James Edward Barker & Tim Despic.  With possibly another score rejected by a composer replacing them.  [James L. Venable; Jennifer Kes Remington (additional).]
  815. G-FORCE --  Harry Gregson-Williams.  [Trevor Rabin.]
  816. GIALLO --  Claudio Simonetti.  Over at Dark-Dreams.co.uk, a member found and translated a Facebook post by Simonetti, whom decided to address it since he kept reading comments online about what happened. Short: he did not do a score. Long story (late 2008):
    Hello my friends!
    I want to clarify this debate explaining why I'll not compose the music for the film GIALLO.
    I was contacted personally, as always, by Dario Argento to write the music for his new film.
    I went on the set in Torino before summer, where I remained for two days, waiting to speak with the American producers..................meeting never occurred.
    I only had contacts with Rafael Primorac (one of the executive producers) who apologized for the inconvenience.
    Meanwhile I was introduced to Adrien Brody, who is the supervisor of the music of the film.
    He said he wanted to participate in the creation of music.
    Adrien, after the end of the shooting, came in Rome in my studio where we spent an entire day listening different kind of music (I heard some of his themes composed with the computer sequencers) and talking about the soundtrack of GIALLO.
    Dario was very happy about this collaboration.
    I received from U.S. a Giallo's DVD containing the copy of the first editing but Dario and the producers were not happy with this first version so they asked me wait for the final copy before start my work.
    In the meantime I could not reach any kind of agreement with the "ghosts" producers, who remained allways "unavailable" while Rafael Primorac continued to apologize ...................!?!?!?
    Dario in September went to Los Angeles to finish the editing of the film and after several phone calls he said me he would be back in Rome with the final copy.
    Dario, just arrived in Rome, called me to say that at the last minute the producers not have give him the final copy..................... without any explanations (?!?!).
    Primorac called me again and confessed they don't have the money to record the music and that he would have said how to solve the problem as soon as possible.
    After that I have not had any news from them, so, I never wrote any music for the film.
    I never had artistic problems with Dario (this would be the 14th film making together).
    I read in the meantime in several Forums many different wrong version of "why I would not have done more the GIALLO score".......bla bla bla!!!
    I also read that music will be composed by Marco Werba, a musician I know well.
    I wish him a good work but, above all, I suggest him to be paid in advance to avoid problems with these not serious producers."

    Claudio
      [Marco Werba.]
  817. THE GOODS --  Theodore Shapiro.  [Lyle Workman.]
  818. HANNA MONTANNA: THE MOVIE --  Alan Silvestri.  [John Debney.]
  819. HEXE LILLI --  Frederic Talgorn.  Originally Klaus Badelt was the composer reported, but it was passed on to an associate of his.  [Ian Honeyman.]
  820. IMAGINE THAT --  Theodore Shapiro.  In a ScoreNotes.com interview, the director doesn't even bother to mention Shapiro as the previous composer.  [Mark Mancina.]
  821. LAST CHANCE HARVEY --  Michael Hill.  [Dickon Hinchliffe.]
  822. LIFE GOES ON --  Ludek Drizhal.  [Soumik Datta.]
  823. LIKE DANDILION DUST --  Mark Mancina.  [Nathan Larson.]
  824. MAGIC MAN --  Charles Bernstein.  [The Newton Brothers.]
  825. MEDITERRANEAN FOOD --  Sergio Moure.  [Josep Mas & Salvador Niebla.]
  826. 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.]
  827. MIDDLE MEN --  Chris BoardmanDecided to go in a different direction.  [Brian Tyler.]
  828. PALOMINAS --  Charles David Denler.  When I asked Mr. Denler about it, he wasnt' sure what was happening.  Since then the film apparently was shelved, as it's being shown to come out some time 2017 (at which point I suspect it will be re-scored again; the credit is no longer on Murray's website).  [Sean Murray.]
  829. PATRIOTVILLE --  Steven GutheinzDidn't.  [Scott Glasgow.]
  830. THE PRINCESS AND THE FROG --  Wynton Marsalis.  [Alan Menken.]
  831. THE PRINCESS AND THE FROG --  Alan Menken.  [Randy Newman.]
  832. SON OF SUNSHINE --  Alex Wurman.  [Matthew Montour.]
  833. STELLINA BLUE --  Randy Kerber.  [Yussi Wenger.]
  834. TEMPLE GRANDIN (TV movie) --  J. Peter Robinson.  His agency said he was scoring it.  [Alex Wurman.]
  835. THE UNION --  Sam Cardon.  Supposedly the composer was far too busy with other projects.  [Michael Teoli & Michael Jorns.]
  836. 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
  837. ????? --  Bear MCCreary.  On a bio' slash interview from the USC Thornton School of Music, McCreary says about a bad year he had: "McCreary described a time in 2010 when his career slowed and began to languish. He was replaced on a television series, fired off a pilot, and lost new jobs that would have been a given only a year before".  While still not naming the pilot, Bear goes on further to say on the blog on his website that he was fired two days before the score was set to record (so in my opinion there should be at least demos).  [?????.]
  838. CHAIN LETTER --  Michael Wandmacher.  Gillioz reported on his site he had 20 days to score the film, which back in 2008 was reported as Wandmacher being hired; this turned out to be false, as Wandmacher was never scoring the film, but rather the producers of the film were wanting him to and starting crediting him.  [Vincent Gillioz.]
  839. THE EAGLE OF THE NINTH --  Alex Heffes.  Was going to score the film, but suddenly became unavaiable (no new scoring assignments listed, and the film wasp ushed back several months -- seems time to me).  The musician on the info page did some pre-records of instruments for use in the score -- animal horns & primitive trumpet; sounds far, far more interesting that what Atli will undoubtedly provide..INFO.  [Atli Orvarsson.]
  840. GREEN HORNET --  Danny Elfman.  [James Newton Howard.]
  841. JULIA'S EYES --  Marc Vaillo.  In a 2011 interview with RunMovies.eu the composer states he was asked by the producer with whom he had worked with before, to score the film. He does not go on to say what happened, but he does say Fernando is a friend of his.  [Fernando Velázquez.]
  842. JUST WRIGHT --  Dr. Dre and Cool.  Back in 2009, a news article stated they were scoring the film together (as well as being music supervisors).  [Wendy & Lisa Coleman.]
  843. 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.]
  844. MOTHER'S DAY --  Nathan Barr.  [Bobby Johnston; Jim Lang (additional).]
  845. NANNY MCPHEE AND THE BIG BANG --  Thomas Newman.  Changed his mind before doing a score.  [James Newton Howard.]
  846. RED DAWN --  Brian Tyler.  [Ramin Djawaski.]
  847. SACRED & SECRET --  Philip Glass.  [Wayan Yudane & Brian Burman.]
  848. SKYLINE --  Brian Tyler.  Tyler became unavailable to score, and Margeson -- who's worked with him on scores before, was suggested as his replacement; Tyler oversaw the score, and remained as one of the producers.  [Matthew Margeson.]
  849. THOR --  Ilan Eshkeri.  Eshkeri was saying he would score the film, a couple years before it was released.  [Patrick Doyle.]
  850. UNTHINKABLE --  John Ottman.  Reported on Ottman's IMDb page for a short while in 2009; before that, all credits -- that I saw -- were accurate except films that ended up not getting made.  [Christopher Young.]
  851. UNTHINKABLE --  Christopher Young.  [Graeme Revell.]
    2011
  852. A WOMAN CALLED JOB --  Bennett Salvay.  The film eventually opened in 2013.  [Sam Bauer.]
  853. ABRAHAM LINCOLN: VAMPIRE SLAYER --  Trent Reznor.  In spite of being announced to score it, he didn't stay on for unspecified reasons, only stating: "Don’t believe everything you read. As it turns out, I WON’T be working on (acting or scoring) ALVH after all. There’s no juicy story here, it’s just that when the news mysteriously leaked out about my involvement I hadn’t made up my mind completely, because various aspects of the project were changing. I felt the need to say something earlier this week because my inbox was filling up with speculation, and at that moment I thought I would be doing it. Confused yet? Apparently I am. Bottom line, I wish them the best with the film and I’m sure it will still be great.".  [Henry Jackman.]
  854. AGE OF HEROES --  James Edward Barker.  Plowman states in a January, 2014 interview with www.RunMovies.eu that he replaced another composer on the project, but doesn't say who.  He goes on to say he had about a month to do his score.  [Michael Richard Plowman.]
  855. THE APPARITION --  Christopher Young.  [tomandandy.]
  856. ARBITRAGE --  J. Ralph.  [Cliff Martinez.]
  857. ATTACK THE BLOCK --  Benjamin Wallfisch.  [Steven Price; Felix Buxton, Simon Ratcliffe (additional).]
  858. BREAKING IN: "Pilot" --  James Michael Dooley.  [Michael Wandmacher.]
  859. CAPTAIN AMERICA --  John Powell.  Appears to have been nothing but another false rumor.  [Michael Giacchino.]
  860. CAPTAIN AMERICA --  Michael Giacchino & Bruce Broughton.  Thanks to a delivery guy who posted at a film score board (which probably cost him his job...), we know that scripts were delivered to both Giacchino's house, and Broughton's house.  I don't have any proof, but somebody said the two were friends and Broughton may help on the score; no idea if they passed or not.  [Alan Silvestri.]
  861. CARNAGE --  Alberto Iglesias.  Reportedly, the final film contains almost no score, suggesting that Desplat's score was possibly all dropped sans that small bit.  [Alexandre Desplat.]
  862. DRIVING LESSONS (AKA: THE FAMILY TREE) --  Tuomas Kantelinen.  In 2008 Kantelinen was announced as the composer.  [Stacey Hersh; Jose Cancela (additional), Amy Marie Beauchamp (additional).]
  863. DUKE NUKEM FOREVER (video game) --  Jeremy Soule.  An interview from 2007 said he was going to score the game, and in 2009 Soule wrote a message on his website about scoring it, and I read he even did a piece of music for a preview; beyond that I do not know what he did.  Jeremy and Julian Soule both recieve "special thanks" on IMDb, as well as a few other composers (including Lee Jackson, who did a midi theme, but never got to score the game).  [Eric Von Rothkirch (uncredited).]
  864. EVERYWHERE AND NOWHERE --  Nitin Sawhney.  [The Angel.]
  865. FLYPAPER --  Mark Mancina.  [John Swihart.]
  866. GREAT HOPE SPRINGS --  Thomas Newman.  [Theodore Shapiro.]
  867. HIGH SCHOOL --  Score by: Freescha; Songs by: Harold Faltermeyer.  [The Newton Brothers.]
  868. HOTEL TRANSYLlVANIA --  Ramin Djawadi.  [Mark Mothersbaugh.]
  869. HUSK --  Justin Caine Burnett.  [Bobby Tahouri.]
  870. INTOUCHABLES --  Klaus Badelt.  Back in early 2011, upcoming scoring assignments had this film for Badelt (indeed, as of March, 2012, it's still listed on KlauseBadeltMusic.com); Badelt did, however, do the score for their next film ("30 Degres Couleur").  [Ludovico Einaudi.]
  871. JUMPING THE BROOM --  Wendy Melvoin & Lisa Coleman.  [Edward Shearmur.]
  872. LA CHISPA DE LA VIDA --  Roque Banos.  [Joan Valent.]
  873. LIFE OF PI --  Angelo Badalamenti.  [Mychael Danna; Rob Simonsen (additional).]
  874. LIMITLESS --  Animal Collective.  In an interview the group said the director asked if they were interested in scoring the fil, but it turned out all he wanted was for them to ape Summertime Cloths, so they declined..  [Paul Leonard-Morgan; Joe Kennedy (additional).]
  875. LOOSING CONTROL --  ?????.  The director told online in an interview that the original composer, un-named, was so slow in making the music, that she ended up having to get somebody else and that in the same amount of score the composer did in weeks, Swihart did in a small fraction of that time.  [John Swihart.]
  876. THE LUCKY ONES --  Hal Lindes.  Lindes definitively did some pre-records and musical arrangements, but I don't know if he recorded any of the final score.  One review from April of 2012, seems to suggest Lindes is credited, too (can anybody confirm this?).  [Mark Isham.]
  877. MECHANIK --  Gilad Benamram.  Originally reported scoring the film, back in 2008 before the film began production (which was said to begin early 2009).  [Mark Isham; Cindy O'Connor (additional), Neal Acree (additional).]
  878. NAILED (the in release-hell David O. Russell film) --  Squeak E. Clean (brother of Spike Jones).  [John Swihart.]
  879. THE NEXT THREE DAYS --  Alberto Iglesias.  According to Quartet Records, the composer had done over half the score (alternatively described as about two thirds) but a disagreement with the director ended it.  I don't know if the unfinished score was recorded.  [Mark Isham.]
  880. THE NEXT THREE DAYS --  Mark Isham.  Isham was very excited to be re-teaming with the director and while I don't know if he did anything, one lengthy news article mentions he had a falling out with the director when Haggis decided to leave Scientology; among the "nine of ten" Scientologists who showed up at his house to talk with him, was Isham and his wife.  [Danny Elfman.]
  881. RESISTANCE --  Rachel Portman.  [Mark Bradshaw.]
  882. RUSSENDISKO --  Gabriel Yared.  [Lars Lohn.]
  883. SALVATION BOULEVARD --  Jeff Beal.  [George S. Clinton.]
  884. SHARK NIGHT 3D --  Grant Innes McLachlan.  BMI shows cues by him.  [John Powell.]
  885. SHARK NIGHT 3D --  John Powell.  Other (unconfirmed) sources claimed Powell was doing the score.  [Graeme Revell.]
  886. SNOW WHITE AND THE HUNTSMAN --  ?????.  A few months prior to the announcement J.N.H. was scoring this, I had scene somebody else was scoring (it was being doing overseas though); possibly James S. Brett..  [James Newton Howard.]
  887. SOURCE CODE --  Clint Mansell.  The film's director on his Twitter page mentioned that Mansell was so busy, he just couldn't end up finishing the score, implying Mansell had already done some.  [Chris P. Bacon.]
  888. SPOON --  Clinton Shorter.  The change in composers occured in 2009; the film got a delayed release until 2011.  [Siddhartha Barnhoorn.]
  889. TOWER HEIST --  Rachel Portman.  [Christophe Beck.]
  890. THE TREE OF LIFE --  James Newton Howard.  In 2009, when the film was listed as being in post-production, Howard was listed on the IMDb page for it.  [Alexandre Desplat.]
  891. TWILIGHT 3 --  Harry Gregson-Williams.  As Harry told in an early 2011 interview, when asked about it, he was never involved in the film, but his daughter really wanted him to, so appearently the rumor and the (falsely added) IMDb listing must have been nothing more than wishful thinking of his daughter.  [Carter Burwell.]
  892. UNWELCOME --  ?????.  The director posted online back before the film opened, looking for a new composer stating that while principle photography had completed, there were some problems that pushed back the film and the original composer was no longer available.  [Dave Andrews.]
  893. WITHOUT MEN --  Bruno Coulais.  [Carlo Siliotto.]
  894. YOGI BEAR --  Andrew Lockington.  [John Debney.]
    2012
  895. BYZANTIUM --  George Fenton.  I guess Neil Jordan vampire movies and Fenton scoring them, is just never going make it.  [Javier Navarrete.]
  896. CRAVE --  Christopher Drake.  The director explained in a Q&A panel that Drake called him up and said he couldn't do the film anymore, or as the director said, he got a better offer.  [Justin Caine Burnett; Greg Faust (additional).]
  897. EMPORER --  Alexandre Desplat.  [Rolfe Kent.]
  898. HOUSE OF LAST THINGS --  Patrick Morganelli.  [Alessandro Ponti & Andrew Poole Todd.]
  899. THE HUNGER GAMES (Part 1) --  Danny Elfman.  Elfman was hired to score the film, with T. Bone Burnett as the music supervisor, and some sources saying "co-composer"; Burnett was carried over.  Burnett explained in an article on MTV.com from 2013, that he and Danny, along with Arcade Fire's Win Butler and Régine Chassagne, were crafting a futuristic score for the film, but after writing a few pieces, the director wanted more control over the score and fired them in the middle of the work.  He also sings the praises of Howard's work.  [James Newton Howard, and T. Bone Burnett?; Marc Bonilla (additional).]
  900. JOURNEY 2: THE MYSTERIOUS ISLAND --  Andrew Lockington.  A couple months before the film was released, reports were online that Ross had done a song with an artists, and his representation, GSA Music, had it on his resume; in fact, as of January 15, 2013, GSA still has it on his resume, even though Andrew Lockington's score was kept and released on CD (a number of resume's on GSA are poorly updated, as opposed to Kraft Engel's site); where co-composed on his resume, it is noted, and all other films he scored himself.  INFO.  [William Ross (who has also provided a song) -- rejected?; Andrew Lockington.]
  901. LAY THE FAVORITE --  Alexandre Desplat.  Supposedly a scheduling conflict.  [James S. Brett.]
  902. PRIVATE PEACEFUL --  Mark Knopfler.  Was hired to do the score a year before.  Guy Fletcher may or may not have worked on it.  [Rachel Portman.]
  903. THE RIVERS (Pilot) --  Trevor Morris.  Was hired to score the pilot episode (no further word was given onepisodes after that), but upon watching the end credits to the pilot, Revell is credited.  [Graeme Revell.]
  904. SAFETY NOT GUARANTEED --  ?????.  In an April 20, 2012 interview with Paste Magazine, Miller stated: "Yeah, I actually got involved really late. I was sort of the second composer on it.".  [Ryan Miller.]
  905. STEP UP [4]: REVOLUTION --  B.T.  [Aaron Zigman.]
  906. THE TALL MAN --  Jeff Danna.  [Chrsitopher Young.]
  907. THE TALL MAN --  Chrsitopher Young.  [Todd Bryanton; Joel Douek (additional); Christopher Young (theme).]
  908. TOY STORY: SMALL FRY (short film) --  John Powell.  This had been listed on IMDb, but rather Powell was truely going to score it, is not known.  [Mark Mothersbaugh.]
  909. TOY STORY: SMALL FRY (short film) --  Mark Mothersbaugh.  After Powell's name disappeared, Mothersbaugh'a appeared for a little while.  [Henry Jackman.]
  910. VIVALDI --  Robert Folk.  The film had been in production hell for a few years when Folk originally mentioned it in 2006, then in the News page of his website, in June 2011, he wrote a small bit on it, including this: "the orchestral score will be recorded in London. Virgin is interested in the soundtrack rights."; in an interview with ScoreNotes.com, he also says Sony Classical had expressed interest.  [Carlo Siliotto.]
    2013
  911. 300: RISE OF AN EMPIRE --  Federico Jusid.  [Junkie XL.]
  912. 47 RONIN --  Atticus Ross.  [Javier Navarrete.]
  913. CARRIE --  John Powell.  [Marco Beltrami.]
  914. AUGUST: OSAGE COUNTY --  Carter Burwell.  In mid May, 2013, Burwell removed this (along with the Thor sequel) from his upcoming projects list at this website.  [Gustavo Santaolalla; Adam Langston (additional), James Seymour Brett (arranger).]
  915. THE BUTLER --  Quincy Jones.  IndieWire, in an article on a new film Desplat is scoring, cited some of his upcoming projects, and this was amongst them.  [Alexandre Desplat.]
  916. THE BUTLER --  Alexandre Desplat.  [Rodrigo Leão.]
  917. CAPTAIN PHILLIPS --  John Powell.  [Henry Jackman.]
  918. DIANA --  Rachel Portman.  [David Holmes & Keefus Ciancia.]
  919. DOM HEMINGWAY --  Chad Hobson.  Kent's name had been removed and Hobson had replaced it and the credit disappeared elswhere, but suddenly it was changed again and the new trailer for the film listed Kent once again.  [Rolfe Kent.]
  920. EFFIE GRAY --  Patrick Doyle.  [Paul Cantelon.]
  921. ENDER'S GAME --  James Horner.  Details are sketchy, but apparently there were serious problems in production, and a nubmer of people were fired.  [Steve Jablonsky.]
  922. ESCAPE FROM PLANET EARTH --  Joby Talbot.  At the time I wrote this, Talbot's agency still had not removed the credit from his page at Greenspan Kohan Management.  [Aaron Zigman.]
  923. THE FAST AND THE FURIOUS 6 --  Atticus Ross.  In early 2013 a new poster to the film listed Ross' name after "Music by" (replacing Vidal, whom was first hired), but when the film opened worldwide, it contained Vidal's score.  [Lucas Vidal.]
  924. GETAWAY --  Christophe Beck.  [Justin Caine Burnett.]
  925. GIMME SHELTER --  Christopher Lennertz.  Even though online announcements said Lennertz was the composer for the movie, this turned out to be completely made up and Lennertz had nothing to do with the film.  [Ólafur Arnalds.]
  926. THE GOOD DINOSAUR --  John Powell.  Powell had been rumored to be the composer for a number of months.  [Thomas Newman.]
  927. HALF A YELLOW SUN --  Keziah Jones and Cobhams Asuquo.  BAck in 2012 the two were announced to be scoring the film.  [Ben Onono and Paul Thomson.]
  928. HANNIBAL: PILOT --  James Michael Dooley.  [Brian Reitzell.]
  929. HAPPY VALLEY: "PILOT" --  Aaron Zigman.  [Adam Berry.]
  930. HER --  Carter Burwell.  Burwell has done some cues for the film (I don't know beyond that or if those cues were just demos).  [Arcade Fire.]
  931. THE HOUSE OF GOOD AND EVIL --  Shawn K. Clement.  Clement was the original announced composer back in 2010.  [Austin Creek.]
  932. THE INEVITABLE DEFEAT OF MISTER AND PETE --  Alicia Keys.  A recent report by FilmMusicReporter.com wrote that Keys, whom normally is a singer and songwriter, was scoring the film with Isham, however back in a September interview Keys said she was scoring the film, with no mention of Isham, and Sundance.org listed her as the sole composer (the page for the film was deleted from Sundance.org.  It is far more likely that Keys, who is also an executive producer on the film, is having her score replaced but at this point it it hasnt' been decided if all of it will go, as the film premieres early next year.  Aside from songwriting, Keys is also a trained piano players and has a major in choir (she even did vocals on a film score).  This would have marked her first film score.  [Mark Isham.]
  933. THE LAST STAND --  Alan Silvestri.  For months many sources were listing Silvestri as the composer, including his IMDb page, but eventually all these listing mysteriously vanished and a new composer has done the score.  [Mowg.]
  934. THE LONE RANGER --  Jack White.  [Hans Zimmer.]
  935. LORDS OF MAGIC --  George Kallis.  At this time what little info I can find, seems to suggest Kallis was replaced; it could be the other way around and he's replaced the other composer.  As of 2016 the listing for the film was removed from IMDb, suggesting it may never have been made; other sites suggest a 2019 release date.  [Alexander Tovar.]
  936. MAD MAX [4]: FURY ROAD --  John Powell.  In 2003, MusicFromtheMovies.com reported Powell was scoring the film.  I don't know if he did and the film got shelved, or if it wasn't completed at the time and he moved on.  [Marco Beltrami.]
  937. MAD MAX: FURY ROAD --  Marco Beltrami.  Even though the news and filmography sections of marco-beltrami.com reported it, Beltrami is no longer scoring it and there may even be a question as to whether he was ever onboard.  The next composer is a rumor.  [Christopher Young.]
  938. MAD MAX: FURY ROAD --  Christopher Young.  A rumor was that some guitarist was scoring the film.  [Elliot Wheeler (rejected), then: Junkie XL.]
  939. THE MORTAL INSTRUMENTS: CITY OF BONES --  Gabriel Yared.  [Atli Orvarrson.]
  940. THE ONE I LOVE --  Alec Puro.  [Danny Bensi & Saunder Jurriaans.]
  941. OUT OF THE FURNACE --  Alberto Iglesias.  [Dickon Hinchliffe.]
  942. REACH ME --  Brian Wayne Transeau.  [Tree Adams.]
  943. ROGUE: "THE AQUARIUM" (PILOT) --  Christophe Beck.  Back in 2012, the agency he was with at the time, Kraft-Engel, reported in his bio' this was a pilot he had worked on.  IMDb lists a different composer for the pilot, which aired in 2013.  [Jeff Toyne.]
  944. SILENT VOICE --  Jonathan M. Hartman.  [John Ottman.]
  945. STRAIGHT A'S --  Dave Grusin.  Originally Kraft-Engel, the agency Grusin is with, had reported this in his bio and on his resume (since removed).  [Tyler Bates.]
  946. STRAIGHT A'S --  Tyler Bates.  [Joe Purdy.]
  947. SUPER FUN NIGHT: PILOT --  Joseph LoDuca.  In a Summer 2012 newsletter, Kraft-Engel reported LoDuca was scoring the pilot.  [Christophe Beck.]
  948. SUPER FUN NIGHT: PILOT --  Christophe Beck.  For a few months the agency he was with at the time, Kraft-Engel, had this in his bio' as project he had worked on, implying it was already done.  [Timothy Bright.]
  949. THANKS FOR SHARING --  Craig Wedren.  [Christopher Lennertz.]
  950. THERESE RAQUIN --  Michel Nyman.  Originally the film was on track to come out sometime approximately early 2009, with Nyman doing a score (which he still lists on his website, leading me to believe he complete a score), but various holds ups, including early on replacing one of the female actresses, eventually shelved the sometime I would guess in 2010; before it got shelved, another composer was also being listed as having replaced Nyman (at this time I cannot recall the composer's name, though I have this information saved some place).  Since the film is now slated to open in 2013, I am listing it under that year.  [Gabriel Yared.]
  951. THOR [2]: THE DARK WORLD --  Patrick Doyle.  Rumors were that he was in talks to score the sequel.  [Elliot Goldenthal.]
  952. THOR [2]: THE DARK WORLD --  Elliot Goldenthal.  For a while late 2012/early 2013, Goldenthal was listed as doing the score and using Doyle's theme(s), on wikipedia; the entry has since been removed.  [Ramin Djawadi.]
  953. THOR [2]: THE DARK WORLD --  Ramin Djawadi.  This was apparently nothing more than a rumor.  [Carter Burwell (rejected), then: Brian Tyler.]
  954. U.F.O. --  Matthew Williams.  [Si Begg.]
  955. WHAT MAISIE KNEW --  Peter Nashel.  [Nick Urata.]
    2014
  956. A FRIGGIN' CHRISTMAS MIRACLE (AKA: Merry Friggin' Christmas) --  Randy Edelman.  Originally fans of Edelman were excited as shortly before December in 2013, the assignment was found out via Edelman's website; it was a friggin' Christmas miracle to get a new score by him.  But sometime in December (best I can tell) he was replaced; what a friggin' Christmas gift.  [Jonathan Sadoff.]
  957. DOUGH --  Mark Knopfler.  As far back as at least 2001, the production company for the film, Viva Films, listed Knopfler as the composer for the film; it eventually opened in 2014 with a different composer.  [Lorne Balfe.]
  958. GREEN BLADE RISES (AKA: THE BETTER ANGELS) --  Zbigniew Preisner.  Preisner was originally announced as composer back in 2012.  [Hanan Townshend.]
  959. HERCULES --  Lorne Balfe.  For months Balfe's name was unofficially reported on some sites.  [Fernando Velázquez.]
  960. INSIDE OUT --  John Williams.  Williams name had been attached (unofficially) for a long while as composer for the film.  [Joel McNeely.]
  961. INSIDE OUT --  Joel McNeely.  For about two or three months McNeely's name was also rumored and was on the IMDb page for the film (which is also edited by the Pixar people).  [Michael Giacchino.]
  962. THE IMITATION GAME --  Clint Mansell.  Mansell was originally hired to score the film, and an old report said he had started work on his score in May, 2014.  [Alexandre Desplat.]
  963. A MANY SPLINTERED THING (AKA: PLAY IT COOL) --  Andrew Feltenstein and John Nau.  [Jake Monaco.]
  964. TESTAMENT OF YOUTH --  Mark Bradshaw.  [Max Richter.]
  965. THE VATICAN TAPES --  Mike Patton.  FilmMusicReporter.com announced the change back on June 20, 2014.  [Joseph Bishara.]
    2015
  966. BEASTS OF NO NATION --  Cliff Martinez.  Martinez had stated in a 2014 interview with Celluloid Tunes, that he was going to score the film.  [Dan Romer.]
  967. BLOOD & OIL (mini series) --  Trevor Rabin & Paul Linford.  [Mark Isham.]
  968. BRIDGE OF SPIES --  John Williams.  Reportedly a health issue, which Williams has recovered from, forced him to bow out.  This is the first Spielberg-directed from since 1985 that Williams has not scored.  [Thomas Newman.]
  969. FATHERS AND DAUGHTERS --  James Horner.  On September 26, 2014, Film Music Reporter reported the switch in composers.  [Paolo Buonvino.]
  970. INDESCRETION --  Nick Urata.  [Toby Chu.]
  971. JOY --  Michael Giacchino.  Various websites online had been showing Giacchino as composer, though I couldn't find official confirmation.  [
    2016
  972. ALMOST CHRISTMAS --  Aaron Zigman.  .  [John Paesano.]
  973. BEHOLD MY HEART --  Jeff Russo.  Russo was originally announced as the composer as early as January, 2016.  [Peter Raeburn.]
  974. CEZANNE ET MOI --  Vangelis.  Vangelis was officially announced as the composer, but supposedly backed out later to work on a personal project.  [Éric Neveux.]
  975. CRIMINAL --  Haim Mazar.  [Brian Tyler and Keith Power.]
  976. DEADPOOL 2 --  Junkie XL.  Reportedly he walked off the film (reasons not given).  [Tyler Bates.]
  977. THE FREE STATE OF JONES --  Howard Shore.  Shore had been the announced composer a year prior.  [Nicholas Britell.]
  978. GOING IN STYLE --  Christophe Beck.  Originally listed on Beck's IMDb page.  [Rob Simonsen.]
  979. THE LAST FACE --  Joseph Vitarelli.  Yet another film Vitarelli was going to score that Penn directed (scroll down for the other in 2017).  [Hans Zimmer; Andrew Kawczynski (additional).]
  980. LEATHERFACE --  David Buckley.  [John Frizzell.]
  981. LOWRIDERS --  Marc Streitanfed.  [Bryan Senti.]
  982. MONEY MONSTER --  Micheal Andrews.  [Dominic Lewis.]
  983. PATIENT ZERO -- Johnny Klimek.  Thomas Milano, music editor.  [Michael Wandmacher.]
  984. PETE'S DRAGON --  Howard Shore.  [Daniel Hart.]
  985. THE SECRET LIFE OF PETS --  Christophe Beck.  [Alexandre Desplat.]
  986. SILENCE --  Howard Shore.  .  [Kim Allen Kluge & Kathryn Kluge.]
  987. STAR WARS: ROGUE ONE --  Alexandre Desplat.  [Michael Giacchino.]
  988. VOYAGE OF TIME --  Ennio Morricone.  [Hanan Townshend.]
  989. VOYAGE OF TIME --  Hanan Townshend.  [Simon Franglen.]
    2017
  990. A SERIES OF UNFORTUNATE EVENTS --  Nick Urata.  Urata was originally announced to score the series.  [James Newton Howard (pilot and episodes), Sven Faulconer(episode three), Chris Bacon (season one, episodes seven and eight).]
  991. ANNE WITH AN E --  ?????.  In a May 9, 2017 interview, the composers state they replaced a composer who wasn't working out.  [Amin Bhatia and Ari Posner.]
  992. THE BABYSITTER --  Photek.  [Douglas Pipes.]
  993. BREATHE --  Ilan Eshkeri.  [Nitin Sawhney.]
  994. BUNYAN & BABE --  Basil Poldouris.  Originally announced as the composer, the film languished in Development Hell until the point Basil passed away.  [Christopher Lennertz.]
  995. BUNYAN & BABE --  Christopher Lennertz.  For a while Lennertz, whom had worked with Basil, was listed as the composer, with Basil still being credited for the theme.  The film continued to languish in Development Hell.  [Randy Edelman.]
  996. BUNYAN & BABE --  Randy Edelman.  In 2016 Edelman's name was popping up on various sites online as the composer, but finally the film opened in 2017 with a score by Basil's daughter, Zoë; a fitting choice of composer considering it was a film he was to score (not to besmirch Edelman).  [Zoë Poledouris.]
  997. CAPTAIN UNDERPANTS --  Graeme Revell.  In 2015 one score website reported Revell as the composer.  [Theodore Shapiro.]
  998. CAPTAIN UNDERPANTS --  Theodore Shapiro.  In 2016 Shapiro's name was floating around the web as the composer for the film, but it was a false rumor.  As of late 2016 Debney is now being listed as the composer on IMDb, but at the time I wrote this, I had found no confirmation.  [John Debney.]
  999. COCO --  Christopher Lennertz.  For a while Lennertz was listed on the film's IMDb page, but as IMDb is user-contributed and thus is abused sometiems by contributors, it was completely made up.  [Michael Giacchino; Germaine Franco (additional).]
  1000. THE COMEDIAN --  Joseph Vitarelli.  This film first appeared on Vitarelli's IMDb page in 2013 and remained there until sometime 2015; at the time he was the composer, Sean Penn was the director (ultimately somebody else directed it).  The film opened in 2017 and was panned big time.  [Terrance Blanchard.]
  1001. HUNTING CHRIST --  John Frizzell.  Frizzell was listed as the composer for the film on the film's official website, back in 2015.  Other sites also reported another composer on the project named Steve Valenzuela.  [David Stone Hamilton.]
  1002. JUMANJI 2 --  James Newton Howard.  Supposedly J.N.H. backed out after a change in the production schedule, that clashed with other assignments.  [Lorne Balfe.]
  1003. KODACHROME --  Newton Brothers.  [Agatha Kaspar.]
  1004. LOGAN --  Cliff Martinez.  [Marco Beltrami.]
  1005. THE MAN WHO KILLED DON QUIXOTE --  Alberto Iglesias.  [Roque Banos.]
  1006. NIENTE DI SERIO --  Andrea Guerra.  [Massimo Filippini.]
  1007. TOMBOY, A REVENGER'S TALE --  RY Cooder.  [Giorgio Moroder & Raney Shockne.]
  1008. RANGOON --  Anirudh Ravichander.  [Vikram R.H..]
  1009. GOLDEN BOYS (AKA: SAMBA) --  Andrea Guerra.  [Marco Trombin.]
  1010. WISH UPON --  Toby Chu.  [tomandandy.]
    2018
  1011. COME SUNDAY --  Marc Steitenfeld.  [Tamar-kali.]
  1012. THE HAPPYTIME MURDERS --  Rupert Gregson-Williams.  [Christopher Lennertz.]
  1013. HENCHMEN--  Dominic Lewis.  [Toby Chu.]
  1014. THE LAST FULL MEASURE --  Jeff Rona.  Asked to score the film by the director, before he could do any score, a new producer came in and brought his own composer against the wishes of the director.  [Philip Klein.]
  1015. LOST IN SPACE (series) --  Christopher Drake.  [Christopher Lennertz.]
    2019
  1016. AD ASTRA --  Thomas Newman.  [Max Richter.]
  1017. GEMINI MAN --  Marco Belstrami.  The semi-official Beltrami website reported on a May 27, 2019 entry: "Marco Beltrami has abandoned scoring duties on Ang Lee's upcoming GEMINI MAN. No further details have been published and new composer is yet to be announced as well".  [Lorne Balfe.]
  1018. MANDRAKE THE MAGICIAN --  John Debney.  Back in 2009 when the film was going by "Mandrake" and was to be directed by Chuck Russell, Debney was being listed as the composer; obviously this iteration never got made.  [?????.]
  1019. MAMMOTH --  Hans Zimmer.  For what it is worth, the wikipedia page for the film reported in 2017 that Zimmer was asked to score the film, but refused.  [John Powell.]
  1020. POMS--  Pedro Bomfman.  [Deborah Lurie.]
  1021. SCOOB!--  Michael Giacchino.  Various websites online were listing Giacchino as the composer, but the composer himself dispelled the rumor via his Twitter page..  [Julian Nott.]
  1022. SCOOB!--  Julian Nott.  Various websites online were listing Giacchino as the composer (including IMDb), but it was nothing more than a false rumor.  [Alan Silvestri.]
  1023. SCOOB!--  Alan Silvestri.  [Christophe Beck.]
  1024. SCOOB!--  Christophe Beck.  [Junkie XL.]
  1025. SYE RAA NARASIMHA REDDY--  A.R. Rahman.  Walked off the production in 2017 citing unavailablity and wanting to concentrate on other projects.  [Julius Packiam and Amit Trivedi; Cecil Vineet Abhishek (additional).]
    2020
  1026. FANTASY ISLAND --  Matthew Margeson.  [Bear McCreary.]
    2021
  1027. BLACK WIDOW --  Alexandre Deplat.  Originally hired to score the film, when asked about it in at least one interview, Desplat didn't want to talk about what happened.  [Lorn Balfe.]
    20??
  1028. ????? --  Michael J. Lewis.  In a 2016 interview (conducted by Jason Frederick), Lewis states he was hired to score a documentary (that he said got an Academy nomination) years ago, that he went on and on about how great the score would be and against the visuals; eventually the producers told him they hired a music supervisor to check him out and Lewis was told he had to submit synth demos for the score in advance.  He refused, they fired him, and didn't pay him.  [?????.]
  1029. SHADOW DIVERS --  Hans Zimmer.  Originally in 2005 when the film was announced, Zimmer was listed as the composer on IMDb; at the time Ridley Scott was the director, but since then in it's long haul in Production Hell, it's changed directors multiple times: Peter Weir (who was negociating in 2006, then later pulled out), Robert Schwentke (in 2010), and whomever the next poor bastard is that will hop on and then off this film that doesn't even have a release year listed on IMDb as of late 2016.  [?????.]
 
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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