{"id":207085,"date":"2019-12-02T08:10:18","date_gmt":"2019-12-02T08:10:18","guid":{"rendered":"https:\/\/compozly.com\/blog\/?p=207085"},"modified":"2023-02-24T20:00:17","modified_gmt":"2023-02-24T20:00:17","slug":"seven-scores-by-famous-film-composers-that-were-rejected","status":"publish","type":"post","link":"https:\/\/compozly.com\/blog\/seven-scores-by-famous-film-composers-that-were-rejected\/","title":{"rendered":"7 Scores by Famous Film Composers that were Surprisingly Rejected"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.16&#8243; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.16&#8243; background_size=&#8221;initial&#8221; background_position=&#8221;top_left&#8221; background_repeat=&#8221;repeat&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text _builder_version=&#8221;4.16&#8243; background_size=&#8221;initial&#8221; background_position=&#8221;top_left&#8221; background_repeat=&#8221;repeat&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><span style=\"color: #000000;\">Having at least one score rejected is a rite of passage for film composers. You would be shocked to find out that many of the most notable composers who score movies have actually had their scores kicked to the curb for a number of reasons at least once. Hollywood isn&#8217;t about being nice, because unfortunately if the music doesn&#8217;t work for the movie, rather than working with the composer to get the right final product, some productions will take the easy route and just hire a more experienced composer to take over. Never take it personally, but rather treat it as a learning experience and motivation to create something that fits better next time. Check out these 7 examples of some very famous composers who lost their music to the studio or directors.<\/span><\/p>\n<h2><span style=\"color: #000000;\"><b>Bernard<\/b><\/span><span style=\"color: #000000;\"><b>\u00a0Herrmann &#8211; <\/b><b><i>Torn Curtain\u00a0<\/i>(<\/b><b>1966)<\/b><\/span><\/h2>\n<p><span style=\"color: #000000;\">Despite a standing ovation by the Universal Orchestra (according to rumors), composer Bernard Herrmann was asked by the movie studio to create music for <a href=\"https:\/\/www.imdb.com\/title\/tt0061107\/\" target=\"_blank\" rel=\"noopener\"><em>Torn Curtain<\/em><\/a> that was a more upbeat pop\/jazz in style. Bernard told the movie studio\u00a0&#8220;no thanks&#8221;, which led to his music not being used in the film. However many people regard his rejected score to be one of his best works.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Prelude\" width=\"1080\" height=\"810\" src=\"https:\/\/www.youtube.com\/embed\/4yRb0LJckYw?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2><b style=\"color: #000000;\">Lalo Schifrin &#8211; <em>The <\/em><\/b><em><span style=\"color: #000000;\"><b>Exorcist\u00a0<\/b><\/span><\/em><strong>(1973)<\/strong><\/h2>\n<p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">Director William Friedkin was not happy when he first heard composer Lalo Schifrin\u2019s score for <\/span><a href=\"https:\/\/www.imdb.com\/title\/tt0070047\/\" target=\"_blank\" rel=\"noopener\"><i><span style=\"font-weight: 400;\">The Exorcist<\/span><\/i><\/a><span style=\"font-weight: 400;\">, which he felt was overly hysterical, atonal, cliche \u201chorror\u201d, leaving little to the imagination.The director originally selected Bernard Herrmann to compose the music, but Herrmann wanted to record in London which would have created a logistical nightmare for the director. So Lalo Schfrin was hired, then, well&#8230; fired. On the DVD behind the scenes documentary, special sound FX artist Ron Nagle says that Friedkin \u201cwent apeshit\u201d at the recording sessions, and editor Bud Smith says that Friedkin threw the tape reels into the studio parking lot saying, \u201cthat\u2019s where that music belongs.\u201d The final music in the film ended up being all temp track music, mainly pieces by Polish composer Krzysztof Penderecki and \u201cTubular Bells\u201d by Mike Oldfield.\u00a0<\/span><\/span><\/p>\n<h2><span style=\"color: #000000;\"><b>Lisa Gerrard &amp; Patrick Cassidy &#8211; <\/b><b><i>The Passion of the Christ <\/i>(<\/b><b>2004)<\/b><\/span><\/h2>\n<p><span style=\"font-weight: 400; color: #000000;\">Having worked on the Gladiator score with Hans Zimmer in 2000, it was no surprise that Lisa Gerrard was asked to score Mel Gibson\u2019s biblical and violent <a href=\"https:\/\/www.imdb.com\/title\/tt0335345\/\" target=\"_blank\" rel=\"noopener\"><em>The Passion of the Christ<\/em><\/a> in 2004. Due to circumstances and delays beyond their control, Lisa and Patrick lost the gig to John Debney at the last minute, mostly because he is a veteran at creating orchestral music. There\u2019s no unused music available, so it is assumed that the music was being written but never got recorded due to the delays of the recording sessions.<\/span><\/p>\n<h2><b style=\"color: #000000;\">Alex North &#8211; <em>2001: A <\/em><\/b><em><span style=\"color: #000000;\"><b>Space<\/b><\/span><\/em><b style=\"color: #000000;\"><em>\u00a0Odyssey<\/em> (1968)<\/b><\/h2>\n<p><span style=\"font-weight: 400; color: #000000;\">This example is quite a popular one, as Alex North (previously working with Stanley Kubrick on Spartacus in 1960) is known to have written music for the first half of the film, at which point Kubrick told him that no further music would be necessary. During the studio screening of <a href=\"https:\/\/www.imdb.com\/title\/tt0062622\/\" target=\"_blank\" rel=\"noopener\"><em>2001: A Space Odyssey<\/em><\/a>, North was shocked to discover that the entire score he had written had been removed entirely! The only music used is the famous \u201cAlso Sprach Zarathustra\u201d by Richard Strauss and the space docking sequence includes \u201cThe Blue Danube\u201d waltz by Johann Strauss II. The second half of the film is tracked with various music by Gy\u00f6rgy Ligeti, an avante-garde composer.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"2001: A Space Odyssey | Soundtrack Suite (Alex North) [Rejected Score]\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/uuCqfvbxsJs?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2><span style=\"color: #000000;\"><b>Michael Small &#8211; <em>The China Syndrome<\/em> (1979)<\/b><\/span><\/h2>\n<p><span style=\"font-weight: 400; color: #000000;\">In a behind the scenes interview with actor\/producer Michael Douglas, he states that during the dubbing process for <a href=\"https:\/\/www.imdb.com\/title\/tt0078966\/\" target=\"_blank\" rel=\"noopener\"><em>The China Syndrome<\/em><\/a>, when they started adding the music, the dramatic moments were becoming melodramatic, and when they tried it without music, the whole film was better. Composer Michael Small had previously written music for disturbing atonal music thrillers such as <a href=\"https:\/\/www.imdb.com\/title\/tt0071970\/\" target=\"_blank\" rel=\"noopener\"><em>The Parallax View<\/em><\/a> in 1974 and <a href=\"https:\/\/www.imdb.com\/title\/tt0074860\/\" target=\"_blank\" rel=\"noopener\"><em>Marathon Man<\/em><\/a> in 1976. His credits would tell you that he would be a perfect candidate for this film, however, the aspects that make this film creepy is arguably the lack of music.<\/span><\/p>\n<h2><span style=\"color: #000000;\"><b>Jerry Goldsmith &#8211; <em>Legend<\/em> (1985)<\/b><\/span><\/h2>\n<p><span style=\"color: #000000;\">Jerry Goldsmith himself thought that he had written one of the best works of his career with his music for <\/span><a style=\"color: #000000; font-weight: 400;\" href=\"https:\/\/www.imdb.com\/title\/tt0089469\/\" target=\"_blank\" rel=\"noopener\"><em>Legend<\/em><\/a><span style=\"color: #000000;\">. Unfortunately, this music was only heard for the European audiences, as Universal controlled the U.S rights, and the U.S version was cut from 125 minutes to 89 minutes. Not only that, but Goldsmith\u2019s score was rejected in exchange for an electronic score by <\/span><em style=\"color: #000000; font-weight: 400;\">Tangerine Dream<\/em><span style=\"color: #000000;\"> in order to make the movie appeal to a wider audience. There is a 113 minute (nice compromise) version of the film that includes Goldsmith\u2019s score restored. Jerry Goldsmith has a weird track record with director Ridley Scott, especially after the film <\/span><a style=\"color: #000000; font-weight: 400;\" href=\"https:\/\/www.imdb.com\/title\/tt0078748\/\" target=\"_blank\" rel=\"noopener\"><em>Alien<\/em><\/a><span style=\"color: #000000;\">,. It has been documented on several occasions\u00a0that Scott used music cues from Jerry\u2019s previous films, which understandably makes the world class composer want to pull his hair out.<\/span><\/p>\n<h2><b style=\"color: #000000;\">Elmer Bernstein &#8211; <em>Gangs of <\/em><\/b><em><span style=\"color: #000000;\"><b>New<\/b><\/span><\/em><b style=\"color: #000000;\"><em>\u00a0York<\/em>\u00a0(2002)<\/b><\/h2>\n<p><span style=\"color: #000000;\">Filmmaker\u00a0Martin\u00a0Scorsese and Bernstein had previously collaborated on <\/span><a href=\"https:\/\/www.imdb.com\/title\/tt0106226\/\" target=\"_blank\" rel=\"noopener\"><i style=\"color: #000000;\"><span style=\"font-weight: 400;\">The Age of Innocence<\/span><\/i><\/a><span style=\"color: #000000; font-weight: 400;\"> (1993), <\/span><i style=\"color: #000000;\"><span style=\"font-weight: 400;\">Bringing Out the Dead<\/span><\/i><span style=\"color: #000000; font-weight: 400;\"> (1999), <\/span><i style=\"color: #000000;\"><span style=\"font-weight: 400;\">The Grifters<\/span><\/i><span style=\"color: #000000; font-weight: 400;\"> (1990, which Scorsese produced) and <\/span><i style=\"color: #000000;\"><span style=\"font-weight: 400;\">Cape Fear<\/span><\/i><span style=\"color: #000000; font-weight: 400;\"> (1991, where Bernstein had adapted Bernard Herrmann\u2019s music from the 1962 original). It seems to me that Bernstein\u2019s brutal, haunting, Celtic-flavored score would have suited <\/span><a href=\"https:\/\/www.imdb.com\/title\/tt0217505\/\" target=\"_blank\" rel=\"noopener\"><i style=\"color: #000000;\"><span style=\"font-weight: 400;\">Gangs of New York<\/span><\/i><\/a><span style=\"color: #000000; font-weight: 400;\"> perfectly, but it was tossed in favor of temp track \u2014 mainly excerpts from a Howard Shore concert piece called \u201cBrooklyn Heights.\u201d It\u2019ll remain a mystery to me why Bernstein\u2019s score wasn\u2019t used, but according to rumor it was mainly due to the insistence of Harvey Weinstein. Scorsese had also apparently done a lot of additional editing to the picture after Bernstein had recorded his score. In a 2003 interview conducted by Roger Friedman, Bernstein had this to say about it: \u201c<em>On <\/em><\/span><em><span style=\"font-weight: 400;\">Gangs of New York<\/span><\/em><span style=\"color: #000000; font-weight: 400;\"><em>, Marty could never quite make up his mind about what he wanted. Then, he got into this long, painful edit. I wrote way back, nine months ago, some music for the film. I went over it with him. But as he went along, he began to have some other concept of what he wanted. He winds up with a Scorsese score, a pastiche.<\/em>\u201d<\/span><\/p>\n<h2><b style=\"color: #000000;\">Scoring Rejection Words of Wisdom from<\/b><b style=\"color: #000000;\">\u00a0Composers<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">\u201cYou win some, you lose some,\u201d Hans Zimmer says that you haven\u2019t made it as a film composer until you\u2019ve had a score rejected.<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">\u201cLike a soldier or policeman or fireman, you have to know what you\u2019re doing,\u201d Goldenthal says about being a film composer. \u201cIf you personalize it, or don\u2019t give a damn on the opposite side, you\u2019ll run into trouble. You have to be there, knowing that the surface you walk on is constantly changing.\u201d<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Nearly every major film composer (except for John Williams), has had at least one score sent to the bin.<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Jerry Goldsmith had many scores throw out, including: <em>2 Days in the Valley, Babe, Legend,\u00a0<\/em>among others.<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">David Shire was removed from the films \u201cWhite Buffalo,\u201d \u201cHomeward Bound,\u201d and even the electronic score he spent two years writing, \u201cApocalypse Now\u201d <\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Sometimes studios are very specific about certain movies, and swapping in a new score is considered to be one of the easier ways for them to fix a film if a screen goes bad or the film just isn\u2019t working for an unknown reason. It\u2019s harder for them to reshoot or rewrite scenes, so the next biggest creative project other than the visual and sound FX is the composer. Sometimes a more \u201ccommercial\u201d soundtrack is preferred by the studio, but not realized until late in the process. One issue can be bad chemistry between director and composer, but sometimes the first score actually isn\u2019t right for the film, or isn\u2019t up to par with other comparable film music.<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Some more examples of rejected scores includes: John Barry (<em>The Golden Child<\/em>), Alan Silvestri (<em>Mission: Impossible<\/em>), James Horner (<em>Romeo and Juliet<\/em>), Howard Shore (<em>King Kong<\/em>) and Randy Newman (<em>Air Force One<\/em>). <\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">It\u2019s practically a rite of passage for composers to have at least one score get the boot. And it\u2019s certainly not a rite limited to music. The same thing happens to writers, editors, and even whole performances by actors can get replaced. Remember there was another Marty McFly who filmed before Michael J. Fox!<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Elliot Goldenthal looks for the humor when a score is rejected, saying \u201cYou don\u2019t start off for an exciting vacation to Antarctica and then complain about the weather when you get there.\u201d<\/span><\/li>\n<\/ul>\n<p>[\/et_pb_text][et_pb_divider _builder_version=&#8221;4.16&#8243; custom_margin=&#8221;||||true&#8221; custom_padding=&#8221;20px|350px|20px|350px|true|true&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=&#8221;3_5,2_5&#8243; admin_label=&#8221;SECTION &#8211; Email Optin &#8211; eBook Signup &#8211; The Essential Guide to Film Music Collaboration&#8221; _builder_version=&#8221;4.14.5&#8243; _module_preset=&#8221;default&#8221; global_module=&#8221;208326&#8243; saved_tabs=&#8221;all&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;3_5&#8243; _builder_version=&#8221;4.16&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_image src=&#8221;https:\/\/compozly.com\/blog\/wp-content\/uploads\/2018\/05\/ebook-thumbnail_2022.png&#8221; alt=&#8221;Compozly eBook&#8221; title_text=&#8221;Compozly eBook&#8221; admin_label=&#8221;eBook Thumbnail&#8221; _builder_version=&#8221;4.16&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_image][\/et_pb_column][et_pb_column type=&#8221;2_5&#8243; _builder_version=&#8221;4.16&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_signup mailchimp_list=&#8221;Compozly MailChimp|e8500b7298&#8243; use_custom_fields=&#8221;on&#8221; success_message=&#8221;Success! 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You should see it in your inbox within a few minutes.&#8221; button_text=&#8221;Download&#8221; description=&#8221;<\/p>\n<p>Get your FREE copy of %22<strong>The Essential Guide to Film Music Collaboration%22 <\/strong>to help create better music for your film and video projects.<\/p>\n<p>&#8221; admin_label=&#8221;Mailchimp Email Optin Form&#8221; _builder_version=&#8221;4.16&#8243; _module_preset=&#8221;default&#8221; header_font=&#8221;|600|||||||&#8221; header_text_color=&#8221;#333333&#8243; header_font_size=&#8221;16px&#8221; header_line_height=&#8221;1.3em&#8221; body_text_color=&#8221;#333333&#8243; use_background_color=&#8221;off&#8221; custom_button=&#8221;on&#8221; button_text_color=&#8221;#FFFFFF&#8221; button_bg_color=&#8221;#34D6B7&#8243; button_font=&#8221;|700|||||||&#8221; button_icon=&#8221;&#xe092;||divi||400&#8243; button_on_hover=&#8221;off&#8221; background_layout=&#8221;light&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_signup_custom_field field_id=&#8221;5&#8243; field_title=&#8221;Job Title&#8221; field_type=&#8221;input&#8221; _builder_version=&#8221;4.16&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221; predefined_field=&#8221;5&#8243;][\/et_pb_signup_custom_field][\/et_pb_signup][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=&#8221;3.25&#8243; global_module=&#8221;208453&#8243; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text admin_label=&#8221;About the Author &#8211; Header&#8221; _builder_version=&#8221;4.16&#8243; text_font=&#8221;|700|||||||&#8221; ul_font=&#8221;||||||||&#8221; text_orientation=&#8221;center&#8221; custom_padding=&#8221;15px||&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h3>About the Author<\/h3>\n<p>[\/et_pb_text][et_pb_divider _builder_version=&#8221;4.16&#8243; custom_margin=&#8221;||||true&#8221; custom_padding=&#8221;|350px||350px|true|true&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_divider][et_pb_team_member name=&#8221;Adam Robert Galloway&#8221; position=&#8221;Film Composer&#8221; image_url=&#8221;https:\/\/compozly.com\/blog\/wp-content\/uploads\/2019\/03\/adam-robert-galloway_200x200.jpg&#8221; admin_label=&#8221;About the Author &#8211; Adam Robert Galloway &#8221; _builder_version=&#8221;4.16&#8243; border_radii_image=&#8221;on|50px|50px|50px|50px&#8221; box_shadow_style_image=&#8221;preset1&#8243; box_shadow_spread_image=&#8221;-17px&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>Adam is a content creator for Compozly and a fellow music composer. He has been scoring films since 2012 and releasing original &amp; cover songs as Muzikm4n since 2017. 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You would be shocked to find out that many of the most notable composers who score movies have actually had their scores kicked to the curb for a number of reasons at least once. Hollywood isn&#8217;t about being nice, because unfortunately [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":207539,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"<p><span style=\"color: #000000;\">According to Hans Zimmer, having at least one score rejected is a rite of passage for film composers. You would be shocked to find out that many of the most notable composers who score movies have actually had their scores kicked to the curb for a number of reasons at least once. Hollywood isn't about being nice, because unfortunately if the music doesn't work for the movie, rather than working with the composer to get the right final product, some productions will take the easy route and just hire a more experienced composer to take over. Never take it personally, but rather treat it as a learning experience and motivation to create something that fits better next time. Check out these examples of some very famous composers who lost their music to the studio or directors.<\/span><\/p><p><span style=\"color: #000000;\"><b>BERNARD HERRMANN - <\/b><b><i>TORN CURTAIN <\/i><\/b><b>(ALFRED HITCHCOCK, 1966)<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Despite a standing ovation by the Universal orchestra (according to rumors), he was asked by the studio to make something more upbeat pop\/jazz in style. He was like, no thanks! This led to his music not being used, yet it is regarded by many to be one of his best works.<\/span><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"https:\/\/www.youtube.com\/watch?v=4yRb0LJckYw&list=PLDlFbaFQWjd8LeHWX4AJpkG6_620vFvxA&index=2&t=0s\"><span style=\"font-weight: 400;\">https:\/\/www.youtube.com\/watch?v=4yRb0LJckYw&list=PLDlFbaFQWjd8LeHWX4AJpkG6_620vFvxA&index=2&t=0s<\/span><\/a><\/span><\/p><p><span style=\"color: #000000;\"><b>LALO SCHIFRIN - THE EXORCIST (WILLIAM FRIEDKIN, 1973)<\/b><\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">William Friedkin was not happy when he first heard Lalo Schifrin\u2019s score for <\/span><i><span style=\"font-weight: 400;\">The Exorcist<\/span><\/i><span style=\"font-weight: 400;\">, which he felt was too hysterical, atonal, cliche \u201chorror\u201d, leaving little to the imagination. Friedkin ended up using mainly pieces by Polish composer Krzysztof Penderecki and \u201cTubular Bells\u201d by Mike Oldfield. The director\u2019s original choice was Bernard Herrmann, but Herrmann wanted to record in London which would have created a logistical nightmare for the director. So Lalo Schfrin was hired, then, well... fired. On the DVD behind the scenes documentary, special sound FX artist Ron Nagle says that Friedkin \u201cwent apeshit\u201d at the recording sessions, and editor Bud Smith says that Friedkin threw the tape reels into the studio parking lot saying, \u201cThat\u2019s where that music belongs.\u201d The final music in the film ended up being all temp track music, mainly pieces by Polish composer Krzysztof Penderecki and of course \u201cTubular Bells\u201d by Mike Oldfield. <\/span><\/span><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"https:\/\/www.youtube.com\/watch?v=DvzO_65FMZs\"><span style=\"font-weight: 400;\">https:\/\/www.youtube.com\/watch?v=DvzO_65FMZs<\/span><\/a><\/span><\/p><p><span style=\"color: #000000;\"><b>LISA GERRARD & PATRICK CASSIDY - <\/b><b><i>THE PASSION OF THE CHRIST <\/i><\/b><b>(MEL GIBSON, 2004)<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Having worked on the Gladiator score with Hans Zimmer in 2000, it was no surprise that Lisa Gerrard was asked to score Mel Gibson\u2019s biblical and violent The Passion of the Christ in 2004. Due to circumstances and delays beyond their control, her and collaborator Patrick Cassidy lost the gig to John Debney at the last minute, mostly because he is a veteran at creating orchestral music. There\u2019s no unused music available, so it is assumed that the music was being written but never got recorded due to the delays of the recording sessions.<\/span><\/p><p><span style=\"color: #000000;\"><b>ALEX NORTH - 2001: A SPACE ODYSSEY (STANLEY KUBRICK 1968)<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">This example is quite a popular one, as Alex North (previously working with Stanley Kubrick on Spartacus in 1960) is known to have written music for the first half of the film, at which point Kubrick told him that no further music would be necessary. During the studio screening of the film, North was shocked to discover that the entire score he had written had been removed entirely! The only music used is the famous \u201cAlso Sprach Zarathustra\u201d by Richard Strauss and the space docking sequence includes \u201cThe Blue Danube\u201d waltz by Johann Strauss II. The second half of the film is tracked with various music by Gy\u00f6rgy Ligeti, an avante-garde composer.<\/span><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"https:\/\/www.youtube.com\/watch?v=uuCqfvbxsJs\"><span style=\"font-weight: 400;\">https:\/\/www.youtube.com\/watch?v=uuCqfvbxsJs<\/span><\/a><\/span><\/p><p><span style=\"color: #000000;\"><b>MICHAEL SMALL - THE CHINA SYNDROME (JAMES BRIDGES 1979)<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">In a behind the scenes interview with actor\/producer Michael Douglas, he states that during the dubbing process, when they started adding the music, the dramatic moments were becoming melodramatic, and when they tried it without music, the whole thing worked better. Michael Small had previously written music for disturbing atonal music for thrillers such as The Parallax View in 1974 and Marathon Man in 1976. His credits would tell you that he would be a perfect candidate for this film, however, the aspects that make this film creepy is arguably the lack of music.<\/span><\/p><p><span style=\"color: #000000;\"><b>JERRY GOLDSMITH - LEGEND (RIDLEY SCOTT 1985)<\/b><\/span><\/p><p><span style=\"font-weight: 400; color: #000000;\">Jerry Goldsmith himself thought that he had written one of the best works of his career with his music for Legend. Unfortunately, this music was only heard for the European audiences, as Universal controlled the U.S rights, and the U.S version was cut from 125 minutes to 89 minutes. Not only that, but Goldsmith\u2019s score was ejected in exchange for an electronic score by Tangerine Dream in order to make the movie appeal to a wider audience. There is a 2002, 113 minute (nice compromise) version of the film that includes Goldsmith\u2019s score restored. Jerry Goldsmith has a weird track record with director Ridley Scott, especially after Alien, where multiple occasions occur where Scott uses cues from Jerry\u2019s previous films, which understandably makes the world class composer want to pull his hair out.<\/span><\/p><p><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"https:\/\/www.youtube.com\/watch?v=H7CF3eVfcn4\"><span style=\"font-weight: 400;\">https:\/\/www.youtube.com\/watch?v=H7CF3eVfcn4<\/span><\/a><\/span><\/p><p><span style=\"color: #000000;\"><b>ELMER BERNSTEIN - GANGS OF NEW YORK (MARTIN SCORSESE 2002)<\/b><\/span><\/p><p><span style=\"color: #000000;\"><span style=\"font-weight: 400;\">Scorsese and Bernstein had previously collaborated on <\/span><i><span style=\"font-weight: 400;\">The Age of Innocence<\/span><\/i><span style=\"font-weight: 400;\"> (1993), <\/span><i><span style=\"font-weight: 400;\">Bringing Out the Dead<\/span><\/i><span style=\"font-weight: 400;\"> (1999), <\/span><i><span style=\"font-weight: 400;\">The Grifters<\/span><\/i><span style=\"font-weight: 400;\"> (1990, which Scorsese produced) and <\/span><i><span style=\"font-weight: 400;\">Cape Fear<\/span><\/i><span style=\"font-weight: 400;\"> (1991, where Bernstein had adapted Bernard Herrmann\u2019s music from the 1962 original). It seems to me that Bernstein\u2019s brutal, haunting, Celtic-flavored score would have suited <\/span><i><span style=\"font-weight: 400;\">Gangs of New York<\/span><\/i><span style=\"font-weight: 400;\"> perfectly, but it was tossed in favor of temp track \u2014 mainly excerpts from a Howard Shore concert piece called \u201cBrooklyn Heights.\u201d It\u2019ll remain a mystery to me why Bernstein\u2019s score wasn\u2019t used, but according to rumor it was mainly due to the insistence of Harvey Weinstein. Scorsese had also apparently done a lot of additional editing to the picture after Bernstein had recorded his score. In a 2003 interview conducted by Roger Friedman, Bernstein had this to say about it: \u201cOn <\/span><i><span style=\"font-weight: 400;\">Gangs of New York<\/span><\/i><span style=\"font-weight: 400;\">, Marty could never quite make up his mind about what he wanted. Then, he got into this long, painful edit. I wrote way back, nine months ago, some music for the film. I went over it with him. But as he went along, he began to have some other concept of what he wanted. He winds up with a Scorsese score, a pastiche.\u201d<\/span><\/span><\/p><p><span style=\"color: #000000;\"><b>SOME WORDS OF WISDOM TO DEAL WITH SCORE REJECTIONS:<\/b><\/span><\/p><ul><li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">\u201cYou win some, you lose some,\u201d Hans Zimmer says that you haven\u2019t made it as a film composer until you\u2019ve had a score rejected.<\/span><\/li><li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">\u201cLike a soldier or policeman or fireman, you have to know what you\u2019re doing,\u201d Goldenthal says about being a film composer. \u201cIf you personalize it, or don\u2019t give a damn on the opposite side, you\u2019ll run into trouble. You have to be there, knowing that the surface you walk on is constantly changing.\u201d<\/span><\/li><li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Nearly every major film composer (except for John Williams), has had at least one score sent to the bin.<\/span><\/li><li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Jerry Goldsmith had many scores throw out, including: <em>2 Days in the Valley, Babe, Legend,\u00a0<\/em>among others.<\/span><\/li><li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">David Shire was removed from the films \u201cWhite Buffalo,\u201d \u201cHomeward Bound,\u201d and even the electronic score he spent two years writing, \u201cApocalypse Now\u201d <\/span><\/li><li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Sometimes studios are very specific about certain movies, and swapping in a new score is considered to be one of the easier ways for them to fix a film if a screen goes bad or the film just isn\u2019t working for an unknown reason. It\u2019s harder for them to reshoot or rewrite scenes, so the next biggest creative project other than the visual and sound FX is the composer. Sometimes a more \u201ccommercial\u201d soundtrack is preferred by the studio, but not realized until late in the process. One issue can be bad chemistry between director and composer, but sometimes the first score actually isn\u2019t right for the film, or isn\u2019t up to par with other comparable film music.<\/span><\/li><li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Some more examples of rejected scores includes: John Barry (<em>The Golden Child<\/em>), Alan Silvestri (<em>Mission: Impossible<\/em>), James Horner (<em>Romeo and Juliet<\/em>), Howard Shore (<em>King Kong<\/em>) and Randy Newman (<em>Air Force One<\/em>). <\/span><\/li><li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">It\u2019s practically a rite of passage for composers to have at least one score get the boot. And it\u2019s certainly not a rite limited to music. The same thing happens to writers, editors, and even whole performances by actors can get replaced. Remember there was another Marty McFly who filmed before Michael J. Fox!<\/span><\/li><li style=\"font-weight: 400;\"><span style=\"font-weight: 400; color: #000000;\">Elliot Goldenthal looks for the humor when a score is rejected, saying \u201cYou don\u2019t start off for an exciting vacation to Antarctica and then complain about the weather when you get there.\u201d<\/span><\/li><\/ul>","_et_gb_content_width":"","footnotes":""},"categories":[10],"tags":[25],"class_list":["post-207085","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-composing","tag-film-composing"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>7 Scores by Famous Film Composers that were Surprisingly Rejected - Compozly<\/title>\n<meta name=\"description\" content=\"Check out 7 examples of scores by famous composers that were surprisingly rejected from movie studios and directors.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/compozly.com\/blog\/seven-scores-by-famous-film-composers-that-were-rejected\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"7 Scores by Famous Film Composers that were Surprisingly Rejected - 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