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Originally posted by justin boggan:
Elmer? How could a well known composer like him write a rejected score and everyone of us not know? But intrigiung.

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Like I keep saying, as fans (or fanatic) we are NOT ment to know EVERYTHING.

Why am I the only one that gets this?

--Brian

NP: Angels in America

Joe

Did RY Cooder record a score for Extreme Prejiduce before Goldsmith replaced him?

Who are the unamed composers for Summer Of 42' and Spitfire Grill?

1955
THE KENTUCKIAN Roy Webb? [Bernard Herrmann]
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 pencilled in as possible composer, or did he actually compose a rejected score?

1959
SIGN OF THE GLADIATOR Angelo F.Lavagnino [Dominic Frontiere?]
Did Frontiere rescore US prints?

1961
ALAKAZAM THE GREAT ??? [Les Baxter]
Japanese animation rescored in US by Baxter.
Who scored it originally?

1964 THE MIGHTY JUNGLE ??? [Les Baxter]
Mexican film, aka LA CIUDAD SAGRADA/SACRED CITY. Baxter scored US prints.
Who scored the original?

1965
PROMISE HER ANYTHING John Barry [Lyn Murray]
Did Barry? Where is Barry anyway, which agency. I got WAYYY too many questions for the guy.

1967
SADISMO/MONDO SADISMO ??? [Les Baxter]
Baxter scored US prints only.
Original composer?

1970
THE BATTLE OF NERETVA Vladimir Kraus-Rajteric [Bernard Herrmann]
Herrmann scored the English language version. I believe the USSR print of this Yugoslav picture was wholly or partially rescored by Soviet composer(s).
True?

1970
THE MOONSHINE WAR Neal Hefti? [Fred Karger, Hefti]
Credited to Karger, but with additional music by Hefti. As Hefti scored four previously for director Richard Quine, I assume he was first choice for this one, but MGM had Karger rescore most of it.
True?

1972
THE REVENGERS Pino Calvi [Peter Matz?]
Shot in Mexico, and presumably scored there. The Calvi version played in UK. Did Matz rescore the US print?

1977
THE WHITE BUFFALO David Shire [John Barry]
True?

1979
THE CHAMP Marvin Hamlisch? [Dave Grusin]
Song by Hamlisch. Did he write a rejected score?

1979
DEFIANCE Dominic Frontiere [Basil Poledouris]
The trailer lists Frontiere as composer on its credits. Perhaps his music was in the trailer too.
True?

1981
THE COMING Arthur Kempel? [Dana Kaproff]

1982
JINXED! Lalo Schifrin [Miles Goodman, Howard Roberts]
True?

1985
SWEET DREAMS Stanley Myers? [Charles Gross]

1985
WET GOLD(TV) John Scott? [Sylvester Levay]

1986
QUICKSILVER Thomas Newman? [Tony Banks]

1987
LEONARD PART VI Henry Mancini? [Elmer Bernstein]

1987
THE SECRET OF MY SUCCESS John Williams? [David Foster]
Surely the maestro wouldn't be replaced?

1989
WHY ME? Basil Poledouris? [Phil Marshall]

Anyone know if Badalamenti recorded anything for Identity and Shattered?

Well, I am too tired to keep going on tonight.

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Originally posted by justin boggan:
Oh yeah, also did Lisa Gerrard do anything for The 13th Warrior?

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Originally posted by justin boggan:
I have no idea, all I know is someone claims to have a CD of this. Maybe it's demo cues, or original demo cues.

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I'm trying to remember where I read that Lisa Gerrard was the uncredited vocalist on the 13th Warrior. Well, there was a review site a few years back which often did reviews of expanded scores and promos, incl. Goldsmith's expanded 13th Warrior, Star Trek: Insurrection, the 2cd AI promo, the Armstrong Moulin Rouge promo and various others were reviewed here, and if I'm not mistaken, this was where I saw an extensive review of the Revell score that included ref. to Lisa Gerrard's vocals. The reviewer was called Jason Farcone I think, and the site hasn't been up since about early 2002.

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Originally posted by franz_conrad:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by justin boggan:
[b]I have no idea, all I know is someone claims to have a CD of this. Maybe it's demo cues, or original demo cues.<HR size=1></BLOCKQUOTE>

I'm trying to remember where I read that Lisa Gerrard was the uncredited vocalist on the 13th Warrior. Well, there was a review site a few years back which often did reviews of expanded scores and promos, incl. Goldsmith's expanded 13th Warrior, Star Trek: Insurrection, the 2cd AI promo, the Armstrong Moulin Rouge promo and various others were reviewed here, and if I'm not mistaken, this was where I saw an extensive review of the Revell score that included ref. to Lisa Gerrard's vocals. The reviewer was called Jason Farcone I think, and the site hasn't been up since about early 2002.

Why don't you email Revell or Gerrard and ask them?[/B]

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Or email Jason. He's one of the more regular contributors to this very board.

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From Lisa Gerrard's website:
In London (1998) with Graeme Revell Lisa has recorded vocal parts for the film "13th Warrior" (Eaters of the Dead). However, we are sorry to report that the Graeme Ravell score was not used in the final version of the film. But I can swear I can hear samples of Lisa’s voice form the "13th Warrior" sessions on The Dune TV series score. This unreleased soundtrack is available as a bootleg from the usual places.

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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

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Elmer did indeed write a then rejected score.It was for the Bruce Willis western THE LAST MAN STANDING. The replacement score was by Ry Cooder.

Bernstein´s rejected music is released on Varese Sarabande.

Philipp

Okay, I got a weird rejected scores question.
I know that every movie, it seems at least, has a composer who does additional music, or ghostwriting, or more composers.

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Originally posted by justin boggan:
[B]1987
THE SECRET OF MY SUCCESS John Williams? [David Foster]
Surely the maestro wouldn't be replaced?

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David Foster's music for this movie was among some of the most memorable thing from the 80s for me. Anyone knows if there's like a complete score out there? It's doubtful, but I have to get the question out there

X-MEN - Klaus Badelt

1492: CONQUEST OF PARADISE - John Barry
Podobno reżyser miał pokazać Barry`emu film, ale nigdy do tego nie doszło. Przyczyny nieznane.

I sent you a link last week which was from a John Barry site (FilmNOTofgraphy), and lists all the films that Barry didn’t end up scoring even though he was initially approached, and even wrote either a partial or complete score in some places (like English Patient, End of the Affair, Horse Whisperer). Barry claimed that Ridley Scott had talked to him after he’d won the DWW Oscar about seeing 1492. Barry never heard from Scott again, and recorded no score.

As for the Badelt story, that sounds like rumor. Remember this is before Badelt’s really made a name for himself, and I doubt Bryan Singer would have approached anyone other than John Ottman first off. Kamen was ultimately chosen as I understand it for his work on the X-men cartoon (he even quotes his theme from that series). There is a steady rumor going around the place of course that most of Kamen’s initial score for Xmen was disliked by Singer, who had him go for a less thematic approach. Tom Daish says in his review at soundtrack express: (http://www.soundtrack-express.com/osts/xmen.htm)

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“One point of criticism has been Michael Kamen's score. Apparently director Brian Singer rejected the more strongly thematic approach that Kamen originally employed and wanted more of a stirring undercurrent of music, vaguely themeless, but dramatic in all the right places. Of course, it seems an almost impossible thing to comprehend, a heroic comic book film without a really strong main theme, but Kamen's use of the theme he composed for the animated TV series works well, even if it could have been employed more extensively. Magneto's gang are all eerie sounds, notably Mystique, who is accompanied by something that sounds like a synthetically altered glissando 'cello idea. Not perhaps an instantly memorable tune, but one that worked well in the film to add a sense of danger and mysticism to McKellen's somewhat less interesting and underdeveloped gang.”

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It’s interesting also that Kamen’s score for the Avengers had been replaced shortly before, and more than one reviewer remarked that Kamen’s themes for Avengers might have initially been used in his X-Men score. Kamen himself said in an interview that he wrote ‘buckets and buckets’ of music for The Avengers which was never used. You might not have seen these remarks on that score from an interview by Jon Broxton and James Southall:

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“Talking about unadulterated pieces of rubbish... The Avengers? What happened with that?

It's not my unadulterated piece of rubbish! (laugh) I didn't adulterate that piece of rubbish!

Is that why it's not yours?

I would say that's a clear thing to say. I was also saved by the bell. I did hang that film around my neck for nearly eight months, and no matter what I tried it didn't make the film any better. It would just keep showing up and the director would show up and say "You don't get it, you don't get it" and I'd say "No, I really don't get it..." (laughs)

I bet you're quite pleased you bailed now.

I didn't have to bail. Lethal Weapon 4 is also a Warner Brothers film and they eventually slipped... I mean, I was supposed to do that film, The Avengers, this time last year (October 97). That's when it was due, and it didn't show until some time in, I guess, some time in September. I did get the film and it was "Well, we'll record it in Octo... Novem... Decem... Janu... Febru... March. April!" and I was like "Whoops, sorry guys, I gotta do Lethal Weapon 4." And it was the same studio, so it was no contest.

So how much stuff did you actually write for it then?

Buckets. Buckets and buckets and buckets, and I'll probably use it all at some point. It was good music, interesting, funny. God knows, I don't think there'll be an Avengers 2. (laughs)

There was barely an Avengers 1!

It's a very sad state of affairs that I don't need to comment on. An explosion that size makes it's own comment! But it was certainly symptomatic of a big problem in Hollywood when the studios give the right to do a film to a production team, and it eliminates the studio.”

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[Message edited by franz_conrad on 05-23-2004]

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Originally posted by justin boggan:

X-MEN - Klaus Badelt

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