SCORES

Question to MICHAEL CRICHTON:
- Which musical score from one of your movies do you feel best supports the story's themes?
- JURASSIC PARK (John Williams) and THE 13TH WARRIOR (Jerry Goldsmith).

Dans le meilleur des mondes, le CD de la BO du 13EME GUERRIER éditée par Varèse Sarabande aurait dû contenir la musique composée par Graeme Revell pour le film de John McTiernan ; à la place, il contient celle composée par Jerry Goldsmith pour le film de Michael Crichton...

En temps normal, le petit texte introductif du livret est rédigé par le réalisateur du film (ou, cas échéant, par le compositeur ou un spécialiste des musiques de film). Signe qui ne trompe pas : celui du 13EME GUERRIER est rédigé par Crichton ! C'est d'ailleurs lui qui se tient à côté du maestro sur (presque toutes) les photos des sessions d'enregistrement. Nulle trace de McTiernan... et pour cause : il n'a probablement jamais dû y assister.

Le petit mot de Crichton (reproduit ci-dessous), forcément dithyrambique à l'égard de Goldsmith (comme il le signale lui-même, les deux hommes ont travaillé ensembles, à de nombreuses reprises, par le passé), ne mentionne bien évidemment à aucun moment la partition rejetée de Revell. Mieux : il la nie. Relisez les premières lignes, c'est flagrant : en substance, Goldsmith est la première personne à qui on a fait appel et la seule qui convenait (merci pour Revell...) !

A posteriori, on serait d'ailleurs tenté de lire le texte de Crichton, non pas comme un catalogue de tout ce que Goldsmith a apporté au film avec sa musique, mais au contraire comme une énumération de ce que Revell n'a pas pu accomplir avec la sienne. Selon Crichton, le film avait besoin d'un thème héroïque "à l'ancienne" : est-ce à dire que la partition de Revell était trop avant-gardiste ? Selon Crichton toujours, il fallait combler l'attente du public par rapport aux musiques de films de Vikings qu'il avait déjà entendues ; mais combien de spectateurs du film de McTiernan se souviennent-ils de la musique des VIKINGS de Fleischer ou des DRAKKARS de Cardiff ?

En bref : le score de Revell n'était pas assez hollywoodien (tout comme le titre original du film, sans doute...).

"When I first saw THE 13TH WARRIOR, I immediately thought the only person to score it was Jerry Goldsmith. This heroic John McTiernan film told the story of an elegant Arab caught up in adventures with rude Vikings. Musically, the movie presented some difficult challenges.

First of all, the film required an old-fashioned heroic theme of the kind not often heard in contemporary movies. In addition, because THE 13TH WARRIOR was about the clash of two cultures - Arab and Viking - both would have to be represented musically in varying moods. Although there is a rich tradition of Arab music, we know nothing about what Viking music was like, which meant Jerry would have to invent it. To the extent that the audience would bring an expectation about the music based on well-loved old films about Vikings, Jerry would have to meet those expectations, while also revising them. I blithely assumed he'd have no trouble with all this. And I was right.

Critics over the years have expressed astonishment at the way Jerry has continued to compose musically rich and filmically inventive scores for so many years. Jerry's written something like 250 film scores, and now that he is 70 years old has decided to "cut back" to only 5 scores a year! After working with him on many projects, I've concluded the explanation for his success is simple: Jerry is a musical genius, and he works hard.

But to my mind, the quality of his work is best judged by the reaction of his orchestras: it's very common, during a scoring session, for the orchestra to play through a cue, and then spontaneously burst into applause for the quality of the composition. The orchestra hasn't yet seen the images that the music was written to accompany; they're just reacting to the music itself. Many times I've seen them come up and thank Jerry for writing such interesting and challenging music for their instruments. Later, they crowd into the control booth to watch the monitors, to see how the music goes with the film.

As for Jerry's score for THE 13TH WARRIOR, it's all that I ever hoped for - and just what I expected. It's absolutely terrific: by turns rousing and heroic, ominous and lyrical, defeated and triumphant.

In other words, it's a Jerry Goldsmith score."

--MICHAEL CRICHTON

VF :

"En voyant LE 13EME GUERRIER pour la première fois, j'ai tout de suite pensé que Jerry Goldsmith était la seule personne qui pouvait en écrire la musique. Ce film épique de John McTiernan raconte l'histoire d'un Arabe élégant entraîné dans leurs aventures par de rudes Vikings. D'un point de vue musical, il proposait de multiples défis.

Pour commencer, le film avait besoin d'un thème héroïque "à l'ancienne", du type de ceux qu'on n'entend plus au cinéma aujourd'hui. Parce que LE 13EME GUERRIER traite du choc de deux cultures - arabe et viking -, il fallait également que soient représentées, sur des modes variés, les musiques de ces deux cultures. Or, contrairement à la musique arabe, qui dispose d'une riche tradition, nous ne savons rien de la musique viking, ce qui signifiait que Jerry devrait la recréer de toutes pièces, tout en respectant (et, si possible, dépassant) les attentes des spectateurs par rapport aux musiques des vieux films de Vikings qu'ils aimaient et connaissaient déjà. J'ai pris le pari que tout cela ne lui poserait aucun problème. Et j'avais raison.

Au fil des années, les critiques ont maintes fois été surpris par la faculté qu'a Jerry de continuer à composer des partitions musicalement riches et cinématographiquement inventives depuis si longtemps. Jerry a écrit quelque chose comme 250 musiques de films, et maintenant qu'il est âgé de 70 ans, il a décidé de "réduire" sa production à 5 films par an ! Après avoir collaboré avec lui sur de nombreux projets, j'en suis arrivé à la conclusion que le secret de son succés était simple : Jerry est un génie de la musique, et il ne ménage pas sa peine.

Mais, selon moi, le meilleur juge de la qualité de son travail reste les réactions de ses musiciens : lors d'un enregistrement, il n'est pas rare, en effet, de voir l'orchestre, à la fin d'un morceau, se mettre à applaudir spontanément la qualité de la composition. N'ayant pas encore vu les images qui l'accompagneront, ils réagissent à la musique pour elle-même. Bien souvent, je les ai vu venir remercier Jerry d'avoir écrit pour leurs instruments des notes aussi intéressantes et stimulantes. Puis se bousculer dans la cabine de contrôle afin d'y vérifier sur les moniteurs à quel point la musique convenait au film.

En ce qui concerne la musique que Jerry a écrite pour LE 13EME GUERRIER, elle représente exactement tout ce à quoi je m'attendais - et tout ce que j'espérais. Elle est absolument incroyable : tour à tour exaltante et héroïque, inquiétante et lyrique, triste et triomphante.

En un mot, c'est une musique de Jerry Goldsmith."

--MICHAEL CRICHTON

ETAPE 1 - Temp(orary) Track

TEMP TRACK (or TEMP MUSIC): "Music added to a film or television project before the actual music is composed. Temp music is often added before screening the film to test audiences and film production executives. Getting involved in the selection of temp music can be helpful to the composer in understanding the music needs of the director, however some composers prefer not to be involved in the temp music selection process." (taken from FILM MUSIC FAQ)

The cues used in the EATERS OF THE DEAD temp track come from:

- AKIRA (?) / Shoji Yamashiro
- APOLLO 13 / James Horner
- BRAVEHEART / James Horner
- CROW (THE) / Graeme Revell
- LAST TEMPTATION OF CHRIST (THE) / Peter Gabriel
- MISSION (THE) / Ennio Morricone
- POSTMAN (THE) / James Newton Howard
- RAINMAN (?) / Hans Zimmer
- WATERWORLD / James Newton Howard

ETAPE 2 - BASIL POLEDOURIS

"Durant la pré-production, John McTiernan a revu en long et en large CONAN LE BARBARE, seule tentative honorable d'heroïc fantasy filmée. La partition de Basil Poledouris pour le film de John Milius étant toujours une référence incontournable, EATERS OF THE DEAD lui est tout naturellement proposé. Mais Poledouris fait à l'époque sa petite crise. Ayant raté l'Oscar en retirant sa participation à DANSE AVEC LES LOUPS, il cherche un projet plus "honorable" que ce qu'on lui propose d'ordinaire. Il rejette donc l'offre de McTiernan et lui préfère LES MISERABLES que prépare le pathétique Bille August, un futur bon gros bide qui sent sous les bras (l'acteur Rutger Hauer, qui dirige sa carrière comme une auto-tamponneuse, fera paraît-il de même). En janvier 1998, c'est au compositeur Graeme Revell (THE CROW, DANGEREUSE ALLIANCE), spécialiste en percussions et sonorités étranges, qu'échoit le poste." (Rafik Djoumi, IMPACT n°81, août 1999)

ETAPE 3 - GRAEME REVELL

"EATERS OF THE DEAD"
Graeme Revell
Bootleg (DARK SITH, DSR-030)
Total length: 65:02
Tracks: 27

Tracklisting (No titles):

1. Track 1 [1:27]
2. Track 2 [3:59]
3. Track 3 [1:26]
4. Track 4 [0:47]
5. Track 5 [3:58]
6. Track 6 [1:01]
7. Track 7 [1:25]
8. Track 8 [5:27]
9. Track 9 [1:38]
10. Track 10 [1:52]
11. Track 11 [3:08]
12. Track 12 [0:55]
13. Track 13 [3:32]
14. Track 14 [1:31]
15. Track 15 [10:42]
16. Track 16 [1:11]
17. Track 17 [1:00]
18. Track 18 [2:21]
19. Track 19 [1:18]
20. Track 20 [2:23]
21. Track 21 [1:35]
22. Track 22 [1:23]
23. Track 23 [2:12]
24. Track 24 [4:32]
25. Track 25 [1:49]
26. Track 26 [1:29]
27. Track 27 [1:01]

REVIEWS:

1 - THE SOUNDTRACK RETROSPECTIVE
(Source : http://www.alphalink.com.au/~tsr/eatersofthedead.html)

Score : 8 out of 10
Review Date : 22 February 2000

"The Michael Crichton novel "Eaters Of The Dead" (never considered to be among this author's better work) was a much troubled production in it's big screen adaptation. In post-production, the film that would eventually transform into THE 13TH WARRIOR featured more chaotic disruptions, among them being legend composer Jerry Goldsmith replacing the score earlier created by Graeme Revell.

The film's medieval surroundings and ethnic mix provided the perfect visuals for Revell's wide-ranging musical talents, with him suitably putting together a fantastic score. Opening with a strong melodic hero main theme, Revell's compositions then branch into many different styles and variations, soon getting more ghostly and darker. As expected by this composer, every musical instrument is explored, with vocals a strong presence (performed by Lisa Gerrard), in a symphonic soundtrack that is not afraid to be modern also.

Balancing the line of what is musically acceptable and what works with the visuals, Graeme Revell's score is among his finest, thus a huge shame not to be used in the film. Though Jerry Goldsmith's score is technically better, Revell provides an interesting score worthy of the movie, and the final film probably proved to be no better or worse off critically, no matter what soundtrack was heard.

A beautiful sounding CD, especially by bootleg standards, with incredible mastering of stereo channels; it's most ironic this unofficial soundtrack release is among this composer's longest CD releases!"

2 - Anonymous
(Source : ???)

"Le score rejeté de Revell comprend 66 minutes. Le temp track utilisé va de BRAVEHEART à RAIN MAN (oui, c'est vrai !) en passant par AKIRA... A l'écoute, la musique est très appréciable et est basée sur le thème arabisant. Il faut croire que les Vikings semblent avoir été un détail pour Revell. En revanche, les Eaters Of The Dead ont un traitement bien plus convaincant. Des percussions synthétiques viennent perturber de temps en temps mais ça reste supportable. Orchestral, axé sur les percussions, le score reprend les scènes du film que l'on connaît avec des détails supplémentaires comme le début à Bagdad qui semble, ici, durer bien plus longtemps. Il y a aussi deux passages supplémentaires pour les amourettes de Banderas. Sinon, le reste est assez conforme à ce que l'on connaît. Il faut complètement oublier le score de Goldsmith pour apprécier cette musique qui semble être l'un des meilleurs travaux de Revell, même s'il ne surpasse pas le vieux de 70 ans."

3 - SHAUN RUTHERFORD (MOVIEMUSIC BULLETIN BOARD)
(Source : http://www.moviemusic.com/mb/Forum1/HTML/002812.html)

"Score bad. Score not so good. It's pretty much a rip-off of BRAVEHEART (if you can believe that) with two genuinely enjoyable tracks (one with the processed drumming that Newman used in MAD CITY and Howard used in THE POSTMAN; if you have both of those, you'll know the drums - they're in the Main Title cues of both). Pretty much a waste of time."

4 - SOUNDTRACKS - THE EPIC SOUNDS
(Source : http://www.gunnlace.com/tracks/eaters.htm - See here)

Grade: A
27 TRACKS (No Titles) Real Audio Clips: TRACK 10, TRACK 15, TRACK 24
TOTAL RUN TIME: 65 minutes
Purchase Options: unreleased

"Probably doesn't make sense to write a review for an unreleased score, but in this instance, I felt it necessary. Graeme Revell's score for the previously titled, EATERS OF THE DEAD, is as diverse and raw a soundtrack that I have ever heard, and it might just also be the most addictive.
We all know by now that Jerry Goldsmith replaced Revell at zero hour on this assignment. Goldsmith's score, along with a title change to THE 13TH WARRIOR, is how history will remember this film, but to the select few of us who have heard Revell's ingenious soundtrack, we may have a different recollection I know at least I do.
First of all, I have to say I loved and respected Goldsmith's heroic score, and I will concede that ultimately he was the correct choice for this movie, BUT, I really think there should be room somewhere in the soundtrack community for Revell's finest work. In this, he creates an ethnically rich and mysterious atmosphere that is unlike any I have heard before. There is so much music here that it is, at first, hard to accept it for what it is. Even myself, during this first listen, I though much of the score was codswallop. However, once the main "warrior" themes began to erupt through my speaker system, I was hooked, and was anxious to give the score another chance.
I presume the main factor in the rejection of this material is that the music was too complicated, and did not offer a straight forward attack. As in Goldsmith's version, the theme is very evident from the outset. One has to wait a while to hear anything that resembles such fanfare in this one and that is at track 10, the aforementioned "warriors" theme. It is very nordic, almost scottish in how it sounds, and may have been considered too light a fare for the Vikings depicted in the film. The intensity is brought up a few notches during track 15, the scene in which I presume the first attack takes place. Revell constructs a lengthy, action suite that ends in a triumphant, sweeping theme that reminded me of music from the great westerns but with a European twist. This same theme is the marquee of this score, and it returns gloriously in track 24, accompanied by drums, electronics and orchestra. This is as rousing as it gets, folks, and I for one simply devoured it.
The latter stages of the score probably offers the best material. Along with track 24, there are several cues that are both angry and melodic; a great combination that creates a unique sound. The score concludes with a more quiet and charming rendition of the "warriors" theme, and does so after over 65 minutes of music. A packed album.
Listen, I know there are probably a hundred different issues as to why this score would not get a special release, and I know most of those reasons are connected to who gets paid and for how much. I really don't care about that. I want to see this one released. With the proper marketing (especially via the Internet) and a quality label behind it, this one could rake up some serious loot for all parties involved. The suits would get their cash, the soundtrack fans would get a really cool cd, and everyone would sign off happy. But then again, this isn't a perfect world, and I'll probably be blasted for offering these Real Audio sound clips from the score."

5 - MUSIC FROM THE MOVIES PRESENTS: SCORE OF THE DAY (Mikael Carlsson)
(Source : http://listen.to/music-from-the-movies - See here)

Cue: Excerpt (2:05, 244 Kb)
Not available on CD or LP

"When Graeme Revell, the imaginative composer behind such diverse scores as DEAD CALM, THE CROW, THE HAND THAT ROCKS THE CRADLE, THE SAINT and CHILD'S PLAY 2, was hired to score John McTiernan's film version of Michael Chrichton's novel EATERS OF THE DEAD, it all had a sense of a once in a lifetime opportunity: an epic adventure in the traditional Hollywood style, filled with action, romance and ethnic elements.

Revell composed a complete score for the film, recorded with orchestra, electronics and various solo instruments. But the production, which starred Antonio Banderas among others, went into trouble when writer and producer Chrichton decided to take the project in a different direction than the initial one. Reportedly, Chrichton took over a lot of the direction from McTiernan, and hired veteran composer Jerry Goldsmith to write a replacement score.

Revell's score is differently approached than Goldsmith's, which is more traditional movie music. Revell combined stylistic elements from his score for THE CROW, including modern drum n bass style rhythm programming, with bold orchestral arrangements.

The large orchestral score by Goldsmith was released on CD by Varèse Sarabande, but the rejected score by Revell fell into oblivion. However, Music from the Movies hereby gives you a chance to hear what the rejected score sounded like. The piece featured as this weekend's Score of the Day clip showcases the stylistic approach Revell took for his vision of THE 13th WARRIOR.

Just point your browser to http://listen.to/music-from-the-movies to listen to a Real Audio clip of THE 13th WARRIOR. Enjoy!"

6 - EL GUERRERO N°13
(Source : http://members.es.tripod.de/lanto/eatersof.htm)

"De espléndida se podría calificar la obra que Revell compuso para EL GUERRERO Nº13, las razones por las que finalmente no se introdujeron en el film son desconocidas, pero por calidad no sería.
Se nos muestran unos pasajes de música muy ecléptica, ritmos muy étnicos, en los que la mayoría suele estar dominante la voz promiente de una soprano. La percusión también juega un factor fundamental, recreando supuestos estilos de música que podrían escucharse en aquellos tiempos medievales de principios del primer milenio.
Pero a medida que nos adentramos en los temas, descubrimos como las gaitas y los coros se apoderan de una forma increíble de la melodía, y así tenemos el corte 14, de una belleza increíble, que verá reflejarse de ahí en adelante para dotar de un aporte épico al resto de la banda sonora.
Mención tienen también los temas de acción, puro disfrute en los que la intensidad crece por momento hasta descubrir que estamos en un corte muy intenso y de acción arrolladora, sin dejar nunca la orquestación étnica y las voces femeninas, que bien podría ser de Trevor Jones, por su parecido orquestal.
En definitiva, EATERS OF THE DEAD, como se llama la novela original en la que se basó EL GUERRERO Nº13, está a la misma altura que la obra compuesta por Goldsmith, pero claro, Revell no está en lo más alto, pero bien podría estarlo con esta obra si llega a usarse definitivamente en el film."

VF :

"Splendide est le premier mot qui vient à l'esprit à l'écoute de la musique composée par Graeme Revell pour LE 13EME GUERRIER. Les raisons pour lesquelles elle n'a pas été retenue sont encore mystérieuses, mais une chose est sûre : la qualité de la partition n'est pas à mettre en cause.
C'est une oeuvre éclectique, aux rythmes très ethniques ; la majorité des morceaux sont dominés par la voix proéminente d'une chanteuse soprano. Les percussions jouent également un rôle fondamental, cherchant à recréer le style de musiques médiévales qu'on devait sans doute entendre au tout début du premier millénaire.
Mais, à mesure que se développent les thèmes, les cornemuses et les choeurs s'emparent de façon incroyable de la mélodie, comme par exemple dans le quatorzième morceau, d'une beauté foudroyante, beauté qui se propage au reste du disque en y apportant la touche épique qui lui manquait.
Il faudrait aussi mentionner les thèmes d'action, purs moments de jouissance bâtis sur des crescendos d'intensité, qui nous font comprendre qu'il s'agit bien là d'un morceau d'action trépidante, même s'il ne néglige pas pour autant une orchestration ethnique et des voix féminines qui rappellent un peu Trevor Jones.
En fin de compte, ces MANGEURS DE MORT (pour reprendre le titre original du roman dont est tiré LE 13EME GUERRIER) ne déméritent en rien face à l'oeuvre composée par Jerry Goldsmith, et il est clair que, si Revell n'est pas encore très renommé, il pourrait fort bien le devenir grâce à cette partition s'il parvenait à l'imposer définitivement dans le film."

English version:

"The soundtrack that Revell composed for THE 13TH WARRIOR could be described as splendid, and the reasons for which it was finally not included in the film are unknown, but it would not be quality.
Here are passages of very eclectic music, very ethnic rythmes, the majority of which are dominated by the prolific voice of one woman soprano. The percussion also plays a fundamental factor, recreating supposed music styles that could be listened in those medieval times of the early first millenium.
But as we enter further in the themes, we discover how the bagpipes and the choirs seize an incredible form of melody, and thus we have got track 14, of incredible beauty, that will be reflected from there to the end, equipping with an epic contribution the rest of the soundtrack.
Mention must be made of action themes, pure benefit in that intensity grows per moment until to discover that we are in a very intense track of sweeping action, without never leaving the ethnic orchestration and the feminine voices, that could well be of Trevor Jones, by its orchestral similarity.
Really, EATERS OF THE DEAD, as was called the original novel on which THE 13TH WARRIOR is based, is of the same height as the work composed by Goldsmith ; sure Revell is not in the highest, but he could well reach it with this work if it gets to be used definitively in the film."

7 - DAVE (REC.MUSIC.MOVIES)
DaveM3791 (davem3791@aol.com)
20/02/2000

"Revell's score to THE 13TH WARRIOR is indeed very ethnic (Middle Eastern) and primal (a great deal of sitar -- I think -- and percussion). The score is very listenable in its entirety and stands on its own very well. Goldsmith's score was fantastic (both within the context of the film and as a stand-alone listen), but Revell's score sounds as if it would've worked very well. It doesn't have the heroic bombast that Goldsmith infuses the Viking material with, but may have given the film a bit more period authenticity. On the whole it's a bit bleaker, without the emotional familiarity of Goldsmith's effort; however, that very quality would have accentuated the barbaric subject matter of the film quite nicely. I don't think there was any rational reason for his score to have been rejected -- although it doesn't capture the transformation of Ibn Fadlan from Middle Eastern scholar to Viking warrior the way Goldsmith's score does (dramatically, it's a more monochromatic tapestry)."

8 - VANCE (REC.MUSIC.MOVIES)
ScoreLogue (scorelogue@aol.com)
20/02/2000

"I love this score! I think there is a wonderful primal quality about it and a strong similarity to Peter Gabriel's PASSION: THE LAST TEMPTATION OF CHRIST (another favorite). The voices and the music create a type of "desert sound" or "Middle East" feel and it's quite different for Revell. I have yet to see THE 13TH WARRIOR and probably won't, but I am fond of both Revell's and Goldsmith's scores... Very different but both are powerful on CD."

8 - IN DER SCHATZKAMMER
(Source : http://home.t-online.de/home/Mathias.Hempel/13/13_mitte.html)

"Jerry Goldsmith's Vorgänger hatte seine Arbeit schon beendet und einen kompletten Score aufgenommen. In einem Interview bekräftigte Graeme Revell, daß die Verantwortlichen sich nicht einmal die Mühe machten, in sein Werk hineinzuhören. Nicht gerade die feine englische Art, wenn man mich fragt. Vielleicht werden wir Revells Score irgendwann in einem anderen Film hören. Er besitzt noch immer die Rechte an seiner Komposition, allerdings nicht an den beendeten Aufnahmesessions.
Trotzdem ist eine CDR in Umlauf geraten, und hin und wieder tauchen vereinzelte Stücke bei der MP3-Tauschbörse Napster auf. Revell konzentriert sich mehr auf die orientalische und düstere Seite der Geschichte. Solch noble und abenteuerliche Klangfolgen wie in Jerry Goldsmith's Arbeit tauchen nur selten auf. Revells Score ist purcussionreicher und zeichnet sich durch experimentellen Choreinsatz aus.
Leider setzte man Revell nicht einen Allerwelts-Komponisten vor die Nase, sondern "Mr. Filmmusik" schlechthin. Wenn man beide Arbeiten als alleinstehende Werke betrachtet, macht Jerry Goldsmith das Rennen. Allerdings muß man zu Revells Ehrenrettung sagen, daß er sicherlich mit schlechteren Arbeitsbedingungen zu kämpfen hatte. Er war von vorne herein zum Abschuß freigegeben. Es ist immer wieder traurig, wie in Hollywood manchmal mit den Komponisten umgegangen wird.
Die CDR mit Revells unverwendetem Score hat keine Trackliste. Sie enthält 27 Stücke und hat eine Gesamtlaufzeit von 67:32 Minuten. Und ich möchte noch einmal betonen, daß es sich um keine schlechte Arbeit handelt, aber Goldsmith ist eben Goldsmith."

English version:

IN THE VAULT
"Jerry Goldsmith's predecessor had already finished his work and had handed a complete score. In an interview, Graeme Revell affirmed that the responsible persons did not even take the trouble to listen to his work. Really not the fine English manner, if one asks me. Perhaps we will hear Revell's score sometime in another film. He still possesses the rights of its composition, however not the rights of the terminated recording sessions. Nevertheless, a CDR is in circulation, and every now and then isolated pieces emerge with the MP3-trader Napster. Revell concentrates more on the Eastern and the dark parts of the story. Such noble and adventurous sound sequences as in Jerry Goldsmith's work only rarely emerge. Revell's score is more full of percussions and is characterised by experimental choirs. Unfortunately, no one easily sets Revell an all-world composer, but "Mr. Filmmusic" absolutely. If one regards both works as unrelated, then Jerry Goldsmith makes the running. However one must say, to Revell's rehabilitation, that he had to surely deal with worse working conditions. He was from the front in here approved to the firing. It is again and again sad, as sometimes in Hollywood is gone around with the composers. The CDR with Revell's unused score does not have a track listing. It contains 27 cues and has a total lenght of 67:32 minutes. And I would like again to stress that it concerns no bad work, but Goldsmith will always be Goldsmith."

9 - BSO Spirit / Eaters of the Dead / Ángel Martín
Source : http://www.mlcomics.com/bsospirit/comentarios/13thwarrior.html

"El compositor de origen neozelandés Graeme Revell es de sobra conocido por un estilo peculiar de composición ecléctico, mezcla de voces corales, sintetizadores, coros... y, sobre todo con el uso de ritmos étnicos. Todo vale para hacer música este estilo se ha repetido en diversos trabajos suyos con más (la magnífica LA CAJA CHINA, la banda sonora que no la película, EL CUERVO o en PLANETA ROJO) o menos fortuna (PITCH BLACK o TOMB RAIDER). Todos estos elementos, clásicos en la obra de Revell, son usados magníficamente a lo largo de los 27 cortes del CD. Tal número de cortes hace suponer que serán cortos y así es en la mayoría de los casos, rara vez sobrepasan de los dos minutos pero hay varías excepciones de temas más largos (concretamente el corte 15 que llega a los 10 minutos).
El CD se abre con un tema de tono árabe, tono oriental que se va diluyendo a medida que avanza la banda sonora y la película abandona las tierras del sur para adentrarse en los territorios vikingos. Temas con ritmos fuertes que contrastan con otros de un estilo más amenazante y siniestro (cortes 7 y 8), incluido algún tema con ruidos extraños como en el corte 9. Aunque los ritmos orientales no van a desaparecer de la composición, éstos van dejando paso a otros que evocan a las tierras del norte europeo como se plasma en el corte 10 con la introducción de una gaita que marca la melodía, y unos coros que sirven de contrapunto. Pero, a mi gusto el mejor tema de la banda sonora es el corte 11, donde el sonido de una flauta nos lleva a un ritmo suave y unas cuerdas que son el contrapunto de la melodía de la misma flauta con la que comenzó el tema. Coros y una preciosista voz que canta en una extraña lengua una bella melodía, la gaita vuelve a sonar para terminar el tema con la fuerza de una pequeña masa coral. Este tema parece ser una mezcla entre ritmos del sur y del norte. A partir de aquí Revell va a hacer más hincapié en los ritmos de tono misterioso, que no por ellos hacen bajar el ritmo de la composición, y en ritmos más fuertes y rápidos que sugieren un mayor dinamismo en las imágenes de la película, todo ello intercalado con algún tema que nos recuerda el origen árabe del protagonista. Todo esto desemboca en el corte 15. Desaparecen los coros y los sintetizadores, la orquesta toma todo el protagonismo en un largo tema que acompaña perfectamente a una escena de acción. La estructura de este tema se repetirá en el corte 24.
En definitiva, una banda sonora bastante original con buenos momentos pero que, desgraciadamente es muy, y recalco el muy, difícil de conseguir. Tan difícil que sólo se pude encontrar en ediciones en CD grabables o en Internet.
LO MEJOR: El corte 11. Sólo por él ya merece la pena el esfuerzo que supone encontrar la banda sonora.
LO PEOR: El corte 1. Resulta algo monótono y poco interesante la presentación que hace de uno de los temas principales."

10 - JULIE'S WEBSITE
Source: htpp://www.geocities.com/SunsetStrip/Theater/9873/tradecds.html

"Obviously, this is a bootleg and I assume it comes in no other format since Jerry Goldsmith's score was used for the film instead. It's a pretty good score... It's interesting. I wish I could see what it would have been like if it had been used. To me, Jerry Goldsmith's 13TH WARRIOR soundtrack is stronger and is more defined than this one, it has more character (but that's just my opinion). I like the CD art: front cover, back cover, CD & insert. The inside insert says: 'The Michael Crichton novel "Eaters Of The Dead" (never considered to be among this author's better work) was a much troubled production in its big screen adaptation. In post-production, the film that would eventually transform into THE 13TH WARRIOR featured more chaotic disruptions, among them being legend composer Jerry Goldsmith replacing the score earlier created by Graeme Revell. The film's medieval surroundings and ethnic mix provided the perfect visuals for Revell's wide-ranging musical talents, with him suitably putting together a fantastic score. Opening with a strong melodic hero main theme, Revell's compositions then branch into many different styles and variations, soon getting more ghostly and darker. As expected by this composer, every musical instrument is explored, with vocals a strong presence (performed by Lisa Gerrard), in a symphonic soundtrack that is not afraid to be modern also. Balancing the line of what is musically acceptable and what works with the visuals, Graeme Revell's score is among his finest, thus a huge shame not to be used in the film. Though Jerry Goldsmith's score is technically better, Revell provides an interesting score worthy of the movie, and the final film probably proved to be no better or worse off critically, no matter what soundtrack was heard. A beautiful sounding CD, with incredible mastering of stereo channels; it's most ironic this unofficial soundtrack release is among this composer's longest CD releases!' ".

VOULEZ-VOUS EN SAVOIR PLUS ?

- Lire mes interviews de Clive Bell et Dirk Campbell, deux musiciens qui ont participé aux sessions d'enregistrement du score rejeté de Revell. (cf. également l'interview de Brian Williams, proche collaborateur de Graeme Revell)

- En savoir plus sur les scores rejetés en général : lire cet article.

- En savoir plus sur Graeme Revell : "Born in Auckland, New Zealand on October 23rd 1955. He graduated from The University of Auckland with degrees in economics and politics. He is a classically trained pianist and French horn player. Revell worked for as a regional planner in Australia and Indonesia and as an orderly in an Australian psychiatric hospital. Graeme Revell was a member of SPK, a 70's music group, for which he played keyboards and percussion. Their single "In Flagrante Delicot" was the basis for his DEAD CALM score. This was his first score and won him an Australian Film Industry award. He eventually moved to London to work as an independent musician. Starting in 1988 he devoted himself exclusively to music for the movies. Since then he's done a number of major and minor film soundtracks including: THE CROW, THE CROW: CITY OF ANGELS, THE CRAFT, THE SAINT, and CHINESE BOX."

- En savoir plus sur Lisa Gerrard : "Lisa Gerrard was one of the founders of the Celtic band Dead Can Dance, and therein lies both the positives and negatives of her work. In some respects, she has fostered "the sound" of Enya and Canadian Loreena McKennit, writing music that is both dark and light, visceral and psychological, "other worldly." Before joining the ranks of other "pop stars" who have taken to film scoring (Stewart Copeland, Peter Gabriel, Sting, and even Randy Newman), Lisa Gerrard often partnered with Pieter Bourke, formerly of Aussie band Eden, to create sounds that were compositionally classical, sometimes ancient, but thoroughly modern in the technology and multi-tracking used. Gerrard's voice, a true contralto, is not for everyone, especially when she uses droning Gregorian-style chants. But there is a richness in the wordlessness, the humming, that inhabits an-"other" musical space, a haunting place of ghostly destiny. Gerrard, like Peter Gabriel and Mychael Danna, is also obviously interested in multicultural instrumentation, something common to all of the Dead Can Dance recordings." (Source: Dutch - Film Score Monthly Message Board - 19/01/01)

- C'est à vérifier, mais Revell aurait recyclé certains passages de EATERS OF THE DEAD dans quelques-uns de ses scores suivants, notamment THE SIEGE (COUVRE-FEU) et DUNE (la mini-série TV, diffusée sur Canal+ en France). [UPDATE : Après vérification, et contrairement à ce qu'annoncé dans cette critique, il s'avère que la BO de THE SIEGE ne reprend significativement aucun thème du score rejeté de Revell (même si l'instrumentation de certains passages peut parfois sembler similaire, tout comme pouvait l'être celle de THE CROW, score antérieur à EATERS OF THE DEAD).]

ETAPE 4 - JERRY GOLDSMITH

Score written during the first weeks of September 98 (???) for producer and co-director Michael Crichton after Graham Revell's score was rejected.

4.1. - "THE 13TH WARRIOR" [promo]
(First Edit)
Jerry Goldsmith
Promo
Total lenght: 37:59
Tracks: 18

Tracklisting:

1. Track 1 [2:01] (The 13th Warrior Theme ?)
2. Track 2 [1:36] (Viking Ceremony ?)
3. Track 3 [1:00] (Thirteen Warriors ?)
4. Track 4 [1:21] (The 13th Warrior ?)
5. Track 5 [1:01] (Drawing Sounds ?)
6. Track 6 [4:29] (The Great Hall ?)
7. Track 7 [3:34] (Eaters of the Dead ?)
8. Track 8 [0:45] (The King ?)
9. Track 9 [1:35] (Night Attack ?)
10. Track 10 [1:31] (Viking Heads ?)
11. Track 11 [2:03] (The Sword Maker ?)
12. Track 12 [1:34] (A Lesson ?)
13. Track 13 [2:06] (Thunder Cliffs ?)
14. Track 14 [4:54] (The Fire Dragon ?)
15. Track 15 [2:38] (Honey ?)
16. Track 16 [1:20] (???)
17. Track 17 [1:25] (The Search ?)
18. Track 18 [3:06] (The Cave of the Dead ?)

4.2. - "THE 13TH WARRIOR"
Jerry Goldsmith
Varese Sarabande VSD-6038, 1999
Regular
Total length: 55:04
Tracks: 16

Tracklisting:

1. Old Bagdad [2:01] (= The 13th Warrior Theme)
2. Exiled [3:41] (= Old Baghdad/Exiled)
3. Semantics [2:38]
4. The Great Hall [5:20]
5. Eaters of the Dead [3:32]
6. Viking Heads [1:29]
7. The Sword Maker [2:06]
8. The Horns of Hell [3:25]
9. The Fire Dragon [4:53]
10. Honey [2:36]
11. The Cave of the Dead [3:00]
12. Swing Across [1:49]
13. Mother Wendol's Cave [4:12]
14. Underwater Escape [1:36]
15. Valhalla/Viking Victory [10:35]
16. A Useful Servant [1:18]

4.3. - "THE 13TH WARRIOR" [complete / expanded]
COMPOSER MIX - MASTER RECORDING
Jerry Goldsmith
Bootleg

Tracklisting :
Source: Pepa Kokes
Total length: 72:45
Tracks: 27

1. Old Baghdad/Exiled [3:41]
2. Viking Ceremony [1:34] --- NEW !!!
3. Thirteen Warriors [0:57] --- NEW !!!
4. The 13th Warrior [1:19] --- NEW !!!
5. Semantics [2:38]
6. Drawing Sounds [0:59] --- NEW !!!
7. Arabian Horse [1:59] --- NEW !!!
8. The Great Hall [5:20]
9. Eaters of the Dead [3:32]
10. The King [0:43] --- NEW !!!
11. Night Attack [1:33] --- NEW !!!
12. Viking Heads [1:30]
13. The Sword Maker [2:06]
14. A Lesson [1:31] --- NEW !!!
15. Thunder Cliffs [2:05] --- NEW !!!
16. The Horns of Hell [3:25]
17. The Fire Dragon [4:52]
18. Honey [2:37]
19. The Search [1:23] --- NEW !!!
20. The Cave of the Dead [2:59]
21. Swing Across [1:50]
22. Mother Wendol's Cave [4:10]
23. Underwater Escape [1:37]
24. Valhalla/Viking Victory [10:39]
25. A Useful Servant [1:18]
26. End Credits [4:27] --- NEW !!!
27. The 13th Warrior Theme [2:01]

Alternate Tracklisting (#1):
Source: Stephen Lister
Total length: 72:18
Tracks: 27

1. Old Bagdad [2:00]* ++
2. Exiled (Main Title) [3:40]* +
3. The Brave (The 12 Volunteers) [1:33]
4. "You're The 13th Warrior"/The Funeral [0:57]
5. One God [1:18]
6. Semantics (Learning The Language) [2:37]*
7. Jumping Dog [0:58]
8. The Great Hall (Arriving At The Village)[5:18]*
9. Eaters Of The Dead [3:31]*
10. Barricading The Doors [0:42]
11. Pretending To Sleep [1:33]
12. Viking Heads (First Battle) [1:28]*
13. Words Of Caution [2:01] +
14. The Sword Maker [2:05]*
15. "An Example"/Swordplay [1:31] +
16. The Tree (The Lookout) [2:03]
17. The Horns Of Hell [3:23]*
18. The Fire Dragon (Night Battle) [4:52]*
19. Honey (The Aftermath) [2:35]*
20. Off To Battle [1:22]
21. The Cave Of Death [2:58]*
22. Swing Across [1:48]*
23. Mother Wendol's Cave [4:10]*
24. Underwater Escape [1:35]*
25. Valhalla/Viking Victory [10:33]* +
26. "A Useful Servant" [1:19]*
27. The Great Hall/The Boy/The Great Hall [4:28]

* Identical to original CD
+ Contains music not used in film
++ Not used in film

"Track 27 is odd: tagged on at the end like an orphan track, it begins with a repeat of the first 1:36 of "The Great Hall." Then, from 1:37 to 2:15 it becomes "The Boy" cue (but missing this cue's last 20 seconds). And then, from 2:16, it becomes "The Great Hall" again. "The Boy" cue should occur after track 8.
The epic climactic track "Valhalla/Viking Victory" is significantly different to the film version. Probably reflecting some rescoring done when Crichton took control and chucked McTiernan out of the editing room, the version here and on the original CD is missing the music that accompanies the final slow-mo battle, which Goldsmith scored with a relentless, brutal rhythmic motif that gathered weight as the fight progressed. Interestingly, the CD version of this cue has extra music at the end, a sprightly little theme that I'm guessing accompanied a missing scene after the funeral of the Viking leader (Crichton's cut of the film does end rather abruptly)." (Source: Stephen Lister - Film Score Monthly Message Board - 07/12/00)

"The drums that accompany the slo mo finale sword fight was probably recorded in LA, since there was some rescore work done there reportedly. The boot is probably all from the London sessions only. I believe this was the cue that was done in LA, since the end title credits Sony Scoring and Sandy DeCrescent for recording and contracting." (Source: Sean - Film Score Monthly Message Board - 07/12/00)

Alternate Tracklisting (#2):
Source: Mathias Hempel
Total length: ?
Tracks: 29

1. Old Bagdad
2. Exiled
3. The Old Custom* (= Viking Ceremony)
4. Brave Men* (= Thirteen Warriors)
5. The 13th Warrior*
6. Semantics
7. Only One God* (= Drawing Sounds)
8. Riding Lesson* (= Arabian Horse)
9. The Great Hall
10. A Young Survivor**
11. Eaters of the Dead
12. Good Luck* (= The King)
13. No Warrior* (= Night Attack)
14. Viking Heads
15. The Sword Maker
16. Be Careful**
17. A Little Duel* (= A Lesson)
18. Looking for Edgtho* (= Thunder Cliffs)
19. The Horns of Hell
20. The Fire Dragon
21. Honey
22. The Wrong Battlefield**
23. Leaving* / Following the Track (= The Search?)
24. The Cave of Death
25. Swing Across
26. Mother Wendol's Cave
27. Underwater Escape
28. Valhalla / Viking Victory
29. A Useful Servant

* previously unreleased

Alternate Tracklisting (#3):
Source : Ralf Treuherz
Total length: 74:43
Tracks: 30

1. Exiled [3:40]
2. Funeral [0:36]*
3. The Warriors [2:02]*
4. Semantics [2:36]
5. Draw Words [1:18]* (= Drawing Sounds?)
6. Arab Horse [0:57]* (= Arabian Horse?)
7. The Great Hall [5:18]
8. A Lost Boy [1:08]**
9. Eaters of the Dead [3:30]
10. Protect the Children [0:41]* (= The King)
11. No Sleep [1:32]* (= Night Attack)
12. Viking Heads [1:28]
13. Head Hunters [0:42]***
14. Sword Maker [2:04]
15. Be Cautious [1:59]**
16. Size Doesn't Matter [1:06]* (= A Lesson?)
17. Waiting [2:02]* (= Thunder Cliffs)
18. The Horns of Hell [3:22]
19. The Fire Dragon [4:51]
20. Honey [2:34]
21. Mad Woman [1:16]**
22. Leaving [1:20]*
23. The Cave of Death [2:52]
24. Swing Across [1:47]
25. Mother Wendol's Cave [4:09]
26. Underwater Escape [1:33]
27. Valhalla / Viking Victory [10:35]
28. A Useful Servant [1:18]
29. End Titles [4:28]*
30. Old Bagdad (unused) [1:59]* (= The 13th Warrior Theme)

[UPDATE: SOME COMMENTS (TRACK BY TRACK) ABOUT THIS VERSION OF THE COMPLETE SCORE I RECENTLY HEARD, THANKS TO RALF:

1. Exiled: Same music as used in the film.
*There is a missing cue (#1), between track 1 and track 2 (background music heard during the tent scene, where Ibn asks Melchisidek "Try Greek", etc.) I think that would be track #6 in the Graeme Revell rejected score...
2. Funeral: Same music as used in the film.
3. The Warriors: Same (I DO love that one!).
4. Semantics: Same.
5. Draw Words: Same.
6. Arab Horse: Same.
7. The Great Hall: Same.
8. A Lost Boy: Same.
*9. Eaters of the Dead: The CD cue is slightly different (shorter) from the cue used in the film.
*There is a missing cue (#2), between track 9 and track 10 (dialogues in the Great Hall + the Wendol Leader spies the Great Hall from the distance). See track 16.
*10. Protect the Children: The CD cue is slightly different (longer) from the cue used in the film.
11. No Sleep: Same.
12. Viking Heads: Same.
13. Head Hunters: Same.
14. Sword Maker: Same.
*15. Be Cautious: The CD cue is longer than the cue used in the film; in fact: the first 15 seconds (Arabic theme for Ibn) were not used in the film!
*16. Size Doesn't Matter: The CD cue is different (longer) from the cue used in the film: the first part of the cue was moved and used for another scene (see missing cue #2). Only the end of the cue is used in the film for the duel (Herger vs Angus) scene.
17. Waiting: Same. (may be a little longer than in the film - to be discussed)
18. The Horns of Hell: Same.
*19. Fire Dragon: The CD cue is shorter than the cue used in the film; the music on the Wendol Leader + the Wendol riders escaping (end of the scene) is missing.
20. Honey: Same.
21. Mad Woman: Same.
22. Leaving: Same.
23. The Cave of Death: I think the CD cue is slightly different from the one used in the film (to be discussed).
24. Swing Across: Same.
25. Mother Wendol's Cave: Same.
*There is a missing cue (#3), between track 25 and track 26 (the Vikings escaping in the cave, Herger asking Ibn about Helfdane, etc.).
26. Underwater Escape: Same.
*There is a missing cue (#4), between track 26 and track 27 (wounded Buliwyf asking Ibn about writing his story at King Hrothgar's, etc.). This is too bad, because it is really a great cue! (Well, at least, this is my opinion)
*27. Valhalla / Viking Victory: As reported above, this cue is VERY different ("alternate" would be a better word to describe it) from the one used in the film. The last 90 seconds are not even used in the film!!! (because the "reconstructing the boat" scene was cut)
28. A Useful Servant: Same.
29. End Titles: Same.
*30. Old Bagdad (Unused): As I already said, I think there is an error in the official tracklisting of the official CD: track 1 of the official CD is not "Old Bagdad / Exiled" but rather is "The 13th Warrior Theme" (like a concert version, not meant to be used in the film, or maybe on some alternate opening sequence...), and track 2 of the official CD is not "Exiled" but rather "Old Bagdad + Exiled"... As a side note, all the Wendol Leader scenes (the one with the antlers) were added after additional photography (reshoots), hence the problems with the music in all these scenes...]

Alternate Tracklisting (#4):
Source: Shaun Rutherford
Total length: ?
Tracks: 31

1. Old Bagdad
2. Exiled
3. The Funeral*
4. The Brave*
5. The 13th Warrior*
6. Semantics
7. One God*
8. Jumping Dog*
9. The Great Hall
10. The Boy*
11. Eaters Of The Dead
12. Nightfall*
13. Mists*
14. Viking Heads
15. Demons*
16. The Sword Maker
17. Words Of Caution*
18. An Example*
19. Sword Play*
20. The Tree*
21. The Horns Of Hell
22. The Fire Dragon
23. Honey
24. War Of Wills*
25. Off To Battle
26. The Cave Of Death
27. Swing Across
28. Mother Wendol's Cave
29. Underwater Escape
30. Valhalla/Viking Victory
31. A Useful Servant

* previously unreleased

Alternate Tracklisting (#5):
Source: Sedi
Total length: ?
Tracks: 32

1. Old Bagdad
2. Exiled
3. Funeral*
4. The Warriors*
5. The 13th Warrior*
6. Semantics
7. Draw Words*
8. Arab Horse*
9. The Great Hall
10. A Lost Boy*
11. Eaters Of The Dead
12. Protect The Children*
13. No Sleep*
14. Viking Heads
15. Head Hunters*
16. Sword Maker
17. Be Cautious*
18. We Need An Example*
19. Size Doesn't Matter*
20. Waiting*
21. The Horns Of Hell
22. The Fire Dragon
23. Honey
24. Mad Woman*
25. Leaving*
26. The Cave Of Death
27. Swing Across
28. Mother Wendol's Cave
29. Underwater Escape
30. Valhalla
31. A Useful Servant
32. End Credits

[Note: Basically, this is the same tracklisting as #3 (the track names are notably Ralf Treuherz's ones), with some little adjustments and only one more track, that is track 18, "We Need An Example".]

Alternate Tracklisting (#6):
Source: RedDragon
Total length: 72:43
Tracks: 27

1. The 13th Warrior Theme [2:01]
2. Old Bagdad / Exiled [3:41]
3. Thirteen Warriors [1:34]
4. The 13th Warrior [0:57]
5. Drawing Sounds [1:20]
6. Semantics [2:37]
7. Arabian Horse [0:59]
8. The Great Hall [5:20]
9. Eaters of the Dead [3:32]
10. The King [0:42]
11. Night Attack [1:34]
12. Viking Heads [1:29]
13. End Titles (2nd part) [2:01]
14. Sword Maker [2:06]
15. A Lesson [1:32]
16. Thunder Cliffs [2:03]
17. The Horns of Hell [3:25]
18. The Fire Dragon [4:52]
19. Honey [2:36]
20. The Search [1:23]
21. The Cave of Death [2:58]
22. Swing Across [1:48]
23. Mother Wendol's Cave [4:10]
24. Underwater Escape [1:35]
25. Valhalla / Viking Victory [10:33]
26. A Useful Servant [1:19]
27. The 13th Warrior Suspense Suite [4:28]

[Note: This is in fact the same tracklisting as Pepa Kokes' one, with some little adjustments: track 27, The 13th Warrior Theme, is now track 1; track 26, End Credits, is now track 27, renamed "The 13th Warrior Suspense Suite (?)"; and track 2, Viking Ceremony, is missing, replaced by the mysterious track 13, "End Titles (2nd part) (?)". Added to the tracklisting is a very odd "Listening Order (?)", which goes like this: 2, 3, 4, 6, 5, 7, 8, 9, 27 (???), 10, 11, 12, 14, 1, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 13 and 1.]

VOULEZ-VOUS EN SAVOIR PLUS ?

- Il y a quelque temps, j'étais tombé par hasard sur REJECTED SCORES (http://www.enter.net/~dewey/list.htm), une page web qui entendait lister les musiques de film refusées par Hollywood, mais, apparemment, le site a fermé (en tout cas, le lien ne fonctionne plus). Voici donc, à la place, quelques petits exemples de scores composés, enregistrés, rejetés et remplacés :

AIR FORCE ONE, de Wolfgang Petersen / Randy Newman remplacé par Jerry Goldsmith
A MIDSUMMER NIGHT'S DREAM, de Michael Hoffman / Wojciech Kilar remplacé par Simon Boswell
BREAKDOWN, de Jonathan Mostow / Basil Poledouris remplacé par... Basil Poledouris ! (il a composé deux scores différents pour le même film)
CRUEL INTENTIONS, de Roger Kumble / John Ottman remplacé par Edward Shearmur
GOLDENEYE, de Martin Campbell / Michael J. Lewis remplacé par Eric Serra
HALLOWEEN H20: 20 YEARS LATER, de Steve Miner / John Ottman remplacé par Marco Beltrami
INDIAN IN THE CUPBOARD, de Frank Oz / Miles Goodman remplacé par Randy Edelman
INTERVIEW WITH A VAMPIRE, de Neil Jordan / George Fenton remplacé par Elliott Goldenthal
JAKOB THE LIAR, de Peter Kassovitz / Zbigniew Preisner remplacé par Edward Shearmur
LAST MAN STANDING, de Walter Hill / Elmer Bernstein remplacé par Ry Cooder
LE PACTE DES LOUPS, de Christophe Gans / Kenji Kawaï remplacé par Joseph Lo Duca
MISSION: IMPOSSIBLE, de Brian DePalma / Alan Silvestri remplacé par Danny Elfman
PRACTICAL MAGIC, de Griffin Dunne / Michael Nyman remplacé par Alan Silvestri
SOMETHING WICKED THIS WAY COMES, de Jack Clayton / Georges Delerue remplacé par James Horner
STEPMOM, de Chris Columbus / Patrick Doyle remplacé par John Williams
THE HORSE WHISPERER, de Robert Redford / John Barry remplacé par Thomas Newman
WHAT DREAMS MAY COME, de Vincent Ward / Ennio Morricone remplacé par Michael Kamen
WOLFEN, de Michael Wadleigh / Craig Safan remplacé par James Horner

[UPDATE : FILM SCORE MONTHLY (la "Bible" en matière de musiques de films) a mis en ligne en avril dernier une page entière consacrée aux scores rejetés, qui comprend une liste détaillée et chronologique très bien faite. - For more information, see "THE MISSING: A Partial Chronology of Rejected Film Scores", by Scott Bettencourt, here.]

- Les scores rejetés de Jerry Goldsmith :

1988 - ALIEN NATION, de Graham Baker / remplacé par Curt Sobel
1991 - GLADIATOR, de Rowdy Herrington / remplacé par Brad Fiedel
1992 - THE PUBLIC EYE, de Howard Franklin / remplacé par Mark Isham
1996 - 2 DAYS IN THE VALLEY, de John Herzfeld / remplacé par Anthony Marinelli

Pour entendre des extraits en Real Audio de ces partitions rejetées (exception faite de THE PUBLIC EYE) :
http://www.ts-deconstruction.com/goldsmith/scoresframe.htm