When Randy Newman was replaced by Jerry Goldsmith as the composer of the Harrison Ford thriller Air Force One, the Los Angeles Times asked me to write about it. It was news, of course, and I did interview both Goldsmith and director Wolfgang Petersen. But I tried to frame this unfortunate situation in a larger historical context by talking about the history of “rejected scores” including all the classics, from 2001 to Torn Curtain and The Battle of Britain. I also talked with Elmer Bernstein, no stranger to the phenomenon, and director Roland Joffe, who had tossed a couple of his own.