1965
What's New Pussycat

Considered but unavailable

Composer: Burt Bacharach

1968
Sinful Davy

A 19th century contemporary score which Barry says he wrote and recorded for John Huston but the producers rejected the score and subsequently wouldn't return it to Barry.
Lukas Kendall of 'Film Score Monthly' has checked the studio vaults for 'Sinful Davey' and sadly, but not surprisingly, it's not there. It must be 99.999% certain that the studio executives who hated the score destroyed the masters thus depriving us of what may well have been a classic Barry score.
The themes from Sinful Davey may have been recycled into other scores but we'll never know for certain unless Barry can remember and is willing to discuss it.

John Middleton wrote in our discussion forum: Score recorded at CTS. Masters held across the road in a basement which was flooded during a cloudburst. No-one realised about the flood for some time.

Composer: Ken Thorne

1969
Anne of The Thousand Days

Composer: Georges Delerue

1969
Battle Of Britain

Apparently, John Barry turned down the assignment before Goodwin was asked.

When they asked Goodwin the first time, he declined. After they found no other (Barry and apparently others) willing to replace Walton, they asked Goodwin the second time. Goodwin doubled his fee, and to his surprise Saltzman said OK.

Composer: Ron Goodwin, William Walton

1970
Love Story

Anthony Harvey was to direct, but Barry left when Arthur Hiller signed on. 

Composer: Francis Lai

1971
Get Carter

Considered but unavailable

Composer: Roy Budd

1973
Live and Let Die

Unavailable: fell out with Harry Saltzman, and working on Billy.

Composer: George Martin / titlesong: Paul McCartney and Wings

1973
Don't Look Now

"Frances" DVD has interesting tidbits apparently reveals by interviews and commentary that Barry was offered this Nic Roeg's film. Apparently, it isn't revealed why Barry didn't do them.

Composer: Pino Donaggio

1976
The Man Who Fell To Earth

"Frances" DVD has interesting tidbits apparently reveals by interviews and commentary that Barry was offered this Nic Roeg's film. Apparently, it isn't revealed why Barry didn't do them. 

Composer: John Phillips, Stomu Yamashta

1977
The Spy Who Loved Me

Unavailable due to tax-related problems

Composer: Marvin Hamlisch

1977
Gulliver's Travels (1972)

Peter Hunt mentioned in an interview that Barry and Black had written a substantial amount but when the film went into financial hiatus, and was effectively locked up, the whole project got shelved. When the finance came back, Hunt contacted Barry and Black, but Barry had withdrawn his music by then.

1977
First Love

Began as a song score, wasn't working. Barry hired to write a complete score, parts of which were rejected as "too mature," resulting in a hybrid song score/ Barry score. At this point, Barry asked his name be removed, but his name was seen as composer on the theatrical posters and (b) there were unmistakable Barryisms in the snippets of score that (still) remain. The director just couldn't make up her mind.
In January 2013, a limited edition of John Barry's score was released on CD by Lalalaland Records.

1981
For Your Eyes Only

Unavailable due to tax-related problems

Composer: Bill Conti

1981
Clash of the Titans

According to writer Martyn Crosthwaite, who had conducted in-depth interviews with Barry, Barry had a disagreement with the producers over his overture and left the project having written nothing more. However, Ray Harryhausen claimed Barry's complete score was rejected as unsuitable.

In 2001 Barry told Ford Thaxton: "I can't remember for sure. I don't think I got too involved. I think I may have done some demos on that and they didn't like the way I was going with it and that was probably it."

Composer: Laurence Rosenthal

1983
The Right Stuff

In an interview in the late eighties, Barry said that director Phil Kaufman was a frustrated musician who was unable to get his take on the music across. At one point, to describe the music he wanted, Kaufman said: "you're walking in the desert and you see a cactus, and you put your foot on it, but it just starts growing up through your foot."

Barry told Ford Thaxton "I wrote several things and Phil Kaufman was very up on all the rest of it and everything. It was going very well, and then there were certain problems on the movie down the line, and he needed an excuse for delaying the production. The details are a little foggy now, but I've always remembered my association with Kaufman was also one of the most dishonest pieces of behavior I've ever encountered in the movie industry. I'll leave it at that."

Composer: Bill Conti (Academy Award)

1985
Once Bitten

Barry wrote two demo themes, didn't get the job. Recycled them into Best Man In The World for Golden Child.

Composer: John Du Prez

1988
Farm of the Year

Because of his ilness - ruptured oesophagus, JB had to leave the music for Farm of the Year, retitled 'Miles from Home'

Composer: Robert Folk

1989
Licence To Kill

The producers wanted him to score this movie but because he was still recovering from serious illness it was considered unsafe for him to fly to London to work on the score. They left it as late as possible before hiring Michael Kamen.

Composer: Michael Kamen

1990
Stella

In an interview Barry says he had finished composing the score and the "powers that be" decided the film should be a comedy instead of drama and asked him to redo the main theme. Barry refused, and walked off the picture.

Composer: John Morris

1990
The Russia House

Can anyone confirm?

Composer: Jerry Goldsmith

1991
The Prince of Tides

Fell out with director and left.

Composer: James Newton Howard

1992
CrissCross

Saw film and decided he wasn't interested. As told to Geoff by him.

Composer: Trevor Jones

1992
The Bodyguard

New director, Barry left.

Composer: Alan Silvestri and pop songs

1992
Year of the Comet

Main theme is used in the film's trailer towards the end.

Composer: Hummie Mann

1992
Of Mice and Men

Composer: Mark Isham

1992
1492

JB told Geoff that the director once offered to show him the film but that was as far as it went. He never heard from him again on the subject.

Composer: Vangelis

1993
Sleepless in Seattle

'I was offered Sleepless in Seattle. They sent me the script. They asked me to do it, and I said I would be very interested. But then I heard there was a so-called "musical supervisor," and whenever I hear that I want to run. So then the musical supervisor came into the picture. And then I spoke to a guy who runs Epic Music in Los Angeles. And he said he wanted these songs, and I said "can I have a list? Fax me a list." And there were about 20 songs, and I said, "Well, where am I?" Right then I didn't want to do this movie.'

Composer: Marc Shaiman

1994
It Could Happen To You

Composer: Carter Burwell

1995
The Grass Harp

Composer: Patrick Williams

1995
Goldeneye

Was asked to score but was too busy on other projects and also wanted to spend time with his very young son.

Composer: Eric Serra

1996
The Juror

"I met with the director, Brian Gibson, and told him how I work. I would give him themes, and then I go off and work, and then go to Los Angeles, he's finished shooting, we spot the movie. I did a few things which he really liked a lot, and which Columbia liked. Then he said, "Well, what about the rest of the music?" and I said, "What about the rest of the music?" He said, "I want to hear it." I said, "This is not an audition, Brian. This is your second movie. If there's anything at the end of the  day that you don't like, then we have a little session."

Composer: James Newton Howard

1996
The English Patient

Was approached but refused.

1997
Tomorrow Never Dies

Wanted proper fee, full creative control (the song), both of which he was refused.

Composer: David Arnold

1998
Bliss

Barry recorded some violin pieces that were played on set while filming, but a scheduling problem led to him being unable to do the score in the end.

Composer: Jan A.P. Kaczmarek

1998
Seven Years in Tibet

Hhad conversations with director but never signed.

Composer: John Williams

1998
Ever After

Wrote a theme as a demo, which was rejected.

Composer: George Fenton

1998
The Horse Whisperer

Wrote and recorded several demo themes but disagreements with director Robert Redford led to him leaving the project. He did not compose and record a complete score, as has been suggested.

Composer: Thomas Newman

1999
The End Of The Affair

Wrote demo theme, presumably rejected. It's now a track on Eternal Echoes.

Composer: Michael Nyman

1999
Goodbye Lover

Wrote and recorded full score. However, the film's writer, Ron Peer, who was delighted that John was the composer, believes he did not want to "lighten" his score in certain places as required by the director during the editing process. Hence John Ottman was brought in to write a replacement score. It's worth noting that actress Ellen DeGeneres claimed that test audiences reacted badly to the film originally ending with her character being killed, so she was called back to re-shoot the ending.

Composer: John Ottman

1999
Tom's Midnight Garden

Director Willard Carroll wanted Barry (him being a big fan), made one phone call just to check out availability but there was never any discussion beyond that.

Composer: Debbie Wiseman

2000
Thomas and the Magic Railroad

Barry was initially very enthusiastic about this (his son was a big fan of the stories) and wrote several songs with Don Black. However, he eventually decided the film was not going the way he had envisaged and left.

Composer: Hummie Mann

2004
The Incredibles

Worked on this for some time but apparently the studio did not agree with his take. There seems to have been a misunderstanding as director Brad Bird hired him on the basis that he would write a score which was a pastiche of his James Bond scores.  Barry had no intention of scoring it that way and even his trailer music was replaced by a real Bond theme - OHMSS!  They could not agree and Barry left.

Composer: Michael Giacchino

Travels with Charlie

Barry bought the rights and planned to act as composer/producer with segments to be directed by people like Kevin C. I seem to recall that Jim Wilson might have been a co-producer? Not sure! Barry publicised this quite a lot in the sweep of post-Dances popularity but (obviously) it never arrived.