 This led to allegations that he had recycled music from Selznick's film in the Paramount production.Meanwhile, Selznick's assistant tampered with the "Spellbound" scoring by replacing some of Rózsa's material with earlier music by Franz Waxman and Roy Webb.The tangled history of the scoring process has been explored by Jack Sullivan ("Hitchcock's Music", 2006) and especially Nathan Platte ("Making Music in Selznick's Hollywood", 2018), both of which qualify and sometimes contradict the early accounts of the participants.