Selznick’s co-productions with elite European filmmakers contrast noticeably with his Hollywood work. The Third Man’s hyper-stylized cinematography and solo zither score by Anton Karas resemble no other Selznick film, partly because Selznick’s role was much reduced. But with subsequent European co-productions the producer sought to reinsert himself into the music. This chapter traces these battles as they unfolded on the soundtrack, with Selznick reasserting his creative voice through re-edited versions distributed only in the United States. Most striking is the case of Stazione Termini, which Selznick released as Indiscretion of an American Wife. With Alessandro Cicognini’s score re-edited by Audray Granville, music in the new version does different work from its cinematic sibling. In his final productions, including Mario Nascimbene’s music for A Farewell to Arms, Selznick’s use of music to structure narrative and develop commercial appeal re-emerges as one of the producer’s greatest priorities.