Our second episode focused on The Incredibles (2004) explores the wonderful themes at the heart of Michael Giacchino's score. We first discuss the two central motifs (which we call Main Theme and Main Fanfare) and reveal how they influence the character of the entire underscore. While perhaps lesser known, we dive into the wonderful character themes Giacchino composed for each member of the 'family of supers' - the outwardly shy and inwardly courageous Violet; the optimistic and irrepressible Dash; the brave and resourceful Helen 'Elastigirl' Parr. We also delight in Michael's theme for Incrediboy, music that at first seems sweet and innocent but foreshadows something sinister. Grab your earbuds and your supersuits, we're in for a rollicking ride. #nocapes
The Incredibles - Michael Giacchino - 2004 - Pixar Animation Studios (Brad Bird, dir,) -Logos -The Glory Days -Meet Elastigirl -Adventure Calling -Bob vs. The Omnidroid -Violet's In Charge -100 Mile Dash -A Whole Family of Supers -Road Trip! -Saving Metroville -Incredible Success -The Incredits
We're so jazzed to unveil our next topic - Michael Giacchino's score to The Incredibles. Written & directed by Brad Bird and produced by Pixar Animation studios in 2004, this super-sized supermovie brings a great many firsts to the podcast (our first animated feature, first Pixar film, first work from Michael Giacchino). Today we explore the swanky sound of this unique score and discuss the tradition that so inspires its spy vs spy style. Michael Giacchino's path to The Incredibles is an adventure story itself, full of unlikely origins and a true hero's call (this time to follow in the footsteps of a living Double-O legend). Sit back and enjoy - it's fun for the whole family of supers!
After an overlong break, we're happy to be back on air with possibly our most joyful episode. Today's Reel Change is devoted to the phenomenal tradition of Cartoon Music. We trace the roots of this great art to the historic partnership of Walt Disney & Carl Stalling and the earliest days of recorded music for film. We chronicle the evolution of score for animation and the transformational techniques pioneered by the CartoonMusic masters. Many of films' greatest composers have added to the Cartoon corpus - today is also a tasting tour of some delightful cues from Williams, Broughton, Goldsmith, Silvestri and more. Enjoy!
Without further ado we present our feature-length audio commentary to E.T. the Extra-Terrestrial (1982). It has been our great honor for the past several weeks to examine and celebrate what may possibly be the most perfect score yet composed for cinema. Flashlights and Reese's Pieces at the ready, there's something in the shadows... a stranger... a searcher... a friend. Let's watch!
Today's spotting session was produced with no small amount of labor and love. From beginning to end we discuss each instance of underscore in E.T. the Extra-Terrestrial, hopefully contextualizing this powerful music along with the cinematic narrative it supports. Steeped in the collection of thematic material we covered last week, we now explore just how those melodic threads are woven into the fabric of the complete film and hopefully illuminate the rich tapestry of music throughout. Today's episode also includes very poignant thoughts on the score from our recent guest - composer, orchestrator, and John Williams collaborator Conrad Pope. While we fully expected that combing through the music of E.T. cue by cue would be an emotionally powerful experience, it has been rewarding beyond our imagining. Please enjoy!
We continue our journey through John Williams' score to E.T. the Extra-Terrestrial by focusing on the many additional themes that populate the film. While perhaps best remembered for the themes featured in last week's episode (Flying theme, the Call), E.T. contains a wealth and diversity of iconic music. Remarkably, the majority of the thematic material emphasizes an important melodic gesture - the ascending perfect fifth. We explore how masterfully Williams distinguishes these disparate motives while simultaneously binding them together in the narrative fabric of the underscore. We endeavor to name the many iconic melodies that recur throughout the film; 'Danger', 'Friendship', 'Mystery', 'Searching', 'E.T.'s Antics', 'Earth', 'Awe', 'Goodbye' and 'Triumph'. Swimming through this rich #moviemusic has been an absolute pleasure. Ready the Reese's Pieces and enjoy!
Today we begin what may likely be our most meaningful set of episodes; a month devoted to John Williams' score to E.T. the Extra-Terrestrial. In the year it was released, the score won the Academy Award, Golden Globe, two Grammy Awards and the BAFTA and has since been recognized by the American Film Institute as one of the top 25 greatest American movie scores of all time. E.T. is one of the few film scores performed live to picture, with an ongoing concert schedule around the world. For us the film has been a deeply essential part of our lives and its music remains a constant & profound inspiration. We feel lighter than air to be able to share our love and fascination with Williams' classic score, starting with an exploration of the film's anthem - The Flying Theme.
We are thrilled to share our conversation with composer/orchestrator/conductor Conrad Pope. Known throughout Hollywood for his deep musical knowledge and artistry, Conrad is an outstanding composer for cinema and one of the most in-demand orchestrators and conductors in the business. He has participated in well over a hundred films, working for composers John Williams, Alexandre Desplat, James Newton Howard, Jerry Goldsmith, James Horner, Alan Silvestri, Danny Elfman, John Powell and Hans Zimmer.
A small sampling of the truly classic cinema Pope has contributed to: the Star Wars series, the Harry Potter series, The Hobbit series, Jurassic Park, Pirates of the Caribbean, The Matrix films, Argo, The Rocketeer, Memoirs of a Geisha, The Polar Express, The Curious Case of Benjamin Button, Life of Pi, Sleepy Hollow, The Tree of Life, The Adventures of Tintin and most recently, Valerian and the City of a Thousand Planets.
His acclaimed work as a composer includes My Week With Marilyn, The Wolfman, Ghost Ship and the documentary Tim’s Vermeer, to name but a few scores. In addition to his very busy schedule composing, orchestrating and conducting (in studio and on stage), Conrad will be once again teaching courses this summer for the Hollywood Music Workshop outside of Vienna, in Baden Austria. We are extremely pleased to invite Conrad to the show. What transpires in today's episode is a Film Music conversation that is riveting, hilarious and deeply moving. Enjoy!
Pavillion of Women - Conrad Pope - Universal Focus (Yim Ho, dir.) -Together Forever
Empire of the Sun - John Williams - Amblin Entertainment (Steven Spielberg, dir.) -The Plane
Project: Metalbeast - Conrad Pope - Prism Pictures (Alessandro De Gaetano, dir.) -Deadly Chase
Ghost Ship - Conrad Pope - Sandtrap Productions (James T. Flocker, dir.) -All's Well
The Boss Baby - additional music by Conrad Pope - Dream Works Animation (Tom McGrath, dir.) -Love
Tim's Vermeer - Conrad Pope - Sony Pictures Classics (Teller, dir.) -Tim's Theme
My Week With Marilyn - Conrad Pope - The Weinstein Company (Simon Curtis, dir.) -Marilyn on the Town
Pavillion of Women - Conrad Pope - Universal Focus (Yim Ho, dir.) -The Embrace
It's part 2 of Reel Change: The Orchestra and we've invited a special guest to join the podcast - our brother and percussionist extraordinaire Karl Brueggemann. Previously we walked through the String and Wind choirs and today we explore orchestral Brass and Percussion. Get to know the unique timbres of some of the leading lights of film music. From ancient drums to cutting edge synthesizers, the band of instruments behind the Hollywood Sound is dazzling and diverse. Enjoy!
Our latest Reel Change explores the ensemble at the heart of film music - the symphonic orchestra. Every week our score discussions are rife with references to the orchestra and we're delighted to finally give each member their proper introduction. Today's podcast is the first of a 2-part episode, covering the string section, woodwind section and historical origins of the modern film orchestra. Get to know the instruments and players that breathe life into our cinema and make movie music possible. [Part 2 airs Thursday and features a special guest] Enjoy!
With our banquet prepared, finally we feast! Today's episode is our feature-length audio commentary to Amélie. Assembled by Jean-Pierre Jeunet and the film's editorial team, Yann Tiersen's original & pre-existing music combine seamlessly into a narratively rich, unforgettable underscore. Amélie is a fairytale journey through the full spectrum of human emotion and a true cinematic tour de force. Crack the surface of your Crème brûlée and join us as we take in this delectable film. Bon appétit!
Our spotting session for Amélie is perhaps our most unique installment thus far. We endeavor to cover the entire soundtrack for the film, putting each piece in its time and place. Jeunet, Tiersen and the editorial team assembled a clever collection of 'needle drops' into a narratively compelling underscore. We progress track by track through Amélie's music, uncovering the spirit of the film and the soul of our heroine. From 40s era showtunes to carnival organs to club remixes to intimate original piano ballads, listening to the music of this film end to end is an aural delight. Breaking down each individual piece, we set the table for next week's full-length audio commentary. Enjoy!
Today we continue our whimsical adventure through Yann Tiersen's music to Amélie. While much of the score originates from Tiersen's back catalogue, there is some exceptional original music we've yet to cover. Let's start with one of our very favorite pieces from the score, L'autre valse d'Amélie, a melodious delight emblematic of our heroine. We explore just how beautifully her two primary themes (both of them waltzes) embody the sun and moon of her persona. Next is one of the film's most recognized pieces, Comptine d'un autre été: L'après-midi. Breaking character somewhat from the rest of the score, this flowing piano ballad seems to reflect not the yesteryear of Amélie's fantasies, but the contemporary world she truly lives in. We close with another lovely selection composed specifically for the film, Le moulin. "Sans toi, les émotions d'aujourd hui ne seraient que la peau morte des émotions d'aut"
In an episode of many firsts we're thrilled to introduce our next film subject - Amélie. Yann Tiersen's irreplaceable score is brimming with charm and today we explore the film's central theme, La Valse d'Amélie (Amélie's Waltz). We study the musical features of the theme and discover what it suggests about the inner life of our film's heroine. Along the way we dive into the history of the Waltz in European musical culture and the legacy of the French Bal-musette tradition. Tiersen's score was uniquely constructed, ultimately including several pieces of music from his existing catalogue. This theme, along with a handful of others written specifically for the film, marked his first foray into cinema scoring and the result is something worthy of the canon of great film music. Bon appétit!
Today we are delighted to share our conversation with composer/producer Gabriel Mann. You know Gabriel as the composer for the multiple-Emmy winning television series Modern Family, including its signature title theme. He has also composed the music to Rosewood, Dr. Ken, Rectify, Dawn of the Croods, and School of Rock, currently airing on Nickelodeon. Additionally, Gabriel is an in-demand record producer and his band The Rescues has met great acclaim since its founding in 2008. Fans of Arrested Development will recognize Gabriel as he served as the resident songwriter and vocalist for the series. Along with Rebecca Kneubel, Mann composed the scores to three games in the popular Spyro series. A graduate of the USC scoring program and a great champion of melodic pop music Gabriel is a delight to talk to and an all around enthusiastic and hilarious person. Enjoy!
-Leaky Family - from Rectify (Sundance Channel / Gran Via Productions) -This Feeling - from the album Tall Buildings (Gabriel Mann, 2007)
Arrested Development (Imagine Television): -As It Is Such (Gabriel Mann, David Schwartz, Lucy Schwartz) -Getaway (Mitch Hurwitz, Gabriel Mann, David Schwartz) -Floating Islands - from Legend of Spyro: Dawn of the Dragon (Gabriel Mann, Rebecca Kneubuhl)
Modern Family (ABC/ 20th Century Fox Television): -Main Title -Feldman Brenda -Can't Stand The Rain - from the album Let Loose The Horses (The Rescues, 2010)
Dr. Ken (ABC Studios / Sony Pictures Television) -Main Title
Rosewood (20th Century Fox Television) -Petechiae
Marry Me (NBC / Sony Pictures TV) -I Was Just Worried About You
We are excited to share our feature-length audio commentary for Back To The Future. After weeks of exploring Alan Silvestri's sensational underscore (as well as the film's memorable song soundtrack) we're thrilled to revisit one of our favorite films from start to finish. Back To The Future is arguably one of the most entertaining pieces of cinema and rewards rewatching like perhaps no other movie. It has been a pleasure and a privilege covering BTTF and today we hope to put all its' wonderful music and story into context. Sit back, crack open a Pepsi-free and enjoy! It's like Doc always says, "if you put your mind to it, you can accomplish anything".
Back To The Future - Alan Silvestri - 1985 - Universal Pictures (Robert Zemeckis, dir,) -[The Power of Love] -[The Washington Post March] -[Time Bomb Town] -DeLorean Reveal -Disintegrated Einstein -'85 Twin Pines Mall -Peabody Barn -Ditches DeLorean -[Mr. Sandman] -'55 Town Square -[The Ballad of Davy Crockett] -Is That You -Retrieve DeLorean -Jigawatts -Dream Boat -Picture Fades -[Out The Window] -[The Wallflower] -Skateboard Chase -The Letter -[Night Train] -[Pledging My Love] -Biff Attacks -Marvin Be-Bop -George To The Rescue -Reaching For Lorraine -[Earth Angel] -Marty Disappears -The Kiss -Earth Angel Overlay -[Johnny B. Goode] -Goodnight Marty -It's Been Educational -Clock Tower -Helicopter -[Heaven Is One Step Away] -Lone Pine Mall -[Back In Time] -4 x 4 -Doc Returns -End Credits
As if we weren't already having fun, today we walk piece by piece through the entire cue list of Back To The Future. From the misty reveal of the time-traveling DeLorean to the dazzling final shot, Alan Silvestri's score is thrilling, funny, and unforgettable. We explore the unique connective tissue of the underscore and in so doing uncover yet more depth and narrative beauty in this cinema classic. Today marks our final score preparation for Silvestri's masterwork as we look forward to next week's full-length audio commentary. Enjoy!
Back To The Future - Alan Silvestri - 1985 - Universal Pictures (Robert Zemeckis, dir,) -DeLorean Reveal -Disintegrated Einstein -'85 Twin Pines Mall -Peabody Barn -Ditches DeLorean -'55 Town Square -Is That You -Retrieve DeLorean -Jigawatts -Dream Boat -Picture Fades -Skateboard Chase -The Letter -Biff Attacks -Marvin Be-Bop -George To The Rescue -Reaching For Lorraine -Marty Disappears -The Kiss -Earth Angel Overlay -It's Been Educational -Clock Tower -Helicopter -Lone Pine Mall -4 x 4 -Doc Returns -End Credits
Today is a first for the podcast - an entire episode devoted not to a film's underscore but its song soundtrack. It would be impossible to talk about the musical fabric of Back To The Future without exploring the wide variety of memorable songs featured in the film. From songs penned specifically for the movie to its many popular period hits, everything is covered on today's episode. Huey Lewis & The News? Check. Johnny B. Goode? Check. That Van Halen solo in Marty's tape player? Doc, we've got 'em all. And as we discovered, following the thread of these songs highlights a beautiful emotional arc hidden in the film - a story of a teenager coming to discover his own voice through the power of song. Heavy!
Back To The Future - Alan Silvestri - 1985 - Universal Pictures (Robert Zemeckis, dir,) -The Power of Love (Huey Lewis, Chris Hayes, Johnny Colla) -The Washington Post March (John Philip Sousa) -Time Bomb Town (Lindsey Buckingham) -Mr. Sandman (Pat Ballard) -The Ballad of Davy Crockett (George Bruns, Thomas Blackburn) -Out the Window (Eddie Van Halen) from the film, The Wild Life (1984) -The Wallflower (Dance With Me Henry) (Hank Ballard, Johnny Otis, Jamesetta Rogers) -Night Train (Jimmy Forrest, Lewin Simpkins, Oscar Washington) -Pledging My Love(Ferdinand Washington, Don Robey) -Earth Angel (Jesse Belvin, Gaynel Hodge, Curtis Williams) -Johnny B. Goode (Chuck Berry) -Heaven is One Step Away (Eric Clapton) -Back in Time (Huey Lewis, Chris Hayes, Johnny Colla, Sean Hopper) -Back To The Future (End Credits) Alan Silvestri
We're ecstatic to begin our third film subject - Back To The Future. Today we devote our entire episode to Alan Silvestri's timeless and ever-powerful main theme. We examine what makes this piece of music uniquely fitted to the premise, pace and spirit of this now classic film. Silvestri is a true master of scorecraft and his work on BTTF is a Hollywood adventure itself - a young composer turning an incredible challenge into genuine breakout success. Stunningly only his second large-scale orchestral film work, his score continues to stand alongside the very best in adventure movie music.
Time circuits on - where we're going, we don't need roads...
On today’s very special episode, we have a conversation with the Emmy-award winning composer John Lunn (Downton Abbey, Grantchester, The White Queen). Both a classically-trained composer and innovative producer, John brings a unique blend of musical depth and contemporary daring to his work in TV and Film. In addition to his beloved work on Downton Abbey, he is also known for his scores to several BBC adaptations of Charles Dickens’ classics, including Little Dorrit, which was nominated for both BAFTA and Emmy awards and the Mystery of Edwin Drood which was nominated for an Ivor Novello Award in 2013. Also in 2013, John composed the score to The White Queen, based on the series of books by Phillipa Gregory and this year has composed the score to its’ sequel series The White Princess, airing now in the US, Sunday evenings on STARZ. In addition to his great work as a composer, John is a truly sweet person who has much to say on music and its storytelling power. Enjoy!
[Note: this will be a 2-episode week - stay tuned this Friday for the next UnderScore episode]
In today's Reel Change we explore film music's most magical palette, the Lydian mode. From the twistedly comic to the ethereally cosmic, we chart Lydian's evocative power around the world and into the 20th century of American film music. Join us for a podcast that unites Leonard Bernstein, Ravi Shankar, James Horner and more. It's a celebration of true movie magic - enjoy!
Raga Yaman Kalyan - Ravi Shankar - 1974
Maria - Leonard Bernstein/Stephen Sondheim - West Side Story - 1957
Blue in Green - Miles Davis - Kind of Blue - 1959
Tonight - Leonard Bernstein/Stephen Sondheim - West Side Story - 1957
Main Title - Elmer Bernstein - To Kill A Mockingbird - 1962 (Robert Mulligan, dir.)
Moon River - Henry Mancini - Breakfast At Tiffany's - 1961 (Blake Edwards, dir.)
The Flying Scene - John Williams - Superman - 1978 (Richard Donner, dir.)
Yoda's Theme - John Williams - The Empire Strikes Back - 1980 (Irvin Kershner, dir.)
Flug auf dem Glücksdrachen - Klaus Doldinger - 1984 (Wolfgang Petersen, dir.)
My Name is Chance - Bruce Broughton - Homeward Bound - 1993 (Duwayne Dunham, dir.)
Universal Pictures Theme - James Horner - 1990
Space Dance - Thomas Newman - Wall·E - 2008 (Andrew Stanton, dir.)
Belle (reprise) - Alan Menken/Howard Ashman - 2017 (Bill Condon, dir.)
Award-winning composer Joe Kraemer joins us for an in-depth interview on his exciting career and the art of character-driven film scoring. You've heard Joe's remarkable work in such films as Mission Impossible: Rogue Nation (2015), Jack Reacher (2012) and Way of the Gun (2000). His celebrated score to Mission Impossible: Rogue Nation won the IFMCA Award in 2015 for Best Original Score for an Action/Adventure/Thriller Film and in 2016 Kraemer was awarded the Discovery Of The Year at the World Soundtrack Awards. Recently, Joe was commissioned by the Dallas Chamber Symphony to write new music for F.W. Murnau's silent film classic Sunrise: A Song of Two Humans. In addition to composing, he'll once again be a featured instructor at the Hollywood Music Workshop this summer in Vienna. Joe has an infectious, enthusiastic personality and an expertise with film music that is both insightful and inspiring. Enjoy!
Mission Impossible: Rogue Nation - Joe Kraemer -Paramount - 2015 (Christopher McQuarrie, dir.) -Moroccan Pursuit -Good Evening, Mr. Hunt
Jack Reacher - Joe Kraemer -Paramount - 2012 (Christopher McQuarrie, dir.) -Main Title
Way of the Gun - Joe Kraemer -Artisan Entertainment - 2000 (Christopher McQuarrie, dir.) -Robin
We are proud to present our feature-length audio commentary for Hitchcock & Herrmann's masterwork, Vertigo. By now fully acquainted with Herrmann's voice and the alluring motifs of the score, we sit down to enjoy the film in its entirety. Whether your fourth or fiftieth viewing, we hope to offer fresh musical and narrative insight into this true cinematic classic. Enjoy!
Today we take all that we've learned thus far about Bernard Herrmann's iconic score to Vertigo and make our way through the entire cue list of the film. We explore Herrmann's mastery in weaving strong and memorable motives throughout this deeply hypnotic score. It's a chance to familiarize ourselves with the musical narrative of the film before next week's Vertigo finale - the complete UnderScore audio commentary. Don't look down!
This week we dive head first into Bernard Herrmann's hypnotic score to Vertigo by exploring some of its dizzying themes and re-occurring motives. From the subdued mystery of Carlotta Valdes to the torrid and infamous Scene D'Amour, today's episode is a small taste of one of cinema's most seductive film scores!
Today we unveil the next film score in our series, the mysterious and romantic score to Alfred Hitchcock's 1958 classic, Vertigo. This week we begin by celebrating composer Bernard Herrmann, who in addition to being Hitchcock's long-standing musical collaborator is one of the most important and influential names in the landscape of film music. We examine some of the many musical traits that embody Herrmann's stellar output and contextualize this month's seminal score in the process. Join us as we dive into cinema's other great master of suspense!
Citizen Kane - Bernard Herrmann - 1941 - RKO Pictures (Orson Welles, dir,) -Overture
The Ghost and Mrs. Muir - B. Herrmann -1947 -20th Century Fox (Joseph L. Mankiewicz, dir.) -Andante Cantabile
The Day the Earth Stood Still - B. Herrmann - 1951 - 20th Century Fox (Robert Wise, dir.) -Suite from 'The Day the Earth Stood Still'
North By Northwest - B. Herrmann - 1959 - MGM (Alfred Hitchcock, dir.) -The Airport -Concersation Piece
Cape Fear - B. Herrmann - 1962 - Universal Pictures (J. Lee Thompson, dir.) -Main Title
Marnie - B. Herrmann - 1964 - Universal Pictures (Alfred Hitchcock, dir.) -Prelude
Psycho - B. Herrmann - 1960 - Paramount Pictures (Alfred Hitchcock, dir.) -The Storm
Vertigo - B. Herrmann - 1958 - Paramount/Universal (Alfred Hitchcock, dir.) -Prelude
Twisted Nerve - Herrmann - 1968 - National General Pictures (Roy Boulting, dir.) -Suite from 'Twisted Nerve'
Today is the first installment of Reel Change, an ongoing series of episodes in between films. To hopefully cleanse the palate and prepare for our next subject, this week we focus on a musical device relevant to all eras of cinema: The Ostinato. Join us on a brief exploration of this musical mechanism as we track its development in films from the golden age to the present. Off we go!
Captain Blood - Erich Wolfgang Korngold - Warner Bros - 1935 (Michael Curtiz, dir.)
King Kong - Max Steiner - Radio Pictures - 1933 (M. Cooper, E. Schoedsack, dir.)
Scaramouche - Victor Young - MGM - 1952 (George Sidney, dir.)
Peter Gunn - Henry Mancini - NBC - Official Films - 1958-61 (Blake Edwards, creator)
The Magnificent Seven - Elmer Berstein - United Artists - 1960 (John Sturges, dir.)
Taras Bulba - Franz Waxman - United Artists - 1962 (J. Lee Thompson, dir.)
The Good, the Bad and the Ugly - Ennio Morricone - United Artists - 1966 (Sergio Leone, dir.)
Midnight Cowboy - John Barry - United Artists - 1969 (John Schlesinger, dir.) -Everybody's Talkin' (Song) Performed by Harry Nilsson, Written by Fred Neil
Superman - John Williams - Warner Bros. - 1978 (Richard Donner, dir.)
Conan the Barbarian - Basil Poledouris - Universal Pictures - 1982 (John Milius, dir.)
The Terminator - Brad Fidel - Orion Pictures - 1984 (James Cameron, dir.)
Brazil - Michael Kamen - 20th Century Fox, Universal Pictures - 1985 (Terry Gilliam, dir.)
Total Recall - Jerry Goldsmith - TriStar Pictures - 1990 (Paul Verhoeven, dir.)
The Simpsons - Danny Elfman - 20th Century Fox Television - 1989-2017 (Matt Groening, creator)
Robin Hood Prince of Thieves - Michael Kamen - Warner Bros. - 1991 (Kevin Reynolds, dir.)
Sneakers - James Horner - Universal Studios - 1992 (Phil Alden Robinson, dir.)
Crimson Tide - Hans Zimmer - Buena Vista Pictures - 1995 (Tony Scott, dir.)
Star Wars Episode I: The Phantom Menace - John Williams - Lucasfilm - 1999 (George Lucas, dir.)
Finding Nemo - Thomas Newman - Walt Disney Pictures, Pixar - 2003 (Andrew Stanton, dir.)
The Dark Knight - Hans Zimmer/James Newton Howard - Legendary Pictures - 2008 (Christopher Nolan, dir.)
The Expendables - Brian Tyler - Lionsgate - 2010 (Sylvester Stallone, dir.)
Star Trek - Michael Giacchino - Paramount Pictures - 2009 (J.J. Abrams, dir.)
The Last Airbender - James Newton Howard - Parmount Pictures - 2010 (M. Night Shyamalan, dir.)
Harry Potter and the Deathly Hallows: Part 1 - Alexandre Desplat - Warner Bros. - 2010 (David Yates, dir.)
Puss in Boots - Henry Jackman - Paramount Pictures - 2011 (Chris Miller, dir.)
MI: Rogue Nation - Joe Kraemer - Paramount Pictures - 2015 (Christopher McQuarrie, dir.)
Mad Max: Fury Road - Junkie XL - Warner Bros. - 2015 (George Miller, dir.)
Zoolander No. 2 - Theodore Shapiro - Paramount Pictures - 2016 (Ben Stiller, dir.)
Arrival - Jóhan Jóhannson - Sony Pictures/Paramount Pictures - 2016 (Denis Villeneuve, dir.)