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Tarantino has said that in developing the script for Jackie Brown, he decided on the majority of the songs during the writing stage. He added: More or less the way my method works is you have got to find the opening credit sequence first. That starts it off from me. I find the personality of the piece through the music that is going to be in it [...] It is the rhythm of the film. Once I know I want to do something, then it is a simple matter of me diving into my record collection and finding the songs that give me the rhythm of my movie.

Composer/arranger Kenyon Hopkins is probably best remembered today for his work as music director for the television series The Odd Couple and The Brady Bunch, but his work in music long predated and easily transcended any hit television series. Hopkins made his career primarily in New York during the '50s -- for ten years, from 1951 until 1961, he was the chief composer and arranger at Radio City Music Hall. Hopkins first started writing music for films in 1956 with Elia Kazan's Baby Doll and Sidney Lumet's 12 Angry Men.

The Last Temptation of Christ was originally to be Scorsese's follow-up to The King of Comedy; production was slated to begin in 1983 for Paramount, with a budget of about $14 million and shot on location in Israel. The original cast included Aidan Quinn as Jesus, Sting as Pontius Pilate, Ray Davies as Judas Iscariot,[7] and Vanity as Mary Magdalene. Management at Paramount and its then parent company, Gulf+Western grew uneasy due to the ballooning budget for the picture and protest letters received from religious groups.

The inclusion of songs written by The Cure and Joy Division are notable because the influences of both bands are present in the original comic book. James O'Barr, the creator of The Crow, reprinted the lyrics to the song "The Hanging Garden" by The Cure on an entire page, and some chapters of the comic book are named after Joy Division songs – "Atmosphere" and "Atrocity Exhibition", for example. In one panel, Eric even quotes a lyric from the song "Disorder" from the album Unknown Pleasures. O'Barr was a big fan of both bands when he was creating the comic book.

Tarantino has stated that he avoids using full scores of original music: "I just don't like the idea of giving that much power to anybody on one of my movies."[41][42] The film's soundtrack album was released on December 18, 2012.[38] Ennio Morricone made statements criticizing Tarantino's use of his music in Django Unchained and stated that he would "never work" with the director after this film,[43] but later agreed to compose an original film score for Tarantino's The Hateful Eight in 2015

The film's score is by Elmer Bernstein. Along with the readily recognized main theme and effective support of the story line, the score also contains allusions to twentieth-century symphonic works, such as the reference to Bartok's Concerto for Orchestra, second movement, in the tense quiet scene just before the shoot out.

Almost Famous is honest in its portrayal of rock as it was. The scene was a dream slowly fading into the ether, and while the musicians couldn’t see it, idealistic William Miller could, even if he never let it break his wide-eyed fascination. The songs Cameron Crowe chose here reflect this journey, from the use of a contemplative instrumental by The Who to a poignant introspection by Cat Stevens. Of course, Almost Famous’ spirit and theme feel best represented in “Tiny Dancer”, giving the story a much needed release, the soundtrack a sturdy anchor, and fans an unforgettable scene.The Almost Famous soundtrack album was awarded the 2001 Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media.

This, the second Bernstein score in this list of the best jazz soundtracks you should own, also featured West Coast group The Chico Hamilton Quintet in Alexander Mackendrick’s gripping movie about a sardonic newspaper columnist, JJ Hunsecker (Burt Lancaster), who uses a ruthless publicist, Sidney Falco (Tony Curtis), to break up his sister’s romance with a jazz guitarist – which leads to a tragic denouement. Bernstein’s brash, vibrant score reflects the hustle and bustle, as well as the urban angst and dog-eat-dog mentality, of New York, while Chico Hamilton’s group offer contrast and a pronounced sense of jazz cool with their pastel-hued pieces.

The soundtrack features two original recordings performed by Harry Belafonte used in the film: "The Banana Boat Song" and "Jump in the Line (Shake, Senora)". Two other vintage Belafonte recordings that appeared in the film are absent from the soundtrack: "Man Smart, Woman Smarter" and "Sweetheart from Venezuela". 

Like the film, the soundtrack to this cultural sensation was rooted in its truth. While The Harder They Come extolled the greatness of Jamaican culture, the film also spoke to the hardships that weighed on the people, making it one of the most enduring and striking political statements of its time. Most will remember it now for opening the door to reggae’s worldwide success, but the soundtrack’s most remarkable quality was not just exposing the appeal of reggae, but its inherent power. The soundtrack channels all the passion and rage of the people, gripped with societal fatigue, thus elevating the film’s message to legendary heights.

"The Tree of Life" features selections and snippets from more than 30 individual pieces -- including works by Brahms, Mahler, Bach, Górecki and Holst. They are all woven together seamlessly with the help of some original music by Alexandre Desplat.

 Paramount executive Evans found the score to be too "highbrow" and did not want to use it; however, it was used after Coppola managed to get Evans to agree.[122][123] Coppola believed that Rota's musical piece gave the film even more of an Italian feel.[123] Coppola's father, Carmine, created some additional music for the film,[125] particularly the music played by the band during the opening wedding scene

Davis was booked to perform at the Club Saint-Germain in Paris for November 1957. Rappeneau introduced him to Malle, and Davis agreed to record the music after attending a private screening. On December 4, he brought his four sidemen to the recording studio without having had them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room, and, once the plot was explained, the band improvised without any precomposed theme, while edited loops of the musically relevant film sequences were projected in the background.

For Joel, "the original music, as with other elements of the movie, had to echo the retro sounds of the Sixties and early Seventies". Music defines each character. For example, "Tumbling Tumbleweeds" by Bob Nolan was chosen for the Stranger at the time the Coens wrote the screenplay, as was "Lujon" by Henry Mancini for Jackie Treehorn. "The German nihilists are accompanied by techno-pop and Jeff Bridges by Creedence. So there's a musical signature for each of them", remarked Ethan in an interview.[16]:156 The character Uli Kunkel was in the German electronic band Autobahn, a homage to the band Kraftwerk. The album cover of their record Nagelbett (bed of nails) is a parody of the Kraftwerk album cover for The Man-Machine and the group name Autobahn shares the name of a Kraftwerk song and album. In the lyrics the phrase "We believe in nothing" is repeated with electronic distortion. This is a reference to Autobahn's nihilism in the film.

With two celebrated films under his skinny tie, Quentin Tarantino fans knew that their favorite director’s musical choices were anything but arbitrary. For Jackie Brown, his homage to ‘70s blaxploitation films (which included a jump-start to Pam Grier’s career), Tarantino turned to those same films for inspiration, borrowing songs from them and even the score from the movie Coffy. As a result, the film has an unmistakable musical cohesion and authenticity as Jackie tears through the airport to Bobby Womack’s “Across 110th Street”, Ordell dials up The Brothers Johnson’s “Strawberry Letter 23” before “taking out the trash,” and, most memorably, Max starts falling for Jackie over “Didn’t I (Blow Your Mind This Time)” by The Delfonics. Tarantino’s love of both neglected film genres and music come together here to totally blow our minds. –

Stanley Kubrick’s 2001: A Space Odyssey positions itself in a mystic always, a place in the interstellar timeline in which the origins of the world and the far future are one in the same. To achieve that timeless feeling, the legendary director opted for a mixture of classical composers that at once feel stately and regal but also dizzying and disorienting. Using German composer Richard Strauss’ “Also Sprach Zarathustra” during a scene of apes learning to use tools shades their discovery with a powerful, if ominous majesty, but also perfectly fades to a scene of a space station, something we’d more traditionally tie to such dramatic classical music. Perhaps most notably, Kubrick synchronized a scene of a spaceship docking to “The Blue Danube”, a waltz by Johann Strauss, while modern composer György Ligeti’s micro-polyphonic Atmospheres provides a dazzling counterpoint. The 2001 soundtrack feels like slipping through time, but in the most beautiful extraterrestrial way. 

Although the film is a period piece, set in the 1920s, the Academy Award-winning original soundtrack composed by Vangelis uses a modern 1980s electronic sound, with a strong use of synthesizer and piano among other instruments. This was a bold and significant departure from earlier period films, which employed sweeping orchestral instrumentals. The title theme of the film has become iconic, and has been used in subsequent films and television shows during slow-motion segments. Five lively Gilbert and Sullivan tunes also appear in the soundtrack, and serve as jaunty period music which nicely counterpoints Vangelis's modern electronic score. These are: "He is an Englishman" from H.M.S. Pinafore, "Three Little Maids from School Are We" from The Mikado, "With Catlike Tread" from The Pirates of Penzance, "The Soldiers of Our Queen" from Patience, and "There Lived a King" from The Gondoliers.

From Coffeeville, Kansas, Hopkins (1912-83) was the undisputed master of jazz-inflected film and TV soundtracks, and rose to fame in the 50s composing the scores to such notable movies as Baby Doll and 12 Angry Men. One of his best jazz soundtracks was for The Hustler, with Paul Newman as the titular character: a small time, two-bit pool-hall conman who dreams of breaking into the big time by taking on a character called Minnesota Fats. Hopkins’ score, with its languorous saxophones, wailing muted trumpets, and glowing vibes, conveys mood, emotion and atmosphere, and, despite the music’s jazz-hued elegance, convincingly etches a vivid sonic portrait of seediness and decay

As a film, Mo’ Better Blues may not be one of Spike Lee’s more outstanding works, but it indisputably features one of his best soundtracks. The Branford Marsalis Quartet’s work here plays a crucial (you could even say instrumental) role in Lee’s film, chronicling the rise and fall of Denzel Washington’s Bleek with lively, improvisational-feeling jazz riffs of every kind. Plus, how often do you get to hear Washington, Gang Starr, and Wesley Snipes perform over jazz music? It accomplishes what most soundtracks only aspire to do: it truly adds something more to the film beyond it.

The recently graduated Benjamin Braddock is staring down the barrel of a future that disturbs him. One he feels himself being involuntarily ushered towards, not unlike the airport conveyer belt during the The Graduate’s opening credits. And during these moments of uneasiness and increased disconnection come the soft voices of Simon and Garfunkel in agreement. They signal time aimlessly passing (“April Come She Will”), accompany Ben’s growing infatuation with Elaine Robinson (“Scarborough Fair/Canticle”), and cue his utter desperation (“Mrs. Robinson”) when he learns she’s marrying someone else. Most memorable, of course, is the film’s use of “The Sound of Silence”. Whether playing as Ben sits at the bottom of a swimming pool in scuba gear or as he and Elaine ride off towards some unknown future, never has a song and film worked in tandem to convey a more vivid sense of the uncertainty that comes with adulthood

Pretty in Pink may not always be at the top of anybody’s John Hughes power ranking, but it’s always a consistent top five, a wild tale of young love that stands as one of his outright funnier movies. But perhaps most memorable, at least to some, is the film’s new wave soundtrack, one that made OMD’s “If You Leave” a chart-topping hit and introduced quite a few young Americans to New Order and Echo and the Bunnymen. That’s all to say nothing of the titular Psychedelic Furs track, the kind of song that captures the ’80s in all its poppy excess in the span of just a few short minutes. Also, Duckie had a lot more to offer than Blaine in the long term. No, we haven’t let this go yet.

The album also introduced tracks by Better Than Ezra, Cracker, the Cranberries, Evan Dando (whose cover of Big Star's "The Ballad of El Goodo" featured Empire Records female lead Liv Tyler on background vocals), and Toad The Wet Sprocket, and by unsigned acts the Martinis, Please, and Coyote Shivers. The Martinis—featuring former Pixies members Joey Santiago and Dave Lovering—were recommended by Hits magazine president Karen Glauber who was musical consultant for Empire Records, while the film's line music supervisor Bob Knickman discovered Please by searching the internet for unsigned talent suitable for the film's soundtrack. Coyote Shivers, who played aspiring-musician-turned-store-clerk Berko in the film, became involved in the project by virtue of being the stepfather of Liv Tyler (Shivers being married to Tyler's mother, Bebe Buell, at the time).[11]

Though set in London during the Swinging 60s, Italian director Michelangelo Antonioni hired American jazz pianist Herbie Hancock – then a member of Miles Davis’ pathfinding quintet – to score the soundtrack for his inaugural English-language movie about a London fashion photographer whose camera captures a murder. Aiding Hancock is a stellar line-up of jazz A-listers, including Freddie Hubbard, Joe Henderson, Ron Carter and Jack DeJohnette. This dynamic ensemble recorded one of the best jazz soundtracks of the era, with music ranging from bluesy grooves to freer modal pieces. One distinctive track, a groovy soul-jazz outtake called ‘Bring Down The Birds’, will be recognisable to many after being sampled by Deee-Lite on their 1990 dance hit, ‘Groove Is In The Heart’.

Another indispensable entry in this list, Anatomy Of A Murder was written by big-band swing-era maestro Duke Ellington, with his frequent collaborator Billy Strayhorn. Performed by Ellington’s brass-rich orchestra, it proves the perfect accompaniment to director Oscar Preminger’s gritty courtroom drama about a country lawyer (James Stewart) who defends an army lieutenant that murdered a bartender over the alleged rape of his wife. The film was deemed controversial at the time for its sexual candour (it was purportedly the first time the word “panties” had been used in a movie) and this is reflected in Ellington’s colourful score, which is dominated by brash, wailing horns and clenched, throbbing blues rhythms that ooze menace and sleaziness.

Like many of his role models for soundtrack composing such as John Barry and Ennio Morricone, Michael Andrews wanted to put a song on his otherwise instrumental score.[citation needed] He eventually chose "Mad World" (1982) by Tears for Fears, who were one of his and childhood friend Gary Jules' favourite bands while growing up. Andrews enlisted Jules to sing the song, while Andrews himself played the piano. Other songs featured in the film include "The Killing Moon" by Echo & the Bunnymen (another of Andrews' and Jules' favourite bands), Joy Division's "Love Will Tear Us Apart", The Church's "Under the Milky Way" in the party scene, and "Proud to Be Loud" by the band Pantera.

Very few midlife crises sound this exceptional. For Lester Burnham, the sardonic protagonist of Sam Mendes’ American Beauty, this suburban daddy’s jarring left turn from normalcy is at all times beautiful, compelling, and riveting. There’s Bill Withers bringing the soul on “Use Me”, Elliott Smith matching the tranquility of composer Thomas Newman with “Because”, and the FM jams of The Who (“The Seeker”) and Free (“All Right Now”). The generational gaps between all the acts — umm, it oscillates from Bobby Darin and Peggy Lee to Gomez and the Eeels — seems almost implicit, seeing how this is a movie about an old man trying to have sex with a young woman — scratch that, a young teenager. No wonder Kevin Spacey won the Oscar!

The soundtrack to each Wes Anderson film walks a tightrope between ultra-iconic moments and a consistent tonal through-line. To achieve that emotional depth, Anderson frequently returns to the ‘60s and his long-standing partnership with Mark Mothersbaugh. The Royal Tenenbaums finds that balance masterfully, fitting his past-leaning musical tendencies into the narrative’s focus on the generations of a family trapped in the struggles of their past. The forbidden love of adopted siblings Margot and Richie plays out across the film in a pair of Nico songs: the cyclical pain in “These Days” and the potential for a new day in “The Fairest of the Seasons”. Richie’s suicide attempt paired with a song from Elliott Smith — who killed himself not long later — redoubles the tragedy.