by Jonathan Broxton and Peter Simons

Score of the Year | Special Awards | Composer of the Year | Newcomer of the Year | Drama/Romantic Drama | Comedy/Romantic Comedy | Animation
Thriller/Action/Adventure | Fantasy/Science-Fiction/Horror | Documentary | Foreign Language Film | Television | Song (Live Action) | Song (Animation)
Single Cue | Re-release or Re-recording | Compilation | Unreleased | List of Eligible Scores


SCORE OF THE YEAR

 Ultimately, there could only be one winner in 2004 – Edward Shearmur’s rousing, exhilarating throwback to the pomp and pageantry of Hollywood’s Golden Age, Sky Captain and the World of Tomorrow. Although some have criticised it for being little more than hollow pastiche, I personally found it refreshing to hear an up-and-coming composer writing this style of music, and with this amount of energy and enthusiasm. Alan Silvestri’s two scores of 2004, Van Helsing and The Polar Express, could not have been more different: the former a balls-to-the-wall action epic laden with portentous Latin choirs and biggest drums in the summer of big drums, the latter a seasonal beauty with enough festive charm and orchestral magic to rival the greatest Christmas scores ever written. Although the movies themselves were both somewhat disappointing in their way (two examples of style over substance), Silvestri’s contribution to both cannot be faulted. John Debney scored the biggest box office hit of his career with The Passion of the Christ, Mel Gibson’s controversial re-telling of the last hours of Jesus; Debney’s soundtrack was one of the best-selling albums of the year, and with good reason. With its mix of popular world music and gut-wrenchingly beautiful themes, Debney’s music touched millions, and worked wonders in context. Finally, James Newton Howard’s fourth score for director M. Night Shyamalan - The Village - is arguably the best, a thriller score with a classical edge which uses haunting violin solos and breathless action music to effectively capture the essence of the lurking evil terrorising the families in an isolated 18th century Pennsylvania community.

A number of scores nearly made the top 5, in a year which has proved one of the strongest in recent memory, notably John Williams’s pair The Terminal and Harry Potter and the Prisoner of Azkaban, Thomas Newman’s stunning TV score Angels in America, Marco Beltrami’s Hellboy, Michael Giacchino’s The Incredibles, Jan Kaczmarek’s Finding Neverland, Howard Shore’s The Aviator, Alexandre Desplat’s Birth and Girl With a Pearl Earring, Angelo Badalamenti’s A Very Long Engagement, Aaron Zigman’s The Notebook, and Harry Gregson-Williams’s duo Shrek 2 and Team America: World Police.


SPECIAL AWARDS

 Of all the events in film music in 2004, the rejection of Gabriel Yared’s score for Troy was perhaps the most controversial. By popular consensus, his work was superior to that which James Horner eventually wrote for the finished film, and would have undoubtedly added volumes to what was, ultimately, a rather poorly-received film. It’s not just the fact that his score was thrown out that was big news – after all, scores get rejected for one reason or another all the time. What was different in this case was that, having spent nine months of his life lovingly working on this score, he was arbitrarily removed from the project as a result of a poor test screening. The fact that preview audiences have this kind of power in Hollywood is a disturbing trend, and does not bode well for the future of creativity in the film industry. Even worse was Yared’s shabby treatment at the hands of Warner Brothers afterwards, when he was threatened with litigation after he – quite rightly – chose to share what he considered to be the best score of his career with the public. For all these factors, Movie Music UK has decided to give Yared a special award, to recognise his excellent composition, and his fight to give the composers of rejected scores a voice. Bravo, Gabriel!

  • ANDREW LLOYD-WEBBER for The Phantom of the Opera - review
Love him or loathe him, but Andrew Lloyd-Webber certainly knows how to write a tune. It’s taken over fifteen years for him to bring his beloved stage musical to the big screen, but it was more than worth the wait. The Phantom of the Opera cannot be considered for the main awards, as it is not a truly “original” score, but I couldn’t let the year pass by without it getting at least a mention. Yes, there are flaws, most pointedly with Gerard Butler’s performance as The Phantom himself - he pales into insignificance when compared with Michael Crawford. But there is also a great deal right with the new version, especially the beefed-up orchestral ensemble, the performances of Emmy Rossum and Patrick Wilson, some of the new original score written by Lloyd-Webber especially for the film, and of course the excellence of the songs themselves. So, here it is – a special award for The Phantom of the Opera, one of 2004’s musical highlights even though it isn’t really a proper score. Call it “Best Original Score Adapted from a Stage Musical”.


COMPOSER OF THE YEAR

 Many composers have had a great 2004, but none moreso than Alan Silvestri, whose two scores were both worthy of being in the top list. Although Marco Beltrami, Harry Gregson-Williams and Ed Shearmur all scored more films than Silvestri this year, the consistently high quality and effortless energy of Silvestri’s work on Van Helsing and The Polar Express (in addition to writing five songs for the latter) made the 54-year-old New Yorker, for me, top dog of the year. Running him a close second is 36-year-old Italian-American Marco Beltrami, who had a stellar year in 2004, composing two of the best scores of his career (Hellboy and I Robot), together with a further three theatrical releases (Flight of the Phoenix, The Dangerous Lives of Altar Boys, and The First $20 Million Is Always the Hardest). This year has really seen Beltrami come of age and develop into a musical force to be reckoned with, and his future looks bright. Similarly, 38-year-old Englishman Edward Shearmur had a breakout year, composing the best score of the year in Sky Captain and the World of Tomorrow in amongst three romantic comedies (Wimbledon, Win A Date with Tad Hamilton, and Laws of Attraction). Off the back of similarly excellent work in 2002 and 2003, Shearmur is one of the composers who offers great hope for the future when so many of yesterday’s masters have passed away. Harry Gregson-Williams must surely be one of the busiest composers working today, having written for five films in 2004, two of which (Team America and Shrek 2) were among the best of the year. With a further four films on the horizon in 2005, including two potential box-office giants, his is a name we will be hearing for years to come. Finally, the late Michael Kamen had four films released posthumously after his tragic death in November 2003, and two of them – Open Range and Back to Gaya – were close to being masterpieces. It is cruel that we will never hear any of his glorious music again, especially as he seemed to be at the absolute top of his game when he died.

Other composers who almost made the list included John Williams, whose scores for The Terminal and Harry Potter and the Prisoner of Azkaban were both well received; James Horner, who had an incredible SEVEN films released during the period, including the Oscar-nominated House of Sand and Fog, and the excellent The Missing and Bobby Jones: Stroke of Genius; Theodore Shapiro, who looks to be carving an excellent career for himself on the back of such excellent works as Dodgeball and Starsky & Hutch; John Debney who conquered the mainstream with The Passion of the Christ, but also found time to score five comedies; Mychael Danna, who successfully depicted the English aristocracy in Being Julia and Vanity Fair; James Newton Howard, who brought a classical edge to The Village and a lush sweep to Hidalgo; Alexandre Desplat, who made a name for himself in Hollywood with his well-received Girl With a Pearl Earring and Birth; and Thomas Newman, who wrote one his career-best scores for the acclaimed TV drama Angels in America and tackled the children’s classic Lemony Snicket towards the end of the year.

Other composers who had busy years in 2004 include Christophe Beck, who scored an incredible TEN movies (Cheaper By The Dozen, A Cinderella Story, Dickie Roberts: Former Child Star, The Event, Garfield, Little Black Book, Saved!, Taxi, Under The Tuscan Sun, and Without A Paddle); Richard Gibbs and Hans Zimmer (six), and George S. Clinton, Philip Glass, Mark Isham, John Powell, Brian Tyler, and the prolific Bollywood composers A.R. Rahman, Anu Malik and Anand Raaj Anand (five each).


NEWCOMER OF THE YEAR

  • MICHAEL GIACCHINO
  • MICHAEL SUBY
  • SHIGERU UMEBAYASHI
  • MARCELO ZARVOS
  • AARON ZIGMAN
Although Michael Giacchino was nominated for Best Newcomer back in 1999, when he wrote the first of his stunning scores for the Medal of Honor video game series, 2004 was truly his breakout year in terms of the cinema. Having already scored the hit TV series Alias, and several successful straight-to-video movies, Giacchino burst into truly international consciousnesses with The Incredibles, which took $250 million at the box office, won him an LA Critics Award, and looks good for an Oscar nomination. Not bad for your first theatrically released movie. With Alias still in the frame, further film work lined up, and a talented assistant in the shape of Chris Tilton looking to follow in his footsteps (and whose score for the video game Mercenaries is proving popular), this is truly a name to watch. Young American composer Michael Suby made an inauspicious debut scoring the docu-drama The Real Cancun, but proved his mettle in the Ashton Kutcher time-travel thriller The Butterfly Effect with a tense, elegant string score that indicates he has the talent to succeed. Similarly, Mexican composer Marcelo Zarvos followed up his 2001 mainstream debut Kissing Jessica Stein with Door in the Floor, a critically acclaimed drama which allowed him to create a sombre, moving reflection of a man’s disintegrating marriage. Aaron Zigman first found attention following his work on Denzel Washington’s medical thriller John Q, but excelled this year on the emotional drama The Notebook, writing a moving, intimate orchestral score which could see him reach great heights in Hollywood. Finally, Japanese composer Shigeru Umebayashi’s wonderful score for House of Flying Daggers brought his music to a whole new arena after over 20 years of solid work in the far east, and could see him following in the footsteps of his contemporary Tan Dun with more American mainstream projects.

Other new names worth watching include Charlie Clouser (Saw), Ramin Djawadi (Blade Trinity, Thunderbirds), Ilan Eshkeri (Sword of Xanten, Layer Cake, Back to Gaya), Chad Fisher (Garden State), Christian Henson (Chasing Liberty), Dan Mudford (Shaun of the Dead), Deane Ogden (Friday Night Lights), Damien Rice (Closer), John Swihart (Napoleon Dynamite), and the bevy of Korean composers making a splash internationally, notably Il Won, Byung Woo Lee, Dong Jun Lee and Lee Sang Ho.

BEST SCORE - DRAMA OR ROMANTIC DRAMA

 Such was the amazing success of John Debney’s score for The Passion of the Christ, both critically and commercially, it is really the only sensible choice as Best Drama score of 2004. With its wonderful amalgam of world music rhythms, vocals and beautiful string work, Debney surprised everyone by actually making this score work as well as it did. He was a bold choice to score the film in the first place, and kudos to Mel Gibson for giving him the opportunity to shake off the shackles of typecasting the way he has. James Horner’s score for The Missing mixed his familiar broad, lush themes with synthesised mystery to capture the essence of the shaman kidnappers in Ron Howard’s epic tale – the finale cue was worth the price alone. Polish composer Jan Kaczmarek showed everyone his lighter side with the beautiful Finding Neverland, a playful, delicate piano-and-orchestra score which effortlessly conveyed the light-heartedness and whimsy of the life of Peter Pan author J.M. Barrie. Michael Kamen turned his music for Kevin Costner’s cowboy movie Open Range into a beautiful, sepia-tinged, nostalgic love affair with the old west – it’s so tragic that he passed away before he could capitalise on the rich vein of composing form he was in. Finally, Howard Shore gave 1930s America and the life of Howard Hughes a tortuous, turbulent, but highly evocative orchestral accompaniment in The Aviator, his first film in a long time that did not have elves, hobbits or golden rings at their core.

Special mentions should also go to ALEJANDRO AMENABAR for The Sea Inside, ANGELO BADALAMENTI for A Very Long Engagement, CARTER BURWELL for Kinsey, MYCHAEL DANNA for Being Julia, ALEXANDRE DESPLAT for Birth and Girl With a Pearl Earring, PATRICK DOYLE for Nouvelle-France, CLINT EASTWOOD for Million Dollar Baby, GEORGE FENTON for Stage Beauty, JAMES HORNER for Bobby Jones: Stroke of Genius, MARK ISHAM for The Cooler, PHILIPPE ROMBI for Love Me If You Dare, STEPHEN WARBECK for Two Brothers, MARCELO ZARVOS for The Door in the Floor, and AARON ZIGMAN for The Notebook.


BEST SCORE - COMEDY OR ROMANTIC COMEDY

  • JOHN WILLIAMS for The Terminal (Decca) - review
  • JERRY GOLDSMITH for Looney Tunes: Back in Action (Varèse Sarabande)
  • ROLFE KENT for Mean Girls (Rykodisc)
  • THEODORE SHAPIRO for Dodgeball: A True Underdog Story (unreleased)
  • THEODORE SHAPIRO for Starsky & Hutch (TVT)
It’s been a generally poor year for comedy scores, with very few works standing out as being of special note. In many ways, John Williams won by default – his score for Steven Spielberg’s The Terminal had more charm than almost everything else in 2004, using jazzy rhythms and faintly East-European motifs to underscore the antics of Tom Hanks’s innocent abroad trapped in an airport in bureaucratic limbo. It’s slightly unfortunate that Jerry Goldsmith’s final score before his death was for Joe Dante’s poorly-received updating of classic cartoons Looney Tunes: Back in Action, but the ailing composer still managed to inject a sense of fun and chaotic energy into the proceedings than the project never really deserved. Rolfe Kent’s score for Mean Girls was a delightful diversion, comparing life in a suburban high school to that of the African jungle through the use of drums and a choir singing in the xhosa click-language! Finally, Theodore Shapiro had a break-out year with two box office successes: in Dodgeball: A True Underdog Story, he lifted the antics of a group of losers trying to save their run-down gym with heroic sports music of Rocky-type proportions (which remains sadly unreleased), while his score for the slick modern remake of Starsky & Hutch was pure 1970s Lalo Schifrin funk, all wa-wa guitars and a snappy rhythm section.

Special mentions should also go to DAVID ARNOLD for The Stepford Wives, JON BRION for Eternal Sunshine of the Spotless Mind and I Heart Huckabees, CARTER BURWELL for The Ladykillers, TEDDY CASTELLUCCI for 50 First Dates, RANDY EDELMAN for Surviving Christmas, ROLFE KENT for Sideways, MARK MANCINA for The Haunted Mansion, RANDY NEWMAN for Meet the Fockers, THEODORE SHAPIRO for 13 Going on 30, EDWARD SHEARMUR for Wimbledon, ALEX WURMAN for Anchorman, and HANS ZIMMER for Spanglish.


BEST SCORE - ANIMATION

 2004 really was the year for animation scores, with five excellent entries which, in other years, could have been winners in their own right. Top of the pile is Alan Silvestri’s The Polar Express, which has already been discussed at length and needs no further words from me. In sort of “equal second” are efforts from Michael Giacchino, Michael Kamen and two from Harry Gregson-Williams. Giacchino’s The Incredibles was a wonderfully jazzy throwback to the spy caper heyday of John Barry, Lalo Schifrin and Henry Mancini, and effortlessly reworked the breezy knockabout action for this tale of retired super-heroes returning to save the world once more. Shrek 2 was the biggest money-maker of 2004, with grosses of over $440 million – and with good reason! Gregson-Williams’s charming sequel score revisits the thematic material of the 2001 original, and then builds on it with action, waltzes, and classic Hollywood pomp galore. His score for Team America: World Police was written at short notice as a replacement for Marc Shaiman’s original, and is essentially a Media Ventures Jerry Bruckheimer piss-take: macho posturing, massive anthems, sweeping love themes, in the grand tradition of Hans Zimmer’s most overblown efforts – but it’s done with such knowing panache and tongue-in-cheek sincerity that it works wonderfully. Finally, Michael Kamen’s unreleased music for the German animation Back to Gaya (aka Boo, Zino and the Snurks) was finished by composer Ilan Eshkeri and conductor/orchestrator Blake Neely in the months following his death; it stands as a glorious, epic, thematic throwback to his mid-90s heyday and the likes of Robin Hood: Prince of Thieves, and would easily have been one of the best scores of is career. Ultimately, it was his last.

Special mentions should also go to BRUCE BROUGHTON for The Three Musketeers, ALAN MENKEN for Home on the Range, GREGOR NARHOLZ for The SpongeBob Squarpants Movie, JOHN VAN TONGEREN for Van Helsing: The London Assignment, and HANS ZIMMER for Shark Tale.


BEST SCORE - THRILLER, ACTION OR ADVENTURE

 Violinist Hilary Hahn’s wonderful instrumental performances on James Newton Howard’s The Village were the defining factor in making it the best thriller, action or adventure score of 2004; adding a lyrical, expressive quality to an already effective score, moving from haunting and evocative to downright scary as M. Night Shyamalan’s script dictated. Marco Beltrami composed an affectionate homage to his mentor Jerry Goldsmith in Flight of the Phoenix, which depicted the isolation and desperate circumstances of a group of plane crash survivors in the Gobi Desert with savage percussion, angry orchestral dissonance and an unexpectedly effective psychedelic interlude as a musical depiction of heatstroke. Chinese composer Tan Dun revisited familiar territory on director Zhang Yimou’s Hero, a stylistic follow-up to his Oscar-winning score for Crouching Tiger Hidden Dragon. With a classical sweep and delicious Oriental orchestrations, Dun’s score accentuated perfectly the majestic colourful cinematography, making it one of the most visually and aurally satisfying experiences of the year. James Horner’s last-minute replacement score for Troy was suitably grand and lavish, but as usual tended to cull too many ideas from both his back catalogue and the classical canon (in this instance Benjamin Britten's War Requiem). However, considering the short length of time he had to write the score, the fact that it turned out as good as it did is testament to Horner’s professionalism, if nothing else. Finally, Hans Zimmer merged his familiar anthemic composing style with traditional Japanese elements in The Last Samurai to great effect: the synth strings merge powerfully with taiko drums, bamboo flutes and shouty vocalists to make Tom Cruise’s adventures in feudal Japan seem more authentic than they otherwise might have.

Special mentions should also go to DANNY ELFMAN for Spider-Man II, MICHAEL GIACCHINO for Sin, PHILIP GLASS for Secret Window, HARRY GREGSON-WILLIAMS for Man on Fire, JAMES NEWTON HOWARD for Hidalgo, TREVOR JONES for Around the World in 80 Days, JOHN OTTMAN for Cellular, JOHN POWELL for The Bourne Supremacy, WILLIAM ROSS for Ladder 49, CARLO SILIOTTO for The Punisher, MICHAEL SUBY for The Butterfly Effect, BRIAN TYLER for Godsend and Paparazzi, SHIGERU UMEBAYASHI for House of Flying Daggers


BEST SCORE - FANTASY, SCIENCE FICTION OR HORROR

 As the overall best score of 2004, it stands to reason that Edward Shearmur’s Sky Captain and the World of Tomorrow would be the best in its genre – but this is not to say that the fantasy, science fiction and horror category was without merit elsewhere. Marco Beltrami’s dark, brooding score for the comic book fantasy Hellboy was a true delight, mixing rapid action music with unexpectedly moving German choral music and a thunderous “heroic theme” for the red-skinned hero which, shockingly, appears nowhere on the CD! Danny Elfman teamed up with Tim Burton once more for Big Fish, a whimsical story of a son trying to reconcile with his father’s fantastical stories of his life – and ultimately provided a schizophrenic but enjoyable score full of familiar Elfmanisms and a soaring 10-minute finale that rivalled anything in his back catalogue for emotional impact. Alan Silvestri’s Van Helsing has also been discussed elsewhere: its Gothic grandeur and power choral remains one of the highlights of 2004. Finally, John Williams scored his third J.K Rowling adaptation, Harry Potter and the Prisoner of Azkaban for director Alfonso Cuaròn, and managed to take a step away from the lush themes of the previous two films, proving there’s musical life in the old franchise yet: zany action music, Macbeth-inspired choral work, Renaissance flutes and a soaring, noble theme for Buckbeak the Hippogriff ensured it had its place in the top scores of the year.

Special mentions should also go to TYLER BATES for Dawn of the Dead, MARCO BELTRAMI for I Robot, JOSEPH CONLAN for Toolbox Murders, JEFF DANNA for Resident Evil: Apocalypse, HARALD KLOSER for Alien vs Predator and The Day After Tomorrow, BYUNG WOO LEE for A Tale of Two Sisters, THOMAS NEWMAN for Lemony Snicket’s A Series of Unfortunate Events, JOHN POWELL for Paycheck, TREVOR RABIN for Exorcist: The Beginning, GRAEME REVELL for The Chronicles of Riddick, CHRISTOPHER YOUNG for The Grudge


BEST SCORE - DOCUMENTARY FEATURE

  • GEORGE FENTON for Deep Blue (Sony)
  • ERIC COLVIN for NASCAR 3-D, (unreleased)
  • JEFF GIBBS for Fahrenheit 9/11 (Rhino)
  • PHILIP GLASS for The Fog of War (Orange Mountain)
  • JOEL McNEELY for America’s Heart and Soul (Disney)
As much as 2004 was the year of animation in film music, it was also the year of the theatrical documentary, with an unprecedented number of them hitting multiplexes across the world, and being successful too. George Fenton’s work on Deep Blue was the musical cream of the crop, a big-screen sequel to the groundbreaking BBC marine documentary series Blue Planet, Fenton’s lush and powerful orchestral-and-choral combo accompanied stunning visual footage of whales, dolphins, seals, and all manner of sea life to superb effect. The biggest documentary in terms of success and stature was Fahrenheit 9/11, Michael Moore’s scathing satire on George Bush, Osama Bin Laden, Saddam Hussein, and American politics in general. Jeff Gibbs’s score was minimalist but undeniably effective, even when competing with a slew of pop songs or a refrain of Elmer Bernstein’s The Magnificent Seven for top billing in the mix. Eric Colvin’s score for the IMAX film NASCAR 3-D took the sound of Aaron Copland’s Fanfare for a Common man and ran with it, perfectly capturing in music the excitement and exhilaration of competing in America’s premier stock car motor racing series. Philip Glass, who had an especially prolific 2004 with five films in competition, provided one of his familiar, minimalist scores for Errol Brown’s documentary The Fog of War, about the life of Robert S. McNamara, the US Secretary of Defence during Vietnam. Finally, Joel McNeely’s lush, wholesome orchestral score for the Disney documentary America’s Heart and Soul painted a nostalgic, if slightly sugar-coated and jingoistic look at what makes America great – from the point of view of director Louis Schwartzberg at least.

Special mentions should also go to THOMAS DE RENZO for Control Room, CHRISTOPHER FRANKE for What The #$”! Do We Know?, FRED FRITH for Rivers and Tides, PHILIP GLASS for Going Upriver: The Long War of John Kerry, STEVE HOROWITZ for Super Size Me, BRUCE MILLER for The Hunting of the President, NICHOLAS O’TOOLE for Outfoxed: Rupert Murdoch’s War on Journalism, JAMES STEMPLE for Bukowski: Born Into This, MICHAEL SUBY for The Real Cancun, and JOSEPH VITARELLI for My Architect.

BEST SCORE - FOREIGN LANGUAGE FILM

  • PHILIPPE ROMBI for Love Me If You Dare (La Bande Son)
  • ALEJANDRO AMENÀBAR for The Sea Inside (Sony)
  • PATRICK DOYLE for Nouvelle-France (Sony)
  • TAN DUN for Hero (Sony Classical)
  • SHIGERU UMEBAYASHI for House of Flying Daggers (Sony Classical)
Foreign language films made more of an impact (in the UK at least) than in previous years, with the eastern invasion continuing through the release of a number of Chinese, Japanese and Korean martial arts films, horror movies and thrillers in the excellent Asia Extreme series. However, the best score of the year came from a more familiar place – France – in the shape of Philippe Rombi’s whimsical, flighty score for the romantic comedy/drama Love Me If You Dare (aka Jeux d’Enfants). Cleverly incorporating the classic Edith Piaf song ‘La Vie En Rose’ into the fabric of his score, Rombi presents cue after cue of wistful, romantic piano-and-orchestral music which depicts the funny, torrid and ultimately ill-fated love affair between a young French couple which stemmed from a childhood game of dare. Chilean director/composer Alejandro Amenàbar scored his film The Sea Inside (aka Mar Adentro) with beautifully arranged Spanish guitars and a flowing orchestral backing to provide musical accompaniment to the life story of Spanish euthanasia campaigner Ramon Sampedro. Scottish composer Patrick Doyle wrote one of his most majestic scores for the French-Canadian epic Nouvelle- France, a timeless love story between a peasant and a fur trapper set against the backdrop of the English-French war for Canada in the 18th century. Working with director Jean Beaudin, Doyle revisited the style he adopted for scores such as Indochine and East-West, favouring broad, romantic orchestral strokes and moving musical melodrama. Rounding out the top five are Tan Dun’s Hero and Shigeru Umebayachi’s House of Flying Daggers: Chinese scores for the currently in-vogue wife-fu martial arts epics, which merged large-scale western orchestras with a bevy of traditional oriental soloists to add that delightful sense of location and history. Both these films were directed by Zhang Yimou.

Special mentions should also go to BRUNO COULAIS for Les Choristes, LOEK DIKKER for Rosenstrasse, JOE HISAISHI for When The Last Sword is Drawn, LEE SANG HO for Phone, ALBERTO IGLESIAS for Bad Education, SANG YUN JEON for The Isle, LEE DONG JUN for Tae Guk Gi: The Brotherhood of War, KENJI KAWAI for Chaos, WING CHAN KWONG for Infernal Affairs, BYUNG WOO LEE for A Tale of Two Sisters, JACOBO LIEBERMAN and LEONARDO HEIBLUM for Maria Full of Grace, MICHAEL NYMAN for Nathalie, ZBIGNIEW PREISNER for Effroyables Jardins, PHILIPPE ROMBI for Look At Me, KEIICHI SUZUKI for Zatoichi, YANN TIERSEN for Goodbye Lenin, RAYMUND VAN SANTEN for Yes Nurse No Nurse, and IL WON for Into the Mirror.

BEST SCORE - TELEVISION

 This award relates to scores for films which premiered on British TV during 2004, regardless of whether they played theatrically, were released on VHS or DVD, or premiered on TV elsewhere in another year. It is the BRITISH release date that counts, and the fact that the first time it was seen anywhere in the UK was on TV.

This award could really only ever go to one place: Thomas Newman and Angels in America, which was not only the best TV score in years, but is also one of the best scores of Newman’s career – period. A truly stunning combination of lush orchestral theme-writing, savage action music and massive ecclesiastical choral work, it is probably the sixth best score of 2004, and would have made the ultimate list had it not been such a strong year elsewhere. Bruce Broughton won an Emmy for his delightful orchestral score for Eloise at the Plaza, a charming children’s drama based on the classic novels by Kay Thompson, and which merely underline the fact that Broughton should be getting more big-screen assignments. George Fenton’s Pride was a BBC family drama following the lives of a group of lions on the African savannah. With a combination of broad orchestral strokes, frenetic action, amusing mickey-mousing and unexpectedly touching moments of emotion and pathos, Fenton’s work deserves a release from the BBC archives. Conrad Pope’s score for the Deep South drama The Rising Place was written in 2001 but did not surface in Britain until this year: Pope’s music is rich in Gospel traditions, but tempered with a great deal of gentle, intimate string writing and orchestral tenderness which seeks to accentuate the problems faced by two women from different racial background during World War 2. Finally, Debbie Wiseman’s score for the BBC costume drama He Knew He Was Right used unexpectedly powerful orchestral statements to examine the cracks in the marriage of a seemingly perfect Victorian couple being driven apart by jealousy and bitterness, and further enhanced her reputation as one of the most talented composers working in the British film industry today.

Special mentions should also go to JAMES BRETT for Hex, ROBERT CARLI for Burn: The Robert Wraight Story, GEORGE S. CLINTON for The 4400, JEFF DANNA for A Wrinkle in Time, MYCHAEL DANNA for The Guys, MASON DARING for The Pennsylvania Miners Story, JIM DOOLEY for Life on Liberty Street, MATT DUNKLEY for Hawking, JOEL GOLDSMITH and NEAL ACREE for Helen of Troy, LEE HOLDRIDGE for 10.5, STEVE JABLONSKY for Desperate Housewives, ROB LANE for The Long Firm, JAMES LEVINE for Nip/Tuck, MADER for La Femme Musketeer, RICHARD MARVIN for The Lost Battalion, ALAN MENKEN for A Christmas Carol: The Musical, WILLIAM ROSS for Tuck Everlasting, JOHN SCOTT for Time of the Wolf, STEPHEN WARBECK for Dreamkeeper, and ALAN WILLIAMS for Secret Santa.


BEST ORIGINAL SONG (LIVE ACTION FILM)

  • MICHAEL KAMEN and JULIANNA RAYE for "Holding All My Love For You" from Open Range
  • MYCHAEL DANNA with adapted lyrics by GEORGE GORDON BYRON for "She Walks In Beauty" from Vanity Fair
  • ANDREW LLOYD-WEBBER and CHARLES HART for "Learn to be Lonely" from The Phantom of the Opera
  • SHIGERU UMEBAYASHI for "Lovers" from House of Flying Daggers
  • JOHN WILLIAMS with adapted lyrics by WILLIAM SHAKESPEARE for "Double Trouble" from Harry Potter and the Prisoner of Azkaban
For the first time, the “Best Song” category has been split into Live Action and Animated sub-categories to take into account the wealth of excellence on display this year. In the Live Action arena, the obvious winner was “Holding All My Love for You” from Open Range, written by Michael Kamen in collaboration with his niece, vocalist Julianna Raye. Replete with sensitive acoustic guitars and a lush orchestral backing, Kamen’s song is full of love and longing, and heartfelt emotion, as it seeks to capture the essence of Annette Bening’s character as she waits for her love, Kevin Costner, to return to her. Kamen has always been an excellent songwriter: once again, I mourn the fact that he will never pen another. The two most unexpected song-writing credits of 2004 are surely the poet Byron and the playwright Shakespeare, who provided the lyrical starting point for original songs by Mychael Danna and John Williams. Danna poured classical musical velvet over Byron’s classic “She Walks in Beauty” for Vanity Fair, a wondrously classic setting for one of the most beautiful love poems in history. Conversely, Williams set Shakespeare’s witches spell “Double Trouble” from Macbeth to a wonderful, almost Elfmanesque melody in Harry Potter and the Prisoner of Azkaban, hinting at the dangers to come for Harry and his friends. Truly, something wicked this way came. Andrew Lloyd-Webber re-visited his score for The Phantom of the Opera some fifteen years after the event, and composed a new song with lyricist Charles Hart, “Learn to Be Lonely”, which is sung over the end credits by actress Minnie Driver. Although not on a par with any of the songs from the original stage musical, it still looks likely to pick up an Oscar nomination for Lloyd-Webber. Finally, Japanese composer Shigeru Umebayashi’s song “Lovers” from the end credits of House of Flying Daggers left a lasting impression, with its sublime performance by American soprano Kathleen Battle and the gentle, orientally-inflected orchestral backing.

Special mentions should also go to JON BRION for “Strings That Tie You To” from Eternal Sunshine of the Spotless Mind; JAMES HORNER and CYNTHIA WEIL for “Remember” from Troy; MICK JAGGER and DAVID A. STEWART for "Old Habits Die Hard" from Alfie; MATT JAY, CHARLIE SIMPSON and JAMES BOURNE for “Thunderbirds Are Go” from Thunderbirds; ELTON JOHN and BERNIE TAUPIN for "The Heart of Every Girl" from Mona Lisa Smile; MICHAEL McKEAN and ANNETTE O'TOOLE for "A Kiss at the End of the Rainbow" from A Mighty Wind; ROBBIE ROBERTSON for “Shine Your Light” from Ladder 49; EDDIE VEDDER for "Man of the Hour" from Big Fish; HANS ZIMMER and MOYA BRENNAN for “Tell Me Now” from King Arthur.

BEST ORIGINAL SONG (ANIMATED FILM)

  • ALAN SILVESTRI and GLENN BALLARD for "Spirit of the Season" from The Polar Express
  • TREY PARKER for "America, Fuck Yeah!" from Team America: World Police
  • TREY PARKER for "Only A Woman" from Team America: World Police
  • ALAN SILVESTRI and GLENN BALLARD for "Believe" from The Polar Express
  • ALAN SILVESTRI and GLENN BALLARD for "The Polar Express" from The Polar Express
I so wanted to give the award for Best Song from an Animated Film to Trey Parker for “America, Fuck Yeah!” from Team America: World Police, a side-splittingly hilarious celebration of everything that makes the USA great, from McDonalds and Wal-Mart to slavery and porno, and all done with a macho posturing that, I fear, many will actually embrace without understanding the irony. Similarly, the perfectly pitched “Only A Woman” mercilessly lampoons the serious rock anthems favoured by the likes of Diane Warren, and the ambiguous sexual mores of its protagonist. As I said in my review of the CD, the amazing thing about them is that, ignoring the hilariously inappropriate lyrics, each song is musically exceptional, and had they been written for a “straight” film and is not have the ironic lyrics, they could easily become hit records in their own right. In truth, “Freedom Isn’t Free”, "Gary’s Motorcycle Ride" or “Montage” could easily have also made the top five and made it a clean-sweep for the South Park boys. However, in the end, Alan Silvestri’s gorgeous choral carol “Spirit of the Season” from the magical The Polar Express eventually won out – one of three songs written by Silvestri and lyricist Glenn Ballard to make the top five. Along with the others – “Believe” performed by Josh Groban, and “The Polar Express” performed by Tom Hanks himself – it effortlessly captures the same sense of innocence, seasonal magic, and musical excellence, with “Believe” especially being the ballad which everyone will remember and which looks likely to pick up an Oscar nomination.

Special mentions should also go to ADAM DURITZ, DAN VICKERY, DAVID IMMERGLUCK, MATTHEW MALLEY and DAVID BRYSON for "Accidentally In Love" from Shrek 2; MICHAEL KAMEN and DON BLACK for “No Small Wonder” from Back to Gaya; ALAN MENKEN and GLENN SLATER for “Anytime You Need A Friend” and “Will The Sun Ever Shine Again” from Home on the Range; TREY PARKER for “Freedom Isn’t Free”, “I’m So Ronery”, "Gary’s Motorcycle Ride" and “Montage” from Team America: World Police.

BEST SINGLE CUE

  • JOHN DEBNEY for “Mary Goes to Jesus” from The Passion of the Christ
  • MARCO BELTRAMI for “End Credits” from Hellboy
  • JAMES NEWTON HOWARD for “Will You Help Me?” from The Village
  • EDWARD SHEARMUR for “Manta Squadron” from Sky Captain and the World of Tomorrow
  • ALAN SILVESTRI for “Suite” from The Polar Express
Special mentions should also go to MARCO BELTRAMI for “Round Up” from I Robot, MYCHAEL DANNA for “Curtain Up” from Being Julia, JOHN DEBNEY for “Crucifixion” from The Passion of the Christ, ALEXANDRE DESPLAT for “Prologue” from Birth and “Griet’s Theme” from Girl With a Pearl Earring, DANNY ELFMAN for “Finale” from Big Fish, MICHAEL GIACCHINO for “100 Mile Dash” from The Incredibles, HARRY GREGSON-WILLIAMS for “Family Dinner” from Shrek 2, HARRY GREGSON-WILLIAMS for “All is Revealed” from Shrek 2, JAMES HORNER for “The Long Ride Home” from The Missing, MARK ISHAM for “The Cooler” from The Cooler, ANDREW LLOYD-WEBBER for “Journey to the Cemetery” from The Phantom of the Opera, THOMAS NEWMAN for “The Great Work Begins” from Angels in America, THOMAS NEWMAN for “The Letter that Never Came” from Lemony Snicket’s A Series of Unfortunate Events, JOHN POWELL for “The Hog Chase” from Paycheck, THEODORE SHAPIRO for “Twin Dragons” from Starsky & Hutch, EDWARD SHEARMUR for “Back to Earth” from Sky Captain and the World of Tomorrow, ALAN SILVESTRI for “All Hallow’s Eve Ball” from Van Helsing, ALAN SILVESTRI for “Seeing is Believing” from The Polar Express, ALAN SILVESTRI for “Burn It Down” from Van Helsing, STEPHEN WARBECK for “Recognition” from Two Brothers, JOHN WILLIAMS for “Buckbeak’s Flight” and “Window to the Past” from Harry Potter and the Prisoner of Azkaban, JOHN WILLIAMS for “The Tale of Viktor Navorski” from The Terminal, AARON ZIGMAN for “Overture” from The Notebook, and HANS ZIMMER for “The Way of the Sword” from King Arthur.

BEST RE-RELEASE OR RE-RECORDING

  • LUKAS KENDALL (producer) for Bronislau Kaper's Mutiny on the Bounty (FSM)
  • LUKAS KENDALL (producer) for Miklòs Ròzsa's Julius Caesar (FSM)
  • NICK REDMAN and DOUGLASS FAKE (producers) for Leigh Harline's The Enemy Below (Intrada)
  • ROBERT TOWNSON (producer) for Elmer Bernstein's The Great Escape: Deluxe Edition (Varèse Sarabande)
  • ROBERT TOWNSON and NICK REDMAN (producers) for Alex North's The Agony and the Ecstasy: Deluxe Edition (Varèse Sarabande)
Record labels like Film Score Monthly and Varèse Sarabande are a godsend for film music collectors: through FSM’s Golden and Silver Age Classics series, and Varèse’s CD Club, an unprecedented number of older scores are being re-released for today’s audiences. Great kudos should go to producers like Lukas Kendall, Jeff Bond, Bob Townson, Nick Redman, Doug Fake and Ford Thaxton for making the efforts to preserve the industry’s heritage for future generations. The best release of 2004 is probably FSM’s mammoth 3-CD restoration of Bronislau Kaper’s 1962 seafaring epic Mutiny on the Bounty, but to be perfectly honest the other releases – Ròzda’s Julius Caesar, Harline’s The Enemy Below, Bernstein’s The Great Escape and North’s The Agony and the Ecstasy, are all such worthy and excellent packages that to pick one single release above these other efforts would do an injustice to the hard work that went into lovingly preparing them. So – my advice is, buy them all! And in doing so, support the industry we all love so much.

Special mentions should also go to DIDIER C. DEUTSCH, DARCY PROPER and MARK WILDER (producers) for John Barry's Dances With Wolves: Expanded Edition, JAMES FITZPATRICK (producer) for The Lord of the Rings Trilogy, LUKAS KENDALL, JEFF BOND and the team from FILM SCORE MONTHLY for Alex North’s The Shoes of the Fisherman, Bronislau Kaper’s The Swan, Miklos Rozsa’s Diane, Basil Poledouris’s Big Wednesday etc., FORD A. THAXTON (producer) for Jerry Goldsmith's Basic Instict: Expanded Edition, and ROBERT TOWNSON (producer) for Henry Mancini’s The Thorn Birds.

BEST COMPILATION

  • ENNIO MORRICONE (producer) for Yo-Yo Ma plays Ennio Morricone (Sony Classical)
  • CRAIG ARMSTRONG, GEOFF FOSTER and DAVID DONALDSON (producers) for Craig Armstrong: Piano Works (Sanctuary)
  • JAMES FITZPATRICK (producer) for The Alamo: The Essential Dimitri Tiomkin Film Music Collection (Silva)
  • BRIAN PIDGEON (producer) for The Film Music of Ron Goodwin (Chandos)
  • ROBERT TOWNSON (producer) for Jerry Goldsmith at Fox (Varèse Sarabande)
For some reason, 2004 has not produced the number of re-recordings it usually does; the normally prolific Silva Screen label have been strangely quiet this year, with only their excellent Dimitri Tiomkin package, and their re-recording of music from the classic British Carry On films being of real note. The most eagerly awaited release of 2004 was Varèse’s exceptional box set collection of Jerry Goldsmith scores, Jerry Goldsmith at Fox, produced in honour of the late composer’s 75th birthday, and which included the premiere CD release of a number of his most sought-after scores, including Damnation Alley, Von Ryan’s Express, The Detective, Shock Treatment, Fate Is the Hunter, Anna and the King, A Tree Grows In Brooklyn, S*P*Y*S and The Vanishing. Another well-received recording was composer Craig Armstrong’s compilation of his own music re-orchestrated for solo piano, which showed a definite sense of careful thought in preparing a product which would appeal to the wider public. Meanwhile, over in England, the prolific Chandos company with producer Brian Pidgeon and conductor Rumon Gamba continued their excellent retrospective of classic British film music with several more re-recording compilations, the best of which was undoubtedly their tribute to the soaring scores of Ron Goodwin. However, arguably the finest compilation put together in 2004 was the one prepared by composer Ennio Morricone, where he re-arranged many of his most famous themes for world-renowned cellist Yo-Yo Ma. With the Rome Symphony Orchestra providing the backup, Yo-Yo Ma Plays Ennio Morricone is a perfect example of a perfect film music compilation.

Special mentions should also go to JAMES FITZPATRICK (producer) for Reel Chill and Carry On! (Silva), and BRIAN PIDGEON (producer) for The Film Music of Dmitri Shostakovich Vol.2 and The Film Music of Ralph Vaughan-Williams Vol.2 (Chandos).

BEST UNRELEASED SCORE

  • MICHAEL KAMEN for Back to Gaya
  • DAVID ARNOLD for The Stepford Wives
  • ROLFE KENT for Mean Girls
  • WILLIAM ROSS for Ladder 49
  • THEODORE SHAPIRO for Dodgeball: A True Underdog Story
Special mentions should also go to TYLER BATES for Dawn of the Dead, BRUCE BROUGHTON for The Three Musketeers, CARTER BURWELL for The Ladykillers, TEDDY CASTELLUCCI for 50 First Dates, MICHAEL GIACCHINO for Sin, PHILIP GLASS for Secret Window, DAVID JULYAN for Inside I’m Dancing, MARK MANCINA for The Haunted Mansion, GREGOR NARHOLZ for The SpongeBob Squarpants Movie, TREVOR RABIN for Exorcist: The Beginning, THEODORE SHAPIRO for 13 Going on 30, EDWARD SHEARMUR for Wimbledon, ALEX WURMAN for Anchorman, HANS ZIMMER for Shark Tale, and of course GABRIEL YARED for his rejected score for Troy.


COMPLETE LIST OF ELIGIBLE SCORES (AND THEIR COMPOSER)

Unlike previous years, where the Movie Music UK Score Awards were limited to those films which have opened ONLY in the UK between 1 January and 31 December – I have decided to slightly restructure my time period for capturing which films are eligible. Therefore, this year, ALL films which opened in BOTH the US and the UK in 2004 are eligible (meaning that some scores for films which opened in the USA in 2003 (The Last Samurai, House of Sand and Fog, The Missing, Big Fish, Angels in America, Looney Tunes Back in Action, Beyond Borders, Radio, Open Range, Mona Lisa Smile, Something's Gotta Give, The Cooler, Girl With a Pearl Earring etc.) but did not reach the UK until 2004 are eligible for inclusion.

As of next year, the awards will have the same format at the Oscars and be based around the US release schedule, with addition of the few films which play in the UK but which did not receive a US theatrical release.

  • 13 GOING ON 30 (Theodore Shapiro), 21 GRAMS (Gustavo Santaolalla), THE 24th DAY (Kevin Manthei), 29 PALMS (Mario Grigorov), 3-WAY (Christopher Hoag), 50 FIRST DATES (Teddy Castellucci)
  • AALTRA (Les Wampas), ADAM & PAUL (Stephen Rennicks), AE FOND KISS (George Fenton), AETBAAR (Rajesh Roshan), AFTER FREEDOM (Alan Derian), AFTER MIDNIGHT (Daniele Sepe), AFTER THE SUNSET (Lalo Schifrin), AFTERLIFE (Paddy Cunneen), AGAINST THE ROPES (Michael Kamen), AGENT CODY BANKS 2: DESTINATION LONDON (Mark Thomas), AGITATOR (Kôji Endo), THE AGRONOMIST (Wyclef Jean), AITRAAZ (Salim Merchant and Himesh Reshammiya), AKA (Matt Rowe), THE ALAMO (Carter Burwell), ALEX AND EMMA (Marc Shaiman), ALEXANDER (Vangelis), ALFIE (John Powell), ALI G INDAHOUSE (Adam Fenton), ALIEN VS. PREDATOR (Harald Kloser), ALL TOMORROW'S PARTIES (Toshihiro Hanno), ALMOST PEACEFUL (Giovanni Bottesini), ALONG CAME POLLY (Theodore Shapiro), AMERICAN SPLENDOR (Mark Suozzo), AMERICA'S HEART AND SOUL (Joel McNeely), ANACONDAS: THE HUNT FOR THE BLOOD ORCHIDS (Nerida Tyson-Chew), ANATOMIE 2 (Marius Ruhland), ANAZAPTA (Dan Jones), ANCHORMAN (Alex Wurman), AND NOW LADIES AND GENTLEMEN (Michel Legrand), AND STARRING PANCHO VILLA AS HIMSELF (Joseph Vitarelli), ANYTHING ELSE (Dick Hyman), AROUND THE BEND (David Baerwald), AROUND THE WORLD IN EIGHTY DAYS (Trevor Jones), ASA NU MAAN WATAN (Jaidev), THE ASSASSINATION OF RICHARD NIXON (Steven M. Stern), AT FIVE IN THE AFTERNOON (Mohammed Reza Darvishi), THE AVIATOR (Howard Shore)
  • BAADASSSSS! (Tyler Bates), BACK TO GAYA (Michael Kamen), BAD EDUCATION (Alberto Iglesias), BAD SANTA (David Kitay), BAPTISTS AT OUR BARBECUE (Greg Duckwitz), THE BARBARIAN INVASIONS (Pierre Aviat), BARBERSHOP 2: BACK IN BUSINESS (Richard Gibbs), BARDAASHT (Himesh Reshammiya), BARTLEBY (Seth Asarnow), BATTLE ROYALE II: THE REQUIEM (Masamichi Amano), BEAUTIFUL JOE (John Altman), BEING JULIA (Mychael Danna), BENJI: OFF THE LEASH (Anthony Di Lorenzo), THE BEST TWO YEARS (Michael McLean), BETWEEN STRANGERS (Zbigniew Preisner), BEYOND BORDERS (James Horner), BEYOND THE GATES (Ron Owen), BEYOND THE SEA (John Wilson and Christopher Slaski), THE BIG BOUNCE (George S. Clinton), BIG FISH (Danny Elfman), BIG GIRLS DON'T CRY (Nicklas Frisk and Andreas Mattson), BILLABONG ODYSSEY (Dorian Cheah), BIRTH (Alexandre Desplat), BLADE: TRINITY (Ramin Djawadi and The RZA), BLESSED (Stephen Jones), BLIND FLIGHT (Stephen McKeon), BLIND SHAFT (Yadong Zhang), THE BLUE BUTTERFLY (Stephen Endelman), BLUE COLLAR COMEDY TOUR RIDES AGAIN (James S. Levine), BLUE GATE CROSSING (Chris Hou), BLUEBERRY (Jean-Jacques Hertz and François Roy), BOBBY JONES: STROKE OF GENIUS (James Horner), BON VOYAGE (Gabriel Yared), BONJOUR M. SHLOMI (Jonathan Bargiora), BOOKIES (Christopher Tyng), BORN INTO BROTHELS (John McDowell), BOUGHT AND SOLD (Joe Delia), THE BOURNE SUPREMACY (John Powell), BREAKIN' ALL THE RULES (Marcus Miller), BRIDE AND PREJUDICE (Craig Pruess), BRIDGET JONES: THE EDGE OF REASON (Harry Gregson-Williams), BRIGHT FUTURE (Pacific 231), BRING IT ON AGAIN (Paul Haslinger), BROKEN LIZARD'S CLUB DREAD (Nathan Barr), BROKEN WINGS (Avi Belleli), BROTHER TO BROTHER (Marc Anthony Thompson), BUBBA HO-TEP (Brian Tyler), BUKOWSKI: BORN INTO THIS (James Stemple), THE BULGARIAN LOVERS (Antonio Meliveo), THE BURIAL SOCIETY (George Blondheim), BUS 174 (Sacha Amback and João Nabuco), BUSH'S BRAIN (David Friedman and Michelle Shocked), THE BUTTERFLY EFFECT (Michael Suby)
  • THE CALCIUM KID (Andy Dean and Ben Wolfe), CALLAS FOREVER (Alessio Vlad), CAMPING SAUVAGE (Ramachandra Bocar), CARANDIRU (Andre Abujamra), CARLOS CASTANEDA: ENIGMA OF A SORCERER (Robert Feldman), THE CAT IN THE HAT (David Newman), CATCH THAT KID (George S. Clinton), CATWOMAN (Klaus Badelt), CELLULAR (John Ottman), CELSIUS 41.11: THE TRUTH BEHIND THE LIES OF FAHRENHEIT 9/11 (Larry Gatlin), CHAMELI (Sandesh Shandilya), CHAOS (Kenji Kawai), CHARLIE (Stephen Parsons), CHASING LIBERTY (Christian Henson), CHEAPER BY THE DOZEN (Christophe Beck), CHEATS (Mark Mothersbaugh), CHEETAH GIRLS (John Van Tongeren), CHOOCH (Kerry Muzzey), CHRISTMAS WITH THE KRANKS (John Debney), THE CHRONICLES OF RIDDICK (Graeme Revell), THE CHRONICLES OF RIDDICK: DARK FURY (Machine Head), CHURCHILL: THE HOLLYWOOD YEARS (Simon Boswell), A CINDERELLA STORY (Christophe Beck), CITY OF GHOSTS (Tyler Bates), THE CLEARING (Craig Armstrong), CLIFFORD'S REALLY BIG MOVIE (Jody Gray), CLOSE CALL (Steve Chesne), CLOSE YOUR EYES (Simon Boswell), CLOSER (Damien Rice), CODE 46 (David Holmes), THE CODE (Thierry Robin), COLD CREEK MANOR (Mike Figgis), COLLATERAL (James Newton Howard), THE COMPANY (Van Dyke Parks), CONFESSIONS OF A TEENAGE DRAMA QUEEN (Mark Mothersbaugh), CONFIDENCES TROP INTIMES (Pascal Estève), CONNIE AND CARLA (Randy Edelman), CONSPIRACY OF SILENCE (Stephen Parsons), CONTROL ROOM (Thomas De Renzo), THE COOKOUT (Camara Kambon), THE COOLER (Mark Isham), THE CORPORATION (Leonard Paul), COWBOYS AND ANGELS (Stephen McKeon), CRIME SPREE (Rupert Gregson-Williams), CRIMINAL (Alex Wurman), CRIMSON GOLD (Peyman Yazdanian), CRUEL INTENTIONS 3 (David Reynolds), CRUTCH (Ben Goldberg), CRYING LADIES (Vincent De Jesus), THE CUCKOO (Dimitri Pavlov)
  • THE DANGEROUS LIVES OF ALTAR BOYS (Marco Beltrami), DANNY DECKCHAIR (David Donaldson and Steve Roche), DANS UNE GALAXIE PRES DE CHEZ VOUS (Michel Cusson), DARK WOLF (Geoff Levin), DARKNESS (Carlos Cases), DAWN OF THE DEAD (Tyler Bates), THE DAY AFTER TOMORROW (Harald Kloser), A DAY WITHOUT A MEXICAN (Juan Colomer), DEAD MAN'S SHOES (Aphex Twin), DEAR FRANKIE (Alex Heffes), DEATH TO SMOOCHY (David Newman), DECOYS (Daryl Bennett and Jim Guttridge), DEEP BLUE (George Fenton), DEEWAAR (Aadesh Shrivastava), THE DELICATE ART OF PARKING (James Jandrisch and Daniel Saguin), DE-LOVELY (Stephen Endelman), DESERTED STATION (Peyman Yazdanian), DETENTION (Amin Bhatia), DEV (Aadesh Shrivastava), DEVIL'S ARITHMETIC (Frederic Talgorn), DHOOM (Pritam-Sulaiman), DICKIE ROBERTS: FORMER CHILD STAR (Christophe Beck), DIG! (Kim Randall), DIL NE JISE APNA KAHA (A.R. Rahman and Himesh Reshammiya), DIRTY DANCING: HAVANA NIGHTS (Heitor Pereira), A DIRTY SHAME (George S. Clinton), DIVAN (Frank London), DODGEBALL: A TRUE UNDERDOG STORY (Theodore Shapiro), DOING HARD TIME (Robert Duncan), THE DOOR IN THE FLOOR (Marcelo Zarvos), DOPAMINE (Eric Holland), DOUBLE VISION (Sin-Yun Lee), DRACULA 3000 (Michael Hoenig), DREAM WARRIOR (Tim Jones), THE DREAMERS (Nick Laird-Clowes), DRUMLINE (John Powell), THE DUST FACTORY (Luís Enríquez Bacalov)
  • EASY (Grant Lee Phillips), EAT THIS NEW YORK (Matt Anthony and Stephen O'Reilly), EFFROYABLES JARDINS (Zbigniew Preisner) ELLA ENCHANTED (Nick Glennie-Smith), ELVIS GRATTON XXX (Dan Bigras), THE EMPEROR'S NEW CLOTHES (Rachel Portman), END OF THE CENTURY: THE STORY OF THE RAMONES (Tracy McKnight),ENDURING LOVE (Jeremy Sams), ENVY (Mark Mothersbaugh), ETERNAL SUNSHINE OF THE SPOTLESS MIND (Jon Brion), EULOGY (George S. Clinton), EUROTRIP (James L. Venable), THE EVENT (Christophe Beck), EVIL REMAINS (Elmo Weber), EXORCIST: THE BEGINNING (Trevor Rabin)
  • FABLED (Jack Lingo), FACE (Han Na Lee), FACING WINDOWS (Andrea Guerra), FADE TO BLACK (Shawn "Jay-Z" Carter), FAHRENHEIT 9/11 (Jeff Gibbs), FAKERS (Kevin Sargent), FALCONS (Hilmar Örn Hilmarsson), FASTER (Tomandandy), FAT ALBERT (Richard Gibbs), FEAR OF THE DARK (Johann Martin and Rudy Toussaint), FEAR X (Brian Eno), FIDA (Anu Malik), THE FINAL CUT (Brian Tyler), FINDING NEVERLAND (Jan A.P. Kaczmarek), THE FIRST $20 MILLION IS ALWAYS THE HARDEST (Marco Beltrami), FIRST DAUGHTER (Michael Kamen), A FISH WITHOUT A BICYCLE (Didier Rachou), FIVE CHILDREN AND IT (Jane Antonia Cornish), FLAVORS (Mahesh Shankar), FLIGHT OF THE PHOENIX (Marco Beltrami), THE FOG OF WAR (Philip Glass), THE FOOTBALL FACTORY (Ivor Guest), A FOREIGN AFFAIR (Todd Capps), FOREVER MINE (Angelo Badalamenti), THE FORGOTTEN (James Horner), FRANKENFISH (Ryan Beveridge), FRANKIE AND JOHNNY ARE MARRIED (Don Peake), FREEZE FRAME (Debbie Wiseman), FRIDAY NIGHT LIGHTS (Deane Ogden)
  • G.O.R.A. (Ozan Colakoglu), GAMES PEOPLE PLAY: NEW YORK (James Ronald Whitney), GANG OF ROSES (Michael Cohen), GARAGE DAYS (Anthony Partos), GARDEN STATE (Chad Fisher), GARFIELD (Christophe Beck), GARV (Anu Malik), GASOLINE (Massimo Zamboni), GAYAB (Ajay Atul and Amar Mohile), GAZ-BAR BLUES (Guy Bélanger), GHOST IN THE SHELL 2: INNOCENCE (Kenji Kawai), GHOST ROCK (Jeff Macdonald), GINGER SNAPS: UNLEASHED (Kurt Swinghammer), THE GIRL NEXT DOOR (Paul Haslinger), GIRL WITH A PEARL EARRING (Alexandre Desplat), GODSEND (Brian Tyler), GOING UPRIVER: THE LONG WAR OF JOHN KERRY (Philip Glass), GOLDFISH MEMORY (Richie Buckley), GOLDWYN: THE MAN AND HIS MOVIES (Robert Israel), GONE DARK (Norman Orenstein), GOODBYE LENIN (Yann Tiersen), GOTHIKA (John Ottman), GOZU (Kôji Endo), GRAND THEFT PARSONS (Richard G. Mitchell), THE GREEN BUTCHERS (Jeppe Kaas), GREENDALE (Neil Young), THE GRUDGE (Christopher Young), GUERILLA: THE TAKING OF PATTY HEARST (Gary Lionelli), GYPSY '83 (Marty Beller)
  • HAIR SHOW (Bob Francis), HAROLD AND KUMAR GO TO WHITE CASTLE (David Kitay), HARRY POTTER AND THE PRISONER OF AZKABAN (John Williams), THE HAUNTED MANSION(Mark Mancina), HEAD IN THE CLOUDS (Terry Frewer), HELLBOY (Marco Beltrami), HELLBREEDER (Johannes Roberts), HENRY VIII (Robert Lane), HER MAJESTY (William Ross), HERO (Tan Dun), HIDALGO (James Newton Howard), HIGHWAYMEN (Mark Isham), THE HITCHER II: I'VE BEEN WAITING (Joseph Kraemer), THE HOLE (Clint Mansell), A HOME AT THE END OF THE WORLD (Duncan Sheik), HOME ON THE RANGE (Alan Menken), THE HOME TEACHERS (Cody Hale), HONEY (Mervyn Warren), THE HONEYMOONERS (Niall Byrne), HOTEL RWANDA (Andrea Guerra and Rupert Gregson-Williams), HOUSE OF FLYING DAGGERS (Shigeru Umebayashi), HOUSE OF SAND AND FOG (James Horner), HOUSE OF THE DEAD (Reinhard Besser), HOW TO DRAW A BUNNY (Max Roach), HOWARD ZINN: YOU CAN'T BE NEUTRAL ON A MOVING TRAIN (Richard Martinez), HULCHUL (Vidyasagar), HUM TUM (Jatin-Lalit), THE HUMAN STAIN (Rachel Portman), THE HUNTING OF THE PRESIDENT (Bruce Miller)
  • I (HEART) HUCKABEES (Jon Brion), I AM DAVID (Stewart Copeland), I ROBOT (Marco Beltrami), ICHI THE KILLER (Seiichi Yamamoto), I'LL SLEEP WHEN I'M DEAD (Simo n Fisher-Turner), I'M NOT SCARED (Ezio Bosso and Pepo Scherman), IMAGINARY HEROES (Deborah Lurie), IMAGINING ARGENTINA (George Fenton), IN CASABLANCA ANGELS DON'T FLY (Stephan Micus), IN GOOD COMPANY (Stephen Trask), IN THE FACE OF EVIL: REAGAN'S WAR IN WORD AND DEED (Scott Knight), IN THE REALMS OF THE UNREAL (Jeff Beal), INCANTATO (Riz Ortolani), INCIDENT AT LOCH NESS (Henning Lohner), THE INCREDIBLES (Michael Giacchino), INFERNAL AFFAIRS (Wing Chan Kwong), INFERNAL AFFAIRS 2 (Wing Chan Kwong), THE INHERITANCE (Halfdan E), INSIDE I'M DANCING (David Julyan), INTO THE MIRROR (Il Won), INTOXICATING (William Tabanou), IRON LADIES 2 (Amornpong Methakunawat), THE ISLE (Sang Yun Jeon), IT'S ALL ABOUT LOVE (Nikolaj Egelund)
  • JACK PARADISE (James Gelfand and Daniel Mercure), JAMES' JOURNEY TO JERUSALEM (Ehud Banai and Noam Halevi), JAPANESE STORY (Elizabeth Drake), JERSEY GIRL (James L. Venable), JOHNSON FAMILY VACATION (Richard Gibbs), JULIE (Himesh Reshammiya), JU-ON: THE GRUDGE (Shiro Sato)
  • KAENA: THE PROPHECY (Farid Russlan), KEYS TO THE HOUSE (Franco Piersanti), KHAKEE (Ram Sampath), KICKBOXER 4: THE AGRESSOR (Anthony Riparetti), KILL BILL: VOLUME 2 (The RZA), KING ARTHUR (Hans Zimmer), KING OF THE ANTS (Bobby Johnston), KINSEY (Carter Burwell), KISMAT (Anand Raaj Anand), KISS OF LIFE (Murray Gold), KITCHEN STORIES (Hans Mathisen), KONTROLL (Neo), KYUN! HO GAYA NA (Shankar-Ehsaan-Loy)
  • L.A. TWISTER (Steven Gutheinz), LA TURBULENCE DES FLUIDES (Simon Cloquet), LADDER 49 (William Ross), LADIES IN LAVENDER (Nigel Hess), THE LADYKILLERS (Carter Burwell), LAKEER (A.R. Rahman), LAKSHYA (Shankar-Ehsaan-Loy), LANA'S RAIN (William Brown), THE LAST KISS (Paolo Buonvino), THE LAST LIFE IN THE UNIVERSE (Hualongpong Riddim), THE LAST SAMURAI (Hans Zimmer), THE LAST SHOT (Rolfe Kent), THE LAST VICTORY (Wouter Van Bemmmel), LATTER DAYS (Eric Allaman), LAWS OF ATTRACTION (Edward Shearmur), LAYER CAKE (Lisa Gerrard), LE DERNIER TUNNEL (Michel Corriveau), LEMONY SNICKET'S A SERIES OF UNFORTUNATE EVENTS (Thomas Newman), LEO (Mark Adler), LES CHORISTES (Bruno Coulais), LET'S GET FRANK (The Angel), A LETTER TO TRUE (John Leftwich), THE LIFE AND DEATH OF PETER SELLERS (Richard Hartley), THE LIFE AQUATIC (Mark Mothersbaugh), LIGHTNING IN A BOTTLE (Steve Jordan), L'INCOMPARABLE MADEMOISELLE C (Michel Corriveau), THE LION KING III: HAKUNA MATATA (Don Harper), LITTLE BLACK BOOK (Christophe Beck), LOOK AT ME (Philippe Rombi), LOONEY TUNES: BACK IN ACTION (Jerry Goldsmith), LOST IN TRANSLATION (Kevin Shields), LOST JUNCTION (Normand Corbeil), LOVE DON'T COST A THING (Richard Gibbs), LOVE LETTERS (Lee Holdridge), LOVE ME IF YOU DARE (Philippe Rombi), LOVE SEX AND EATING THE BONES (Kenny Neal), A LOVE SONG FOR BOBBY LONG (Nathan Larson), LUCKY 7 (Danny Lux)
  • THE MACHINIST (Roque Baños), MADHOSHI (Roop Kumar Rathod), MAESTRO (Malcolm Brooks and Rushmore De Nooyer), MAIN HOON NA (Anu Malik), MALIBU'S MOST WANTED (John Van Tongeren), MAMBO ITALIANO (F.M. Le Sieur), MAN DANCIN' (Colin Towns), MAN ON FIRE (Harry Gregson-Williams), THE MANCHURIAN CANDIDATE (Rachel Portman), MANIC (Michael Linnen and David Wingo), MARCI X (Mervyn Warren), MARIA FULL OF GRACE (Jacobo Lieberman and Leonardo Heiblum), MARTIN AND ORLOFF (Roy Nathanson and Bill Ware), MASKED & ANONYMOUS (Bob Dylan), MASTI (Anand Raaj Anand), MAYOR OF THE SUNSET STRIP (Anthony Marinelli), MEAN CREEK (Tomandandy), MEAN GIRLS (Rolfe Kent), MEET THE FOCKERS (Randy Newman), MEMORIES OF MURDER (Taroh Iwashiro), MEN WITH BROOMS (Jack Lenz), THE MERCHANT OF VENICE (Jocelyn Pook), METALLICA: SOME KIND OF MONSTER (Metallica), MIAOU! (Peter Vermeersch), MICKEY (Guy Moon), MICKEY'S TWICE UPON A CHRISTMAS (Stephen James Taylor), MIDDLETON'S CHANGELING (Brian Gray), A MIGHTY WIND (Jeffrey C. J. Vanston), MILLENNIUM MAMBO (Yoshihiro Hanno and Giong Lim), MILLION DOLLAR BABY (Clint Eastwood), MIRACLE (Mark Isham), THE MIRACLE OF BERN (Marcel Barsotti), THE MISSING (James Horner), MONA LISA SMILE (Rachel Portman), MONICA LA MITRAILLE (Michel Cusson), MONSTER (Brian Transeau), MOOLADE (Boncana Maiga), MOTO X KIDS (Boris Zelkin), THE MOTORCYCLE DIARIES (Gustavo Santaolalla), MR. 3000 (John Powell), THE MUDGE BOY (Marcelo Zarvos), MUHSE SHAADI KAROGI (Anu Malik), MUSAFIR (Vishal-Shekhar), MUSKAAN (Nikhil-Vinay), MXP: MOST EXTREME PRIMATE (Brahm Wenger), MY ARCHITECT (Joseph Vitarelli), MY BABY'S DADDY (Richard Gibbs), MY BOSS'S DAUGHTER (Teddy Castellucci), MY HOUSE IN UMBRIA (Claudio Capponi), MY MOTHER LIKES WOMEN (Juan Bardem), MY SUMMER OF LOVE (Will Gregory and Alison Goldfrapp), MYSTICS (Stephen Warbeck)
  • NAPOLEON DYNAMITE (John Swihart), NASCAR 3D (Eric Colvin), NATHALIE… (Michael Nyman), NATIONAL LAMPOON'S DORM DAZE (David Berrel), NATIONAL LAMPOON'S GOLD DIGGERS (Chris Horvath), NATIONAL TREASURE (Trevor Rabin), NEVER DIE ALONE (George Duke), NEW YORK MINUTE (George S. Clinton), NICOTINA (Fernando Corona), NIGHTSTALKER (Ryan Beveridge), NO GOOD DEED (Jeff Beal), NO TURNING BACK (Steven Chesne), NO VACANCY (Alex Wurman), NOEL (Alan Menken), NORTHFORK (Stuart Matthewman), THE NOTEBOOK (Aaron Zigman), NOUVELLE-FRANCE (Patrick Doyle)
  • OCEAN'S TWELVE (David Holmes), OFF THE LIP (Andrew Gross), OLDBOY (Yeong-Wook Jo), OMEGA DOOM (Anthont Riparetti), ONE FOR THE ROAD (Steve Blackman), ONE LAST CHANCE (Donald Shaw), OPEN RANGE (Michael Kamen), OPEN WATER (Graeme Revell), OSAMA (Mohammed Reza Darvishi), THE OTHER SIDE OF THE BED (Roque Baños), OUR HOUSE (David Newman), OUTFOXED: RUPERT MURDOCH'S WAR ON JOURNALISM (Nicholas O'Toole), OWNING MAHOWNEY (Richard Grassby-Lewis)
  • P.S. (Craig Wedren), PAAP (Anu Malik), PAPARAZZI (Brian Tyler), PAPER CLIPS (Charlie Barnett), PARADISE IS SOMEWHERE ELSE (Ansari Saeed), THE PASSION OF THE CHRISTTHE (John Debney), PAULY SHORE IS DEAD (Lanny Cordola and Matt Sorum), PAYCHECK (John Powell), PEOPLE I KNOW (Terence Blanchard), PERFECT OPPOSITES (Brian Tyler), THE PERFECT SCORE (John Murphy), THE PHANTOM OF THE OPERA (Andrew Lloyd-Webber), PHIR MILENGE (Shankar-Ehsaan-Loy), PHOENIX BLUE (Stephen Parsons), PHONE (Sang Ho Lee), PIECES OF APRIL (Stephen Merritt), PLAIN DIRTY (Nathan Barr), PLAN (Anand Raaj Anand), THE POLAR EXPRESS (Alan Silvestri), PREY FOR ROCK & ROLL (Stephen Trask), PRIMER (Shane Carruth), THE PRINCE AND ME (Jennie Muskett), THE PRINCE AND THE SURFER (Erik Lundmark), THE PRINCESS AND THE PAUPER (Arnie Roth), THE PRINCESS DIARIES 2: ROYAL ENGAGEMENT (John Debney), THE PRINCIPLES OF LUST (Andy Cowton), PROTEUS (Yuval Ron), THE PUNISHER (Carlo Siliotto), PURPLE BUTTERFLY (Jörg Lemberg), PURSUED (Joey Newman)
  • QUICKSAND (Kurt Harpel)
  • RADIO (James Horner), RAISE YOUR VOICE (Machine Head), RAISING HELEN (John Debney), RAJA (Philippe Sarde), RAKHT (Anand Raaj Anand), THE RANCH (Nathan Larson), RAY (Craig Armstrong), THE REAL CANCUN (Michael Suby), THE RECKONING (Mark Mancina), RECONSTRUCTION (Thomas Knak), REDEMPTION (Fred Capitelli), RELATIVE EVIL (Stephen Endelman), REMEMBER ME MY LOVE (Paolo Buonvino), RESIDENT EVIL: APOCALYPSE (Jeff Danna), THE RETURN (Andrei Dergachyov), THE RETURNER (Akihiko Matsumoto), RIDING THE BULLET (Nicholas Pike), RIVERS AND TIDES (Fred Frith), ROBOT STORIES (Rick Knutsen), ROSENSTRASSE (Loek Dikker), RRRRRRR!!! (Frederic Talgorn), RUDRAKSH (Shankar-Ehsaan-Loy), RUN RONNIE RUN (Eban Schletter), RUNAWAY JURY (Christopher Young)
  • S21: THE KHMER ROUGE KILLING MACHINE (Marc Marder), THE SADDEST MUSIC IN THE WORLD (Christopher Dedrick), SAINTS AND SOLDIERS (Bart Hendrickson), SAMANTHA: AN AMERICAN GIRL HOLIDAY (Chris Hajian), SAVE THE GREEN PLANET (Dong Jun Lee), SAVED! (Christophe Beck), SAW (Charlie Clouser), SCARY MOVIE 3 (James L. Venable), SCHOOL FOR SEDUCTION (Mark Thomas), THE SCHOOL OF ROCK (Craig Wedren), SCOOBY-DOO 2: MONSTERS UNLEASHED (David Newman), SCOOBY-DOO AND THE LOCH NESS MONSTER (Thomas Chase), SCORCHED (Bobby Johnston), THE SEA INSIDE (Alejandro Amenábar), SECRET THINGS (Julien Civange), SECRET WINDOW (Philip Glass), SEDUCING DOCTOR LEWIS (Jean-Marie Benôit), SEED OF CHUCKY (Pino Donaggio), SEEING OTHER PEOPLE (Alan Elliott), SEX LIVES OF THE POTATO MEN (François Carles), SHADE (James Johnzen and Christopher Young), SHALL WE DANCE? (Gabriel Yared), SHAOLIN SOCCER (Raymond Wong), SHARK TALE (Hans Zimmer), SHATTERED GLASS (Mychael Danna), SHAUN OF THE DEAD (Dan Mudford), SHE HATE ME (Terence Blanchard), SHIKAAR (Anand Raaj Anand), SHORT CUT TO NIRVANA: KUMBH MELA (Bob Muller), SHOWBOY (Daniele Luppi), SHREK 2 (Harry Gregson-Williams), SIDEWAYS (Rolfe Kent), SILVER CITY (Mason Daring), SIN (Michael Giacchino), SINCE OTAR LEFT (Antoine Duhamel), THE SKULLS 3 (Mark Killian), SKY CAPTAIN AND THE WORLD OF TOMORROW (Edward Shearmur), SLEEPOVER (Deborah Lurie), A SLIPPING DOWN LIFE (Peter Himmelman and Robin Hitchcock), THE SNOW WALKER (Mychael Danna), SO CLOSE (Sam Kao and Kenji Tan), SOMETHING'S GOTTA GIVE (Hans Zimmer), SOUL PLANE (Christopher Lennertz and The RZA), SPANGLISH (Hans Zimmer), SPARE PARTS (Igor Leonardi), SPARTAN (Mark Isham), SPECIES III (Elia Cmiral), SPIDER-MAN 2 (Danny Elfman), SPIN (Todd Boekelheide), SPINNING BORIS (Jeff Danna), SPIVS (David Julyan), SPONGEBOB SQUAREPANTS: THE MOVIE (Gregor Narholz), SPRING SUMMER FALL WINTER... AND SPRING (Ji-Woong Park), SPRINGTIME IN A SMALL TOWN (Zhao Li), STAGE BEAUTY (George Fenton), STANDER (David Holmes), STARK RAVING MAD (John Digweed and Nick Muir), STARSHIP TROOPERS 2: HEROES OF THE FEDERATION (John Morgan and William Stromberg), STARSKY & HUTCH (Theodore Shapiro), THE STATEMENT (Normand Corbeil), STATESIDE (Joel McNeely), THE STATION AGENT (Stephen Trask), STEP INTO LIQUID (Richard Gibbs), THE STEPFORD WIVES (David Arnold), THE STORY OF THE WEEPING CAMEL (Marcel Leniz and Marc Reidinger), STRAIGHT-JACKET (Stephen Edwards), STRAYED (Philippe Sarde), STUCK ON YOU (Michael Andrews), SUPER SIZE ME (Steve Horowitz), SUPERBABIES: BABY GENIUSES 2 (Paul Zaza), SUPERSTAR IN A HOUSEDRESS (Paul Serrato), SURVIVING CHRISTMAS (Randy Edelman), SUSPECT ZERO (Clint Mansell), SUZIE GOLD (Chris Elliott), SWADES (A.R. Rahman), SWING (Gennaro Cannelora), SWITCHBLADE ROMANCE (François Eudes), SWORD OF XANTEN (Ilan Eshkeri), SYLVIA (Gabriel Yared)
  • TAE GUK GI: THE BROTHERHOOD OF WAR (Dong Jun Lee), TAIS-TOI (Marco Prince), TAKING LIVES (Philip Glass), A TALE OF TWO SISTERS (Byung Woo Lee), TANGUY (Pascal Andreacchio), TARNATION (Jonathan Caouette), TATTOO (Martin Todsharow), TAXI (Christophe Beck), TEACHER'S PET (Stephen James Taylor), TEAM AMERICA: WORLD POLICE (Harry Gregson-Williams), THE TERMINAL (John Williams), TESTOSTERONE (Marco D'Ambrosio), THÉRÈSE: THE STORY OF SAINT THÉRÈSE OF LISIEUX (Marie Therese Sokol), THIRD WHEEL (Wendy & Lisa), THIS OLD CUB (Natalie Baartz), THREE BLIND MICE (Éric Neveux), THE THREE MUSKETEERS (Bruce Broughton), THUNDERBIRDS (Hans Zimmer and Ramin Djawadi), TIPTOES (Curt Sobel), TOOLBOX MURDERS (Joseph Conlan), TOOTH (Guy Fletcher), TORQUE (Trevor Rabin), TOUCH OF PINK (Andrew Lockington), TRANSFIXED (Alexandre Desplat), TRAUMA (Alex Heffes), TREKKIES II (Pat Irwin), TREMORS 4: THE LEGEND BEGINS (Jay Ferguson), THE TRIUMPH OF LOVE (Jason Osborn), TROIS: ESCORT (Steven Gutheinz), TROY (James Horner), THE TWILIGHT SAMURAI (Tomita Isao), TWIST (Ron Proulx), TWISTED (Mark Isham), TWO BROTHERS (Stephen Warbeck), TWO MEN WENT TO WAR (Richard Harvey), TYING THE KNOT (Steve De Seve)
  • UNCOVERED: THE TRUTH ABOUT THE IRAQ WAR (Mars Lasar), UNDER THE TUSCAN SUN (Christophe Beck), UNDERTOW (Philip Glass), THE UNITED STATES OF LELAND (Jeremy Enigk), UNSPEAKABLE (Jeff Marsh), UNSTOPPABLE (Louis Febre), UNTOLD SCANDAL (Byung Woo Lee), UPTOWN GIRLS (Joel McNeely)
  • VALENTIN (Luis Salinas and Paul Van Brugge), VAN HELSING (Alan Silvestri), VAN HELSING: THE LONDON ASSIGNMENT (John Van Tongeren), VANITY FAIR (Mychael Danna), VEER ZAARA (Madan Mohan), VERA DRAKE (Andrew Dickson), A VERY LONG ENGAGEMENT (Angelo Badalamenti), THE VILLAGE (James Newton Howard), VIZONTELE TUUBA (Türküler Kardes), VODKA LEMON (Michel Korb and Roustam Sadoyan), VOICES OF IRAQ (Euphrates)
  • WAITING FOR HAPPINESS (Oumou Sangare), WALK THE TALK (Mark O'Connor), WALKING TALL (Graeme Revell), WARRIORS OF HEAVEN AND EARTH (A.R. Rahman), WE DON'T LIVE HERE ANYMORE (Michael Convertino), WELCOME TO MOOSEPORT (John Debney), WELCOME TO THE JUNGLE (Harry Gregson-Williams), WESTENDER (Rob Simonsen), WHAT THE #$*! DO WE KNOW? (Christopher Franke), WHEN THE LAST SWORD IS DRAWN (Joe Hisaishi), WHEN WILL I BE LOVED (Oli Grant), WHERE THE RED FERN GROWS (Jeff Cardoni), WHITE CHICKS (Teddy Castellucci), WHO KILLED BAMBI? (François Eudes), THE WHOLE TEN YARDS (John Debney), WHORE (Javier Navarrete), WICKER PARK (Cliff Martinez), WILBUR WANTS TO KILL HIMSELF (Joachim Holbaek), WILD THINGS 2 (Andrew Feltenstein), WILLARD (Shirley Walker), WIMBLEDON (Edward Shearmur), WIN A DATE WITH TAD HAMILTON! (Edward Shearmur), WISEGIRLS (Keith Forsey), WITHOUT A PADDLE (Christophe Beck), WOMAN THOU ART LOOSED (Todd Cochran), WONDERLAND (Cliff Martinez), WONDROUS OBLIVION (Ilona Sekacz), THE WOODSMAN (Nathan Larson), WOOLY BOYS (Hummie Mann), WORD WARS (Thor Madsen), A WRINKLE IN TIME (Jeff Danna)
  • YEH LAMHE JUDAAI KE (Nikhil-Vinay), YES NURSE NO NURSE (Raymund Van Santen), YOU GOT SERVED (Tyler Bates), YOU'LL GET OVER IT (Michel Portal), YOUNG ADAM (David Byrne), YU-GI-OH!: THE MOVIE (Gil Talmi), YUVA (A.R. Rahman)
  • ZATOICHI (Keiichi Suzuki), ZELARY (Petr Ostrouchov), ZHOU YU'S TRAIN (Shigeru Umebayashi)

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Movie Music U.K is designed and maintained by Jonathan Broxton (c) 2004. All opinions and views expressed on these pages are my own and are in no way intended to reflect those of the University of Sheffield. All photos and album artwork used on Movie Music U.K. are for non-profit making promotional purposes and no copyright infringement is intended.