Since before the birth of talkies, music has been one of the most important elements of a film.
Moving, grand, and complex, these scores prove the importance of the art form.
Williams, who has composed some ofthe greatest movie scores of all time, really outdid himself here.
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Meanwhile, “The Incredits” is by farone of the most iconic songs from any superhero movie ever.
It single-handedly manages to elevate the whole movie to an almost transcendental, ethereal dimension.
None of these elements would pack nearly as much of a punch without Powell’s expert score.
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Before 2010, Powell had scored five other DreamWorks Animation films, always accompanied by another composer.
ForRidley Scott’s Best Picture-winningGladiator, he worked alongside Australian singer and composerLisa Gerrard.
Together,they created one of the most epic and hauntingly beautiful scoresof any film of the 2000s.
A perfect encapsulation of what Ancient Rome would probably have sounded like if it had had background music.
Zimmer hasplenty of underrated scores, but this is one that’s more than perfectly rated.
Williams’s score forSorcerer’s Stonetells a self-contained story in and of itself.
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It’s easily one ofWilliams' best and most iconic scores, which is saying something.
Zimmer has never been better than inInterstellar, and it’s quite possible that he never will be.
It’sthe kind of career-best work that cinephiles will surely still be talking abouta century from now.
Shore’s music, quite fittingly, isas gargantuan and larger-than-life as film scores come.
It’s alayered, haunting, dynamic, absolutely gorgeous piece of music for the ages.
NEXT:’80s Movies That Are Synonymous With One Great Song
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