He’s listed in the credits, and there’s a whole thing about him in the special features.
WRT West Side Story, South Pacific, and The Lion King, do musicals really count? Except for some incidental music, those scores were not specifically written for film format, they were written for the stage. They were later adapted to film.
Yeah, I am researching like a motherfuck, now, and I see that a lot of stuff that I credited him for, I was just way off. I thought I knew his style, but I guess a Wu Tang master has many styles, and I don’t know him as well as I thought.
For instance, I would have sworn that the battle scene between O-Ren and the Bride in the garden…when O-Ren removes her sandals and pushes them back, and that clappy, hot beat kicks in! Wooo, I love that. Thought that was Rza for sure. Turns out, it is by Santa Esmeralda, and is called “Don’t Let Me be Misunderstood”.
So, the dope is always teaching me something. Actually, I’m having dejavu about this one. Someone may have actually explained this to me before. I will try to remember this time though.
What little original music is from him, but he and Tarantino primarily pulled from existing music libraries (both popular and obscure) for the vast majority of the aural soundscape you hear in both installments.
Just a guess, but it could have been the time that I started this exact same thread, and learned the exact same thing. 
I’d agree with you on the first two, but all the music for King was actually written for the film (Hans Zimmer wrote the film score, E.John & T.Rice the song score) and later adapted into a stage musical.
Star Trek: First Contact
Oh yeah, that’s right. Having never seen either, I’m not that familiar with it.
I’d still kind of argue that a straight-to-film musical is not the same as an original score. The music plays an entirely different role. That’s just IMHO, though.
Yep. I just checked. It was a thread you started. Acetylene told me the name of the song I was looking for, and Archive Guy provided video. Excellent.
The score for Titanic by James Horner.
A Midsummer Night’s Dream, with the Mendelssohn so mesmerizingly adapted by Korngold.
The Adventures of Robin Hood – Korngold again.
Silverado, Broughton.
The Natural, Newman.
Body Heat
Blade Runner
Koyaanisqatsi
Schindler’s List
Right on!
Peter Gabriel’s “Passion”. His score for **The Last Temptation of Christ **wasn’t just a brilliant musical backdrop for the movie–it gave a huge boost to the mainstream popularity of world music.
Witness - the barn raising scene in particular. Nice work by Maurice Jarre.
**Local Hero. **
Absolutely beautiful Knopfleresque* acoustic guitar, interspersed with haunting synth-work (also by Knopfler, I think) that complements it, acting as interludes.
One of the few soundtracks, or instrumental albums I own (rock ‘n’ roll’s all about the lyrics, man). I’ve heard that Mark Knopfler used to, as they were tearing down the stage after Dire Straits concerts, wander out, sit on a case, and play the theme, or maybe it was the more pared-down version: “Wild Theme” (my favorite acoustic piece ever).
Oh, and the movie’s even better. Worth seeing if you haven’t.
Well, if you enjoy beauty and truth and innocence and character and life itself.
*well, if it ain’t a word, it are now. Ceptin’ it be hard to pro-nownce.
I’ve had **Local Hero **on VHS, one of my all time favorites.
I came in to postThe Last of the Mohicans soundtrack. I love the cinematography in this movie too.
Anyway…my picks?
1492: Conquest of Paradise (Vangelis)
Batman (Danny Elfman)
The 13th Warrior (Jerry Goldsmith)
Return to Oz (David Shire)
The Crow (Graeme Revell)
Fellowship of the Rings/Return of the King (Howard Shore)
The Black Hole (John Barry)
Godzilla 1985 (Reijiro Koroku)
I seem to tend towards either “awesomely bombastic” or “horribly moody.” Occasionally “bombastically moody.”
Out of Sight
Midnight Express
And Rocky in second place
Excalibur in 3rd