Intouchables is the official soundtrack to the Oliver Nakache/Eric Toledano-directed comedy-drama based on the true-story relationship between rich quadraplegic Philippe (François Cluzet) and his ex-prisoner hired help Driss (Omar Sy). Its 15 tracks contain snippets of dialogue from the film alongside several instrumentals from Italian composer Ludovico Einaudi ("Fly," "Writing Poems," "Una Mattina"), Vivaldi's Concerto for Two Violins/String Orchestra Op. 3, No. 8, and classic songs from George Benson ("The Ghetto"), Nina Simone ("Feeling Good"), and Terry Callier ("You're Goin' Miss Your Candyman") that are featured prominently in the Tokyo International Film Festival award winner.
John Williams’ awe-inspiring music has been heard by anyone who has ever entered a movie house or seen a Spielberg film on TV. This collection brings you the very best of his themes, from ET to Harry Potter, Indiana Jones to Jaws, Star Wars to Catch Me If You Can. All tracks performed by The City of Prague Philharmonic Orchestra.
Tour de France Soundtracks is the tenth studio album by the German electronic group Kraftwerk, released in August 2003. It was re-released in October 2009 under the title Tour de France. The album was recorded for the 100th anniversary of the first Tour de France bicycle race, although it missed its intended release date for the actual tour.
François de Roubaix (April 3, 1939 in Neuilly-sur-Seine, Hauts-de-Seine – November 22, 1975 in Tenerife, Canary Islands) was a French film score composer.
Passengers is a collaboration between U2 and Brian Eno, so it should come as no surprise that the music on Original Soundtracks 1 is an extension of U2's last album, Zooropa. Under Eno's influence, the group incorporates more ambient electronic soundscapes, which unravel over the course of the album. In fact, Original Soundtracks 1 sounds more like a Brian Eno album than a U2 release, except when the band's knack for anthemic pop songwriting shines through every once and a while.
Despite the fact that he came to prominence in the heyday of Hollywood's great film scores, Hugo Friedhofer never achieved the recognition enjoyed by his contemporaries Miklos Rozsa, Alfred Newman, Bernard Herrmann, and Franz Waxman. This may have been a result of the fact that he tended to score movies that were more noted for their stars than their dramatic content.
Carter Burwell's darkly mysterious orchestrations play a significant stylistic role in both Barton Fink and Fargo, two of the best films from acclaimed independent filmmakers Joel and Ethan Coen, particularly in light of the oft-violent content of the Coens' stories: violence can of course be laughable when the characters are too goofy to be believed, and tragic when the characters are too believable to be goofy, but the Coen brothers' creations are somewhere in between. They strike a precarious balance between a broadly comic Beckett-esque absurdism and a more straightforward, three-dimensional naturalism. Consequently, Burwell's grave, sweeping scores are a crucial reassurance that the Coens are not taking their characters' personal tragedies less seriously than are their audiences.