Many films have gotten the executive treatment from fine musicians. Most recently, we heard Karen O yeah-yeah-yelping up the soundtrack for Where the Wild Things Are. The film, of course, is a sequel to the immensely popular trailer, which featured a mash-up of the Arcade Fire with some serious tom foolery/hijinx in a fuzz-beast filled forest. But Arcade Fire gets their own moment in the cinematic sun as Win Butler and Régine Chassagne (and Final Fantasy's Owen Pallett) provide a soundscape for director Richard Kelly's The Box.
Now, not to jump to conclusions, but Richard Kelly's upcoming film, The Box, is a bit of a hard sell. According to the trailer, which unfortunately does not feature any Arcade Fire or forest frolicking, The Box features Cameron Diaz as a woman with a bad southern accent who gets a button that somehow delivers her a million bucks whenever it is pushed. The catch: someone somewhere in the world dies each time she presses it. Yeah. Really. The director of Donnie Darko (yay!) and Southland Tales (um…), may be able to pull this one off, but only the Magic 8 Ball can tell. The film is out November 6th (pushed back from a Halloween Eve release date), so we will have to wait to hear the fruits of Arcade Fire.
(Sensational scores after the jump)
Although the best musician can't salvage a challenging film, here are some memorable scores by musicians. If we missed any, feel free to let us know in the comments.
Queen made the ridiculous Flash Gordon a little more bearable with their anthemic arena rockers
Queen's Brian May also composed the audio onslaught for Mad Max:
Mike Patton helmed the schizo soundtrack for the amped-up Crank 2:
Vangelis layered synths over Blade Runner's bleak vision of Los Angeles Circa 2019.
The end credits sound a bit like Midnight Juggernauts..
Original Pop Will Eat Itself frontman Clint Mansell has created music for Darren Aronofsky, ranging from drum 'n' bass assaults to baroque classical movements.
Shaft is one badmotha-shut yo' mouth! The legendary Isaac Hayes provided a wah-pedal heavy score that was perfect whether Shaft was chasing crooks or getting down on the couch.
Former Devo weirdo Mark Mothersbaugh has become director Wes Anderson's go-to guy for sorta nostalgic throwbacks and kitschy minimal music.
Amon Tobin curated a haunting, future folk sound for the grotesque and captivating Hungarian film, Taxidermia:
And of course, Onyx and Biohazard joined forces for Judgment Night: