Screenplaying is a compilation album by British singer-songwriter and guitarist Mark Knopfler, released on 9 November 1993 by Vertigo Records internationally and Warner Bros. Records in the United States. The album contains previously released tracks from Knopfler's soundtrack albums Cal (1984), Last Exit to Brooklyn (1989), The Princess Bride (1987), and Local Hero (1983). In his review for AllMusic, William Ruhlmann gave the album four and a half out of five stars, writing, "The music is reminiscent of the calmer parts of Dire Straits songs: melodic, lyrical, and touching."

Dan Deacon is am award winning composer, recording artist, and performer. Deacon's work in film and television scoring includes projects for major studios and outlets including Netflix, Disney, AppleTV, PBS, ESPN, and HBO. Deacon's score for Jessica Kingdon's Oscar-nominated documentary Ascension won the Outstanding Achievement in Original Music Score award at the 2022 Cinema Eye Honors. His albums Spiderman of the Rings and Bromst were named Best New Music by Pitchfork.

Mutant is proud to present Academy Award-winning composer Michael Giacchino's latest album, Exotic Themes for the Silver Screen – Volume 1, featuring iconic scores from Giacchino's extensive portfolio rendered in the retro lounge style of Exotica from the 1950s.

RITE HERE RITE NOW is Ghost's debut feature film. A unique phantasmagorical blend of mesmerizing live performance & intriguing narrative, started haunting cinemas (nearly 2000 across 50 countries) on June 20. RITE HERE RITE NOW: The Original Motion Picture Soundtrack will be released worldwide on July 26. A fitting 18-song complement to the film, captured at their now-legendary sold-out two-night stand at the Forum, & includes a new single "The Future Is A Foreign Land".

Pretty in Pink[Original Soundtrack] Review by Stephen Cook
As the auteur of post-punk suburban adolescence, director John Hughes appropriately enhanced his '80s movies with relatively harmless new wave soundtracks. Where earlier films like The Breakfast Club and Sixteen Candles included the occasional Wang Chung or Simple Minds track, though, 1986's Pretty in Pink boasted a full lineup of "rock of the '80s" highlights. Foremost, of course, is the Psychedelic Furs' breakout remake of their 1981 college radio favorite "Pretty in Pink"; while it pales in relation to the raw and electric original, this new version still holds up even with some added horns and a general glossing over of the once hard-driving guitar and drum parts. Even better are tracks by OMD ("If You Leave"), Echo & the Bunnymen ("Bring on the Dancing Horses"), and the Smiths ("Please Please Please Let Me Get What I Want"). These era-defining sides certainly help make lukewarm additions like New Order's "Shell-Shock," INXS' "Do Wot You Do," and Belouis Some's "Round, Round" easy to get through. And for more marginal new wave fare, there's Jesse Johnson's Prince-inspired "Get to Know Ya" and Danny Hutton's pop/rocker "Wouldn't It Be Good." Topped off by Suzanne Vega's respectable reworking of her hit "Left of Center," Pretty in Pink qualifies as one of the more relevant youth culture soundtracks.

Michel Legrand was one of the greatest composers of the 20th century. After showing great promise as a jazz arranger — working notably with Dizzy Gillespie, Miles Davis and Bill Evans — he turned his hand to the French “chanson” genre and composed for Boris Vian and Henri Salvador, Jacques Brel or Maurice Chevalier. He then became probably the most famous composer of melodies for France’s Nouvelle Vague filmmakers — Agnès Varda, Jacques Demy, Jean-Luc Godard —, but it was only the beginning, for he went on to be one of the most illustrious film composers in the world. This 10CD set contains his works during that first great period, devoted to all the music released under his name. Patrick FRÉMEAUX

Back when Rainbow Bridge was originally released, it was actually among the best of the posthumous Hendrix releases. Billed as "the original motion picture soundtrack" (it wasn't, really), it was a mix of excellent, finished studio tracks and a couple of live tracks. Despite this, it's understandable why it didn't appeared in the digital realm until 2014 (officially, at least).

A much-needed look at an overlooked side of the genius of Quincy Jones – not his jazz work, not his productions for famous soul artists, but instead his huge legacy of soundtrack material – a part of Q's career that really took off in the 60s! By the time he started working in films, Jones had already had a decade under his belt as one of the hippest arrangers, leaders, and composers in jazz – and the film business really respected those talents, and allowed Quincy to bring some really fresh styles into play – modes that really opened up the vibe of American cinema, and also paved the way for the funky styles of the 70s! As that decade approached, Jones left behind the cinema to take on some more higher-profile records of his own – but all the charms of those great albums can be found here at their roots – in this stunning collection of soundtrack material, some of which has never been on CD. The package is way more than just a sampler – and includes an album's worth of material from the films The Pawnbroker, Slender Thread, Mirage, The Deadly Affair, In The Heat Of The Night, In Cold Blood, Walk Don't Run, The Italian Job, Lost Man, and John & Mary – plus two versions of the love theme from The Getaway, and a bonus CD with 18 tracks – titled Q's highlights, and featuring tracks from his Mercury records – plus more by Billy Preston, Arthur Prysock, Bill Cosby, Shirley Horn, Letta Mbulu, Toots Thielemans, and others. Even features the "Sanford & Son" and "Ironside" themes!

Borrowing a page from his old colleague Brian Eno's catalog, Manzanera delved into the ambient music scene with this release, and he did very well. This is an excellent album full of layered sounds and relaxing melodies. Manzanera teamed up with Paul Williams and Andy Grossart, formed a short-lived band by the name of Nowomowa, and recorded this one CD. It is interesting to note that all of the songs were recorded live off of the floor, with no overdubs. This is quite an achievement given the genre of music. But it does add an element of edge to the music. Compiled from the soundtrack from the film of the same name, Manzanera was able to put together a more complete picture of this music when he reissued it on CD in 1999, and he shifted the artist credit to himself, as opposed to releasing it as the band name. Commercially speaking, this was a wise move. Manzanera fans will enjoy this, as well as fans of ambient music.

The Acolyte, also known as Star Wars: The Acolyte, is an American science fiction television series created by Leslye Headland for the streaming service Disney+. It is part of the Star Wars franchise, set at the end of the High Republic era before the events of the Skywalker Saga, and follows a Jedi investigation into a series of crimes.Michael Abels was hired to compose the score for the series by February 2024. Victoria Monét wrote the end-credits song "Power of Two" with Abels and producer D'Mile. It was released as a single on June 14.

Atlantic Records & Universal Pictures are proud to announce Twisters: The Album - the star-studded musical companion to Twisters, a current-day chapter of the 1996 blockbuster, Twister. The unprecedented album features brand new tracks from Luke Combs and many more. From the producers of the Jurassic, Bourne and Indiana Jones franchises, Twisters is directed by Lee Isaac Chung, the Oscar® nominated writer-director of Minari, and stars Daisy Edgar-Jones (Where the Crawdads Sing), Glen Powell (Top Gun: Maverick) and Anthony Ramos (Transformers: Rise of the Beasts) as equal forces, with opposing motivations, who come together to try to predict, and possibly tame, the immense power of tornadoes.

La-La Land Records, Universal Pictures and Sony Music proudly present a limited edition, remastered and expanded 2-CD release of legendary composer James Horner’s (STAR TREK II – THE WRATH OF KHAN, GLORY, TITANIC) original motion picture score to the timeless 1989 baseball-themed drama FIELD OF DREAMS, starring Kevin Costner, James Earl Jones and Ray Liotta, and directed by Phil Alden Robinson. Maestro Horner’s score to this classic film is a pitch-perfect work that expertly blends synth and orchestra to create a beautiful and deeply-felt tapestry tinged with Americana. Horner’s home run of a score gets the deluxe treatment with this limited edition reissue, remastered from the original digital tapes and expanded with previously unreleased music. Disc One features the expanded original soundtrack, while Disc Two presents the re-mastered 1989 Original Soundtrack Album.

Fly Me to the Moon is a 2024 American period romantic comedy-drama film directed by Greg Berlanti from a screenplay by Rose Gilroy and a story by Bill Kirstein and Keenan Flynn.DANIEL PEMBERTON is an Academy Award-nominated and Emmy winning composer and songwriter who has regularly been cited as one of the most exciting and original new voices working in modern film scoring today. He is known for his testing Chicago 7 (2020), Spider-Man: through Spider-Vdes (2023) and Steve Jobs (2015).

Brian Eno has announced the first-ever collection of his film and television music. It’s titled, appropriately enough, Film Music 1976 – 2020. The album includes songs and themes from classic films like David Lynch’s Dune, Danny Boyle’s Trainspotting, Jonathan Demme’s Married to the Mob, and Michael Mann’s Heat. Film Music will be released on November 13 via UMC. Eno’s work in film, television, and documentary scores and soundtracks spans five decades. He has crafted complete scores for over 20 films. Film Music includes some of Eno’s more recognizable compositions, in addition to seven previously unreleased tracks.

Holland Baroque offers a colourful sonic ride through the microcosmos on this soundtrack for Pim Zwier’s Metamorphosis, a film portraying the extraordinary seventeenth-century natural science artist Maria Sibylla Merian and the fascinating life of the insects she studied. Judith Steenbrink composed new music, combining nature sounds, Baroque-inspired dances and groovy melodies. Together with the sound design by Paul Gies this results in a sound world as iridescent, enticing and original as Zwier’s film.