It’s hard to think of a director who so perfectly incorporates the music of his youth better than Cameron Crowe. Hell, his magnum opus, 

is centered around that very idea. The songs that spoke to you as you were coming of age. The glory years, so to speak. Coming-of-age, family, romance, and people in their 20s figuring their lives out are all themes that Crowe explores, with popular songs utilized to express them. That 15-year-old whose passion for music resonated with Rolling Stone magazine would never lose that light inside of him, and it’s clear that his best films contain needle drops that make the message of each story hit home.

One of the most iconic films of the 1980s was based on a book written by a 24-year-old Crowe. It would then be adapted into a feature film in 1982, with the movie version lacking a specific plot or big-name stars. With barely any marketing effort by the studio, the film became a sleeper hit via word of mouth, launching the careers of young actors such as Jennifer Jason Leigh, Eric Stoltz, Judge Reinhold, Nicolas Cage, Forest Whitaker, and Sean Penn.

Nothing screams more 80s feel-good vibes than when Jackson Browne’s “Somebody’s Baby” first comes on in 

Penn’s Jeff Spicoli, a laid-back stoner surfer stumbling out of a retro minivan full of marijuana smoke, will always elicit chuckles. These teenage characters and their intentions, while albeit naughty at times, are still genuine and pure. Young, dumb, and probably a bit too interested in sex for their own good.

A humorous yet ultimately serious romantic drama for teenagers. John Cusack, Ione Skye, and John Mahoney star in this touching story of a good-hearted underachiever pursuing a valedictorian good girl concerning her stubborn divorced father. In his attempts to win over her love, her father encourages her to break up with him, which, of course, leads to absolute heartache. Cheap Trick, Red Hot Chili Peppers, and Depeche Mode all shine in the film’s soundtrack, but there is one artist whose song captures the spirit of what Crowe is trying to say.

Can you name a more iconic 80s teen movie moment than Cusack’s Lloyd Dobler holding up the boombox playing Peter Gabriel’s “In Your Eyes” outside of the love of his life’s house? Ferris Bueller singing The Beatles’ “Twist and Shout” in front of a parade crowd, maybe, but it’s hard to beat just how romantic this scene is and that it’s an iconic 80s tune. Love wins in the end. A cynic may claim that’s false, but when we find out Mahoney’s Jim Court doesn’t quite live up to his righteousness, the hopeful in all of us beg to differ.

Taking his passion for music into the early 90s, Crowe was able to effectively capture the grunge scene phenomenon that was happening at the time in Seattle, Washington. While I wish Kurt Cobain had not turned down the chance to have a Nirvana song featured in the movie, it’s understandable that a love story would not fit the brand that his band was going for at the time (though let’s be real here, a movie featuring Seattle and grunge isn’t complete without that particular band that you may have heard of). A group of Gen X’ers falls in and out of love while aspiring as musicians living in an apartment block (hence the sign “Singles” promoting single-bedroom apartments).

Pearl Jam, Alice in Chains, Soundgarden, and The Smashing Pumpkins shine in this grunge fest of a soundtrack on display. Matt Dillon, Bridget Fonda, Kyra Sedgewick, Campbell Scott, and Bill Pullman, among others, round out the familiar cast of relatable characters. Dillon’s Eddie Vedder-esque character admires Alice in Chains as they perform “Would?” and “It Ain’t Like That” during a live concert scene. 

and their soundtrack effectively helped promote the grunge genre into the mainstream while being more influential than you think on a little television show entitled 

whenever Tom Cruise’s name is brought up (or the Church of Scientology); however, his run in the 80s and 90s when he was working with big-time directors such as Oliver Stone, Rob Reiner, Sydney Pollack, Paul Thomas Anderson, and the late Stanley Kubrick is one to be admired. My personal favorite has to be his work with Crowe in this 1996 sports romantic drama classic. Renee Zellweger, Cuba Gooding Jr. (in an Oscar-winning performance), Kelly Preston, Bonnie Hunt, Regina King, and young Jonathan Lipnicki all chew up the scenery in this knockout punch of a movie.

’s soundtrack leans more reliant on Nancy Wilson’s (Crowe’s wife at the time) remarkable score, there are multiple needle-drop moments worth noting. From Jerry singing Tom Petty’s “Free Fallin’” in his car to Bruce Springsteen’s serene “Secret Garden” punctuating an emotional moment, the film is full of memorable music moments. Paul McCartney’s “Singalong Junk,” an instrumental version of his classic melancholic tune, is expertly used as Jerry and Dorothy become intimate. Even the most jaded of individuals can appreciate how tender, heartfelt, and flat-out sexy the scene is.

An individual such as myself mustn’t be too biased here, as this is my all-time favorite movie, but you’d have to be a real bore to be unable to appreciate this delightful coming-of-age musical drama. It’s the kind of film this site bases itself on, celebrating the very best music moments in movies, and it is the culmination of Crowe’s illustrious career. Patrick Fugit’s acting debut as William Miller is iconic, and he is supported by heavyweights such as Billy Crudup, Frances McDormand, Kate Hudson, Jason Lee, Zoey Deschanel, Anna Paquin, Noah Taylor, and the late Phillip Seymour Hoffman as the unforgettable rock music critic Lester Bangs.

This is simply too stacked of a soundtrack to name just one singular moment. The first 15 minutes are magical, transitioning scenes between Simon & Garfunkel’s “America” into The Who’s “Sparks” flawlessly. Led Zeppelin’s “That’s the Way” and “Tangerine” serve as a mid-road trip moment and the film’s closer, respectively. Nancy Wilson penned the song “Fever Dog” for the fictitious band Stillwater featured, and it’s a legitimate banger. It’s hard not to ultimately choose Elton John’s “Tiny Dancer” as the peak of the movie. Our group puts their frustrations aside to sing this utterly melodic tune. Feel the music and keep on rollin’.

While romance is ultimately infused in this venture, Crowe tries his hand at a science-fiction psychological thriller with this 2001 feature. Cruise is back in the mix, with Penelope Cruz, Cameron Diaz, Jason Lee, and Kurt Russell tearing up the scene. The story tackles nepotism, as Cruise’s David Aames inherits a large publishing company from his father. He leaves the company to his trusted associates while living as a playboy in Manhattan. A love triangle between two women leads to jealousy and an eventual car crash, forcing David to get facial surgery.

Nancy Wilson would once again take over the score of this film, evoking the spirit of Brian Wilson during his 

 era with The Beach Boys. R.E.M., Radiohead, Jeff Buckley, and Bob Dylan are among the artists featured on the soundtrack. Paul McCartney’s “Vanilla Sky,” written for the movie, would receive an Oscar nomination for Best Original Song, and it is the perfect encapsulation of the weird yet comforting fever dream that this film is. It’s more offbeat than his other works, but the Crowe touch is there through and through, both in his ability to incorporate popular music into such a twisted vision and how love will make us do crazy yet courageous things.

All of Crowe’s movies include family dynamics, but this is the one that depicts it head-on, particularly the father-son relationship. Matt Damon plays a widowed father who purchases a zoo with his family in a difficult attempt to prepare the zoo for its reopening to the public. His son Dylan, against the idea of moving away from his friends, becomes more reclusive while being increasingly resentful of his father. He goes against his brother's and his son’s wishes to sustain the family that he had created with his deceased wife. Scarlett Johansson, Thomas Haden Church, Elle Fanning, and Colin Ford are among this capable cast. Such a complex main character arc would require deeper music.

This act of courage from a father to bring his grieving family together encapsulates the totality of Crowe’s career. His special ability to incorporate memorable songs into these films is uniquely shown in his utilization of the talent of Jónsi, lead singer of the Icelandic band Sigur Rós. Crowe had remained in collaboration with the band since featuring their music on 

and his constant listening to their music while making 

ultimately made him make this wise decision. He could’ve gone with Eddie Vedder, Neil Young, or a more popular American artist for the soundtrack, but he stuck to his guns and followed his heart. “Sinking Friendships” perfectly suits the emotional memories scene in the film.

Cameron Crowe's Ultimate Movie Music Playlist

Star-studded ensemble casts, a distinct color palette that’ll make any European cinema-crazed hipster gush, and a dry yet endearing sense of humor all characterize the filmography of Wes Anderson. However, one mustn’t count out how masterfully he incorporates music into his films. Genres such as folk, indie, classic rock, unique covers of classic rock, and more have all infused his works, helping to make the key scenes that much more memorable. He has you covered with delightful scores, but the soundtracks accompanying each movie should have a proper look. Here are the first seven entries in his filmography that all feature key needle-drop moments (

marks his latest era where the use of scores is almost exclusively what accompanies his visual cues), from 1996 to 2012.

Smells like a low-budget 90s independent debut. This explains the few but carefully picked rock songs that would enhance the picture. Owen Wilson’s Dignan rescues his friend played by Luke Wilson’s Anthony (acting debuts for both Wilson brothers) from a voluntary psychiatric unit. He gets him to agree to a plan to pull off several heists and then meets with part-time criminal Mr. Henry, played by the late James Caan. A crime caper dealing with rather disturbed figures certainly needs some fun, catchy tunes to maintain the light-hearted, comedic tone that Wes swims in.

“2000 Man” by the Rolling Stones plays as the climax of the 1996 film ensues, featuring our gang’s final heist being botched by the cops. Most notable, however, is “Over and Done With” by The Proclaimers, a perfect song for the film’s midpoint. It instantly makes you think of Dignan and Anthony and all their lovable eccentricities.

“They’ll never catch me, man, ‘cause I’m f**king innocent.”

For those who yearn for coming-of-age movies with a soundtrack that almost exclusively features British Invasion bands of the 1960s, look no further than Wes’ 1998 classic. Jason Schwartzman (in his film debut) plays Max Fischer, an ambitious 15-year-old who befriends 50-year-old wealthy industrialist Herman Blume, played by Bill Murray (which earned him respect as an actor in independent cinema) in their shared love over elementary school teacher Rosemary Cross, played by British actress Olivia Williams.

Cat Stevens, The Kinks, and John Lennon all get their chance to enhance memorable scenes within the film. It’s the closing number, “Ooh La La” by the Faces, however, that truly hits you in the sweet spot. The chorus encapsulates what makes the movie special. Confident yet inexperienced Max attempting to win over the world through pure passion is something anybody can relate to.

“I wish that I knew what I know now… when I was younger.”

His first major commercial success, and one that remains a fan favorite. It’s as stacked of a cast as it gets- the Wilson brothers back together, Gene Hackman, Gwyneth Paltrow, Ben Stiller, Bill Murray, Angelica Huston, and Danny Glover are all in the mix. Anderson would end up mastering the ensemble cast structure in his later efforts, but one can see why this was so iconic for its time. It’s the peak of dysfunctional families and redemption stories.

It’s what makes the utilization of introspective, provocative songwriters such as Lennon, Bob Dylan, Nick Drake, and Elliott Smith within the soundtrack so impactful. Smith’s “Needle in the Hay” certainly helps numb the pain of a rather uncomfortable sequence, while “These Days” by Nico will always floor the viewer along with Luke Wilson’s Richie when he has a gander at Paltrow’s Margot.

Wes takes familial trauma beneath the sea this time with this quirky, adventure comedy. We have a pretty healthy cast here- Murray and Owen Wilson are back in the game, as well as Cate Blanchett, Angelica Huston, Willem Dafoe, Jeff Goldblum, Michael Gambon, Bud Cort, and Noah Taylor. While it flopped upon its release, it has since become a cult classic and has been remastered by the Criterion Collection.

The whimsical nature of David Bowie in the film’s soundtrack (including covers sung in Portuguese by Seu Jorge, who plays Pelé) fits in perfectly with Murray’s Zissou and all his eccentricities as an oceanographer avenging the shark death of his best friend. Wilson’s Ned joins the documentary crew, claiming to be Zissou’s biological son. Bowie’s “Life on Mars?” plays during this emotional reveal and sets the tone of melancholia for the rest of the picture.

The Life Aquatic with Steve Zissou soundtrack

Wes goes East. The late great Irrfan Khan getting further exposure in Western cinema is what I, as the 90s/00s Hindi cinema devotee, loved most about this West meets East story. Owen Wilson, Adrien Brody, and Jason Schwartzman star as estranged brothers who agree to meet in India after their father’s funeral for a spiritual journey. Naturally, conflict arises between the brothers and it’s a bumpy ride. It’s through those disagreements, however, that their bond strengthens and they can forge a healthy relationship.

The Kinks and the Rolling Stones cover the usual 60s/70s fix, as well as the inclusion of film scores of Bengali filmmaker Satyajit Ray. The Kinks’ “This Time Tomorrow” sticks out most, the uncertainty of the lyrics coupled with Brody anxiously hopping on a train before it’s gone, the picture is what one can call traveler’s soup.

The first animated feature of Wes’ career also happens to be an adaptation of a classic children’s novel by the legendary Roald Dahl. Greed, classism, and family dynamics are all at play here, with memorable voiceover performances from George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Willem Dafoe, and Owen Wilson. Alexandre Desplat’s score received an Oscar nomination. It also marks Wes’s second screenwriting collaboration with writer/director Noah Baumbach (who also uses Bowie in his soundtracks) and his second Oscar nomination for Best Animated Feature.

The Stones’ “Street Fighting Man” roars during a rebellious team-up sequence. Wes had been implementing the band’s work throughout his filmography but this is perhaps the most gripping due to the eye-popping colors and sheer zaniness of these animated characters.

Summer camp for runaways, rejects, and hopeless romantics. 

is considered one of Wes’ magnum opuses as a filmmaker, all of that dry, witty humor, glorious set designs, and ultimate relatability hits a new pinnacle here. I will never not list how stacked the casts in these films are- Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jason Schwartzman, Lucas Hedges, and the debuts of Jared Gilman and Kara Hayward.

Teen mental health, neglectful parents, and Boy Scout life all are spotlighted, with Desplat teaming up with Wes again to compose a thrilling score. Our young lovers Sam and Suzy jam out to "Le Temps de L'Amour" by the late Françoise Hardy, which stands out from the soundtrack. It’s one of the most adorable, unique, and quirky dance sequences out there, and perhaps the peak of young summer love before the parents come and spoil the fun.

Wes Anderson's Ultimate Movie Music Playlist

Cold, calculative, closefisted, and ultimately, utterly compelling. The four C’s best describe David Fincher’s body of work. Considered one of the finest American filmmakers of the modern era, his exceptional career has defined generations, often capturing the zeitgeist at large. Most often diving into the psychological thriller subgenre, his no-nonsense, straight-to-the-point style of filmmaking lends itself to frequently addictive programming (his directed episodes set the tone for 

both captured the spirits of their generations, whether it be angry young men or social media consumers, respectively. His approach to filmmaking is akin to Stanley Kubrick, with every scene shot in his film ranging from 25 to 65 takes, with particular instances where he goes to 100. He expects those around him to work as hard as he does, for better or worse. The soundtrack and score choices suit the chilling themes our razor-sharp perfectionist chooses to explore. We’ve precisely picked his seven best movies and the memorable songs that came with them. Seven feels like the most fitting number, as Fincher has owned that digit since 1995.

The renowned music video director made his feature debut with 

, which received mixed reviews and was later disowned by Fincher, claiming it unfaithful to his vision due to studio interference. He’d face further issues with the studio with the next project, 

, agreeing to do it if the original ending from Andrew Kevin Walker’s script remained intact. Not only did his wish come true, the film was a sleeper hit, putting his career back on track and establishing Brad Pitt as a serious, dramatic actor; also starring Morgan Freeman, Gwyneth Paltrow, Richard Roundtree, R. Lee Ermey, and Kevin Spacey as John Doe, an unforgettable cameo that no one at the time saw coming (Spacey’s name wasn’t promoted on the poster or the trailers).

A rather eclectic mix of songs populate the soundtrack, artists ranging from Marvin Gaye, David Bowie, Charlie Parker, Billie Holiday, and the film’s composer Howard Shore. What really sticks is the wickedly remixed Nine Inch Nails song “Closer (Precursor)” that takes control of our ears as soon as the creepy opening credits roll. This would mark the start of a fruitful creative partnership written by Atticus Ross, as Ross would team up with Trent Reznor to compose the score for many of Fincher’s later films.

A successful investment broker receives a mysterious birthday gift from his brother- to be part of a game embedded into his everyday life. A scent of conspiracy circles through the air as it becomes unclear what is real and what is just part of this supposedly fun game. Simply reading this synopsis puts you on the edge of your seat, and who better than to put this fast-paced thriller onto the screen? Starring Michael Douglas, Sean Penn, Deborah Kara Unger, and James Rebhorn, this unpredictable and flat-out absurd movie refuses to let you take your eyes off it.

Howard Shore is back on the score, heightening the intensity of every increasingly bizarre situation that happens to the 80s sex icon (see 

). Jefferson Airplane’s “White Rabbit” echoes as Douglas finds his home vandalized; the fierce vocals are meant to annoy our protagonist as he has no choice but to obsess over how twisted this game is. The quiet, contemplative “Happy Birthday, Nicholas” accompanies the opening sequence of family home videos. Acclaimed HBO drama 

pays homage to it during its opening credits, highlighting how effective it is to show the power and, at times, limitations that come with being in a wealthy family. You’re the heir to the throne. That is your life. That’s it.

The cult movie to end all cult movies. It is one of the most influential movies ever, not just in cinema but in American culture at large. The frustrated young men of the 90s saw a role model in Tyler Durden. Disillusioned by Kurt Cobain’s death, the Rodney King riots, the OJ Simpson trial, Bill Clinton’s affairs, and everything that was happening in the Middle East at the time, that generation saw a way to channel their anger through the concept of a fight club. The 1999 box office flop starred Brad Pitt, Edward Norton, Helena Bonham Carter, Meatloaf, and Jared Leto.

The eccentric sound of The Dust Brothers permeates throughout the film’s soundtrack, filled with testosterone rage and the sensibilities of an animal let loose. We emphasize how wonderful a perfect closing tune can be to a movie, and it’s hard to come up with a better answer for the most memorable of the 90s than “Where Is My Mind?” by Pixies. This legendary 80s band was the precursor to Nirvana and the grunge era, which makes it oddly fitting that they would close one of the most iconic movies of 1999, the final year of the decade and century. The realest pieces of art will always resonate, no matter its age.

“You met me at a very strange time in my life.”

Another commercial flop that turned into a cult classic. Ahead of its time? Not really; it’s in the vein of Hollywood film noir greats such as 

, so the time had unfortunately passed for a mainstream audience to have the patience to sit through it. The movie depicts the manhunt for the Zodiac killer who wreaked havoc in the San Francisco Bay Area during the late 60s and early 70s, trolling the police with letters and ciphers after each murder. It is a remarkable masterwork of filmmaking, with the intricacies of a small-time detective diving into a case far behind his or most people’s comprehension. Such a detailed, disturbing set of crimes is bound to make anyone appear naive, as this level of sick thinking from a serial killer needs a director unafraid to explore the darker parts of the human psyche. Of course, Fincher would be up for the challenge, and some consider his work here to be his best. Starring Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards, Brian Cox, Elias Koteas, and John Carroll Lynch (Finch said no to women for this casting selection), this once underrated gem has since cemented itself as one of the very best of the 2000s.

We’re dealing with the 60s and 70s here, so there must be some rock and soul classics. Finch’s got you supplied with Marvin Gaye, Santana, Steely Dan, and various others. The standout, however, is Donovan’s “Hurdy Gurdy Man,” which plays in both the opening and closing scenes. Donovan wrote the song in India while studying Transcendental Meditation with The Beatles. This psychedelic folk rock banger is now an iconic villain number. 

Another generation-defining picture. As someone who saw it in theaters in 2010 at age 11, it left an undeniable impression that made me forever love the art form. Fincher’s relentless direction, sprinkled with Aaron Sorkin’s riveting screenplay about the founding of Facebook, makes for a damn tasty cinematic meal. Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Max Minghella, Brenda Song, Rashida Jones, Joseph Mazzello, and Rooney Mara all perform arguably their finest.

Reznor & Ross are back together for their magnum opus with this Academy Award-winning soundtrack. “In Motion” successfully captures the thrill of Zuckerberg hacking into Harvard’s system, the energy of ignorant frat culture, and it also makes you want to stop procrastinating. You had to close this dialogue-heavy movie with a soothing tune, and it’s hard to beat The Beatles’ “Baby, You’re a Rich Man,” a lesser-known classic of theirs. 

“How does it feel to be one of the beautiful people?”

Based on the 2005 novel of the same name, the story revolves around a journalist and computer hacker who team up to discover what happened to a girl from a wealthy family who disappeared 40 years prior. Who will adapt this with class? Never fear, Dave Fincher and Academy Award-winning screenwriter Steve Zallian are here. It stars Daniel Craig, Rooney Mara, Christopher Plummer, Stellan Skarsgård, and Robin Wright.

The soundtrack is longer than the movie. That’s right. It is nearly three hours long, including a cover of Led Zeppelin’s “Immigrant Song” sung by Karen O, which roars during the opening title sequence. Christ, does Finch ever miss with his openings? He announces he’s here with authority.

The Girl with the Dragon Tattoo soundtrack

	Continuing with novel adaptations, this time based on Gillian Flynn’s 2012 work. It is a postmodern mystery that has become one of the finest depictions of a female villain. It is also the highest-grossing movie of Fincher’s career. A man becomes a prime suspect following the disappearance of his wife. He had an affair before this occurrence, and it becomes quite clear that adultery will not go unpunished in this story. Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, and Carrie Coon are all perfectly cast, especially Affleck. Jennifer Lopez would agree.

Influenced by the intense sounds of David Lynch’s movies, Reznor and Ross would craft staccato electronic noises to mix with calmer sounds for the film’s score. “Technically, Missing” accompanies that most memorable scene, the riveting Cool Girl monologue that encapsulates what makes this story unique. She may be a psycho, but she’s speaking to every single woman trapped in a man’s world. 

“You think I’d let him destroy me and end up happier than ever? No fucking way. He doesn’t get to win.”

“I think people are perverts. I’ve maintained that. That’s the foundation of my career,” revealed David Fincher on a DVD bonus featurette for 

After the lukewarm reception of his latest efforts, 

(both have niche, passionate fan bases), it’s unclear where Fincher plans to go next in this stage of his career. He’s proven to be unafraid to take on a big-budget studio picture featuring bonafide movie stars such as 

so it’s clear that he’s comfortably content at this point in his career. He may never reach the heights of 

again, but one thing’s for sure: at least one song in his movie will capture your perverted attention and make you bop your head.

David Fincher’s Ultimate Music Movie Playlist

Outside of, let’s say, blockbuster filmmaker Christopher Nolan, it’s hard to name a writer/director who deals with the passage of time better than Richard Linklater. Born in 1960, he was the prime candidate to be influenced by the popular music of the 70s. Most of his films contain stories that take place within a single day, focusing less on the plot and more on genuine human interactions. He aims to capture a vibe where two or more people meet and create a special energy we viewers want to be a part of. Music, of course, is an essential piece to making that method of filmmaking work, and rest assured, classic tunes from the 70s have made their way onto some of the very best and most personal Linklater pictures.

The entire article could’ve just been songs from this film if we’re being completely honest here. It’s a toss-up between this and George Lucas’ 

for best hangout movie of all time, and damn it, they’re competing for which has the better soundtrack too. So many young actors had their place in the sun in this magnificent depiction of teenagers engaging in gloriously juvenile behavior before high school and college pressures start to kick in. Matthew McConaughey, Parker Posey, Joey Lauren Adams, Milla Jovovich, Adam Goldberg, Cole Hauser, and Ben Affleck are among a talented group of young actors who got to flex their comedic chops.

It’s hard to find a cooler walk-in scene than McConaughey’s Wooderson entering a billiards room with Bob Dylan’s “Hurricane” accompanying his strut. It’s also hard to find a better opening credits jam than Aerosmith’s “Sweet Emotion.” Or a better climactic moment than Lynyrd Skynyrd’s “Tuesday’s Gone,” which turns up as the party starts to cool down. The soundtrack contains some of the biggest rock songs of the 1970s that Linklater can strategically place into his work to make the viewer audibly express that they love this film.

Not just for hopeless romantics- this trilogy is so natural that the harshest of cynics will admit that love still exists by the end of it. Ethan Hawke and Julie Delpy collaborate heavily with Linklater on this romantic drama series, each succeeding film occurring nine years after the last. 

Jesse and Celine meet on a train in Europe and decide to spend the night together in Vienna. The two fall in love and vow to meet again at the same place after six months. They don’t exchange contact information, though, so they don’t actually meet again until nine years have passed and Jesse is on a book signing tour in France.

features the two reconnecting and reminiscing about the fateful night. Their regret over not keeping in touch, or more to the point, getting together, permeates until Jesse is forced to make a decision about his next move.

Check out the full Before Sunset soundtrack here.

features our beloved couple married with children, and the often intense obstacles that come with that lifestyle.

’s record listening booth scene captures your heart the moment you lay your ears on it. Kath Bloom’s “Come Here” soars as our young couple quietly puts together that they will remember this moment and each other forever. 

Jesse puts on a live version of Nina Simone’s “Just in Time” at the end of 

while hanging out at Celine’s apartment. His plane ride back home to New York is coming soon, but it doesn’t matter. 

doesn’t involve niche records getting airtime, but it does end the trilogy with Graham Reynolds’ lovely theme, “The Best Summer of My Life.”

His biggest commercial success while also being one of the best movies about music out there (essentially a tailor-made film to discuss on this website). Jack Black, Joan Cusack, and Sarah Silverman star in this quirky comedy about a struggling musician who sneaks his way onto a substitute teaching job at a strict private school. He turns the class into a rock band, bringing the kids together to do something that they actually want to do. Youth coming together to create a special moment is what Linklater’s all about. This is why he agreed to direct Mike White’s (creator of the hit HBO series, 

Rock legends are sprinkled throughout the soundtrack- Led Zeppelin, The Who, The Doors, Cream, AC/DC, but it is the Jack Black numbers that really kick butt. The titular song features a powerful vocal solo from Maryam Hassan’s Tomika, which helps this eccentric yet undoubtedly passionate man reach his mission to truly rock and roll. He achieves his dream of leading a rock band but does it in the most inspiring way possible by helping bored and repressed children.

critically acclaimed and so memorable is the reason it later received backlash- it took 12 years to make! Some perceived it as a gimmick to appear more profound than the subject matter is. I’d argue that it makes those critics appear more pretentious than the filmmaker they think of as pretentious. As you can see, I am THE Linklater stan of Whatsong Blogs. Ethan Hawke, Patricia Arquette (in an Oscar-winning performance as a single mom putting her heart and soul into raising her children), and Ellar Coltrane star in this touching story of a family of divorce struggling to make things work. We witness Coltrane go through the perils of adolescence- teen drinking, abusive stepdads, awkward romances, the whole nine yards.

Hero’s “Family of the Year” hits you right in the feels as the film climaxes. It’s unforgettable. Our kid is all grown up and ready for college, with the lyrics opening with: “Let me go, I don’t wanna be your hero. I don’t wanna be a big man. Just wanna fight with everyone else.”

One also mustn’t forget Hawke’s Mason Sr. gifting his son The Black Album (no, not the 2003 release, sorry, Jay-Z), a compilation of solo work from members of The Beatles. He reminds his young son that each member was critical to making the band as special as they were. Right after, we hear Paul McCartney and Wings’ “Band On the Run,” easing us into the next scene.

Linklater referred to this absolute blast of a film as a “spiritual sequel” to the comedy classic 

, and honestly, I would argue it’s even funnier. Set in 1980s Texas, a group of college baseball players live together in an off-campus house. They’re presented with very strict house rules, but as we now know, those rules are meant to be broken when it comes to youth depicted in Linklaterian cinema. Blake Jenner, Zoey Deutch, Glen Powell, Tyler Hoechlin, Ryan Guzman, Wyatt Russell, and Austin Amelio are all competing to own any scene they’re in, particularly Powell’s Finn and Amelio’s Nesbit, who are both laugh-out-loud hilarious with any line delivery handed to them. That is a big reason they’d end up starring in Linklater’s latest 

A varied collection of headboppers features on the soundtrack for this movie. An absolutely delightful moment is when the boys sing along while riding around the neighborhood blasting The Sugarhill Gang’s “Rapper’s Delight” (pun absolutely intended). Philosophical stonerism can’t be unmentioned either, with Pink Floyd’s “Fearless” accompanying Wyatt Russell’s Charlie’s ramblings about how language is a construct. The S.O.S. Band’s “Take Your Time (Do It Right)” is meant for the dance floor, and our boys pick up girls like its basic instinct.

Richard Linklater's Ultimate Movie Music Playlist

A generation-defining television series that helped popularize the binge-watch movement, 

’s influence on cinema and pop culture remains a constant. Bryan Cranston stars as Walter White, an aging, underpaid high school chemistry teacher diagnosed with lung cancer. Teaming up with former student Jesse Pinkman, played by Aaron Paul, the two produce and distribute methamphetamine to ensure his family’s financial future before he dies while chartering through a dangerous criminal underworld. For as dramatic and intense as the show is, it contains the blackest of humor within many scenes. What often makes this work so effective are the timely soundtrack choices. Of course, it accompanies the most emotionally devastating and satisfying moments as well. Show creator Vince Gilligan and his team expertly handpick songs with lyrics that capture the mood of any situation involving these remarkably complex characters. We take a closer look at some of the most riveting music moments.

No, Walt still hasn’t completely broken bad here yet. It’s early in the series, and he’s still the good-guy loser who was dealt a bad hand in life. Stressed over the cost of his chemotherapy, he suffers a cough attack while pulling into a gas station. The same jerk who stole his parking spot earlier in the episode also pulls up. Once he leaves the car unattended, Walt takes a squeegee and shorts the car battery, causing it to explode. He knows he’s going to die soon, so why not serve some karma to obnoxious people? A little-known soul cut by Darondo plays, with the lyrics applying to Mr. White’s situation. He did everything right (before the decision to become a criminal mastermind), so he deserves a break, doesn’t he?

One of the first of many badass Heisenberg (Walt’s alter ego as a drug dealer or manufacturer, as he would describe it) moments while this cool little tune by Jonaty Garcia plays. Walt visits Tuco Salamanca’s office, not budging on his price request for the blue crystal meth, which has become a hot commodity within the neighborhood. Tuco also stands his ground, causing Walt to throw a dangerous crystal of fulminate mercury onto the floor, causing an explosion. The bag of what seemed to be crystal meth was, in fact, a weapon in case he didn’t get what he came for. It sets up what’s to come as he dives deeper into the underworld, facing off against the most dangerous figures around.

“Stay out of my territory” is one of the most iconic Heisenberg quotes, right up there with “I am the danger” and “You’re goddamn right,” if not for the sole reason that it’s the first time that Walt enjoys being his alter ego. He sees two men in the parking lot of a hardware store who had bought the same materials to make drugs as he and Jesse. He walks right up to them and states this threatening line, assuring their business remains the go-to spot in the Albuquerque neighborhood.

For as much as Jesse was in love with his landlord Jane (played by Krysten Ritter), she was also an addict and enabler, with this Season 2 scene depicting his first time shooting heroin with her. A classic R&B song from 1959 entitled “Enchanted” by The Platters plays, effectively enhancing his ultimate high, rising above his bed and into pure junkie bliss.

So about that drug heroin- a common slang for it is horse. America’s “A Horse with No Name,” released in 1971, was banned by a few US stations because of that, but it didn’t prevent it from becoming a number one single. Cleverly placed after the events of the Wayfarer crash, where Jane’s dad, Donald (played by John de Lancie), a pilot, loses focus while grieving over his daughter’s death and collides with an oncoming plane. A cop pulls over Walt because the debris of the crash cracked his windshield. This is a prime example of how each needle drop in 

Gustavo Fring, played magnificently by Giancarlo Esposito, is seemingly back in control in Season 4. As the primary antagonist for over two seasons of the series, he effectively turns Walt and Jesse against each other. He takes Jesse under his wing during a trip to Mexico. Gus seeks and gains revenge against the Cartel who killed his partner decades earlier. Once his plan is executed, he walks out of the bathroom in badass villain fashion. Thee Oh Sees’ “Tidal Waves” could fit any poolside party, which makes the murders even more satisfying. Killed on their own turf, making it the last party they’ll ever have.

is packed with anxiety-inducing sequences, but it’s hard to identify this as the signature edge-of-your-seat moment. Gus has just threatened to kill the entire White family, and Walt desperately seeks a way out. When he finds out he doesn’t have enough money to escape, his yelling of the infamous question to Skylar (flawlessly portrayed by Anna Gunn) reeks of fear and panic. A complete mental breakdown ensues, featuring a Joker-esque laugh. Dave Porter’s score is deliciously heart-pumping and fitting to each range of emotion on display.

“We Are Born When We Die” by Apollo Sunshine

We Are Born When We Die - Apollo Sunshine

Apollo Sunshine, an indie rock band, gained recognition after they stopped recording when “We Are Born When We Die” from their final album was featured on the Season 4 soundtrack of the show. In one of the quietest, most cerebral moments, Walt decides to spin his gun on the table a few times to make a cold, calculated decision on how to deal with Gus. The third time he spins it, it points to a plant in his backyard called Lily of the Valley, which contains poisonous berries that Brock, the son of Jesse’s girlfriend, would later eat and nearly die from.

“Gus is dead. We’ve got work to do.” Walt and Jesse quickly burn down the chemical lab where they had been producing crystal meth for months following the death of their cold-blooded distributor Gus. It’s placed in the basement of a laundromat run by Latino workers. This catchy, fast-paced guitar instrumental with Spanish flavor fits the rush of relief and excitement to escape this mess.

“Black” by Danger Mouse & Daniele Luppi

Season 4 ends with Walt besting Gus Fring in their battle for power. All is well in the meth world again, with him and Jesse rekindling their relationship and the White family safe and secure. That is until a slow zoom-in reveals what was suspected of his character, and the lengths he’ll go to protect himself and his interests at the expense of innocents is accurate. “Until you travel to that place you can’t come back…” are vital lyrics of the song “Black” from music producer Danger Mouse & Italian composer Daniele Luppi’s 2011 album 

, sung by Norah Jones, which indicate that our protagonist is far gone in being able to redeem himself after this decision.

“Main Title Theme (Extended)” by Dave Porter

Main Title Theme (Extended) - Dave Porter

Walt lost everything. He was slowly coming to terms with it, too. Everything that mattered to him is gone. It’s all over. That is until his former college buddies Elliott and Gretchen Schwartz appear on Charlie Rose to promote Gray Matter Technologies, a multi-billion dollar company that Walt co-founded. The couple on TV claims that Walt had little to do with the company's development, which is a flat-out lie and an attempt to distance themselves from a now-known evil man. A furious Walt leaves the bar right before law enforcement arrives. He has a final quest. Dave Porter’s theme song for the show is played in full to chilling effect.

Produced by Todd Rundgren and written and recorded by the Welsh rock band Badfinger, our series ends with our protagonist fulfilling his arc. He gets revenge on those who wronged him and secures the future of his loved ones. He dies on his terms. As much as he ruined many lives, he was a man of his word. Whether he’s an anti-hero or a flat-out villain to you, this needle drop fittingly concludes an epic story of greed, power, and how actions do have consequences.

It’s hard to deny how powerful this show was and still is. It would soon spawn the fantastic prequel series 

, with Bob Odenkirk and Jonathan Banks reprising their roles as Saul and Mike. Having binged the show in a couple of days when I was in high school, essentially trapped by its quite literally addictive programming in my room, I can confirm that it will always be the most memorable television viewing experience that I’ll ever have: cheers, Vince Gilligan and company.

The Best Music Moments from Breaking Bad

The 2025 Golden Globes Awards came early this year- what was immediately discussed was rising stand-up Nikki Glaser’s politically driven opening monologue as host, along with awkward camera angles (as called out by Seth Rogen when he was presenting). For those of us who love and appreciate music featured in movies, it was a big night. 

James Mangold’s biopic about the early years of Bob Dylan’s career, received numerous nominations. Musicals 

took home the awards for Best Motion Picture - Musical or Comedy and Cinematic and Box Office Achievement, respectively. We looked closer at the winners and nominees of the two music awards, highlighting how essential a good song or score is to elevate a film.

Trent Reznor, Atticus Ross, "Challengers" — Winner

Indeed, this group has some worthy winners, but the Globes got it right. When the film 

is mentioned in discussion, Reznor and Ross’ electrifying score is always one of the first qualities brought up. Pulsating, riveting electronica makes tennis as frenetic and flat-out sexy as can be. Bertelmann’s 

adds a Hitchcockian element to the suspense permeating underneath what seems to be a bunch of aging men in rooms talking (don’t get me wrong, the banter is brilliant, particularly with Stanley Tucci’s character, but the story’s outcome certainly doesn’t evoke that many jaw-drops). At the same time, Blumberg’s 

score begs the audience to find profundity in each frame. Both are effective, but the work awarded here feels more honest and provocative. It may seem like a game of tennis, but it’s really a battle for one of the more dangerous femme fatales in recent memory.

"El Mal," by Clément Ducol, Camille and Jacques Audiard (from "Emilia Pérez") — Winner

"Mi Camino," by Clément Ducol and Camille (from "Emilia Pérez")

"Beautiful That Way," by Miley Cyrus, Lykke Li, and Andrew Wyatt (from "The Last Showgirl")

"Compress/Repress," by Trent Reznor, Atticus Ross & Luca Guadagnino (from "Challengers")

"Forbidden Road," by Robbie Williams, Freddy Wexler & Sacha Skarbek ("Better Man")

"Kiss The Sky," by Delacey, Jordan Johnson, Stefan Johnson, Maren Morris, Michael Pollack & Ali Tamposi (from "The Wild Robot")

has garnered seems appropriate. As someone who has been referred to as “exotic,” it’s easy to empathize with those who find the film racist and transphobic. If we remove those criticisms and judge the work, it still doesn’t feel as deserving as the 

’ “Compress/Repress.” It’s a weak list of nominees, from the box office and critical bomb 

had strong original compositions that would’ve deserved more.

The Golden Globes have always been a party for those who worked hard all year in film and television and are fortunate enough to be recognized for their work. Rather than have all that Oscars esteem, they drink, eat, and laugh all night while being on live television. It leaves room for daring comedians to engage in an unmerciful roast session against Hollywood’s elite, and that’s what keeps viewers returning year after year. As for award credibility, not so much. Some years, they got it right, such as giving Best Picture - Drama to 

. Still, when one takes a closer look at the list of nominees, one will see that influencer status is what the Hollywood Foreign Press honestly cares about.

The Music Celebrated at the 2025 Golden Globe Awards

Absolutely desperate characters. Mommy issues. Loneliness. Regret. Surrogate families that are as dysfunctional as any family. The San Fernando Valley, ladies and gentlemen! Such an ambitious and complex director as Paul Thomas Anderson might seem too cerebral and unpleasant to watch, but his filmography is entertaining and even endearing. You’ll never please everyone, but his place on the Mount Rushmore of 90s filmmakers is forever cemented. Never making the same movie twice is how Steven Spielberg once described Stanley Kubrick; the same could be said for Anderson. How much of a massive change in tone from 

is indicative of this, despite both being ensemble pieces dealing with the heavy subject matter. For as dark as the second half of 

gets, those disco tunes get your feet moving. 

dips into Aimee Mann’s discography to evoke a devastating feeling. We look at the soundtracks of his motion pictures to highlight how he picks a specific tune to break or mend our hearts.

This debut feature of an ambitious 26-year-old was not handled with care. After retitling and re-editing the picture, PTA managed to raise the $200,000 necessary to launch it. In addition to starring in the film, Philip Baker Hall, John C. Reilly, and Gwyneth Paltrow chipped in to help fund it. Samuel L. Jackson and Philip Seymour Hoffman also star in supporting roles. Sydney, a senior gambler, takes John, a homeless man, under his wing and helps him win back the money he owes in Las Vegas. Complications ensue when John falls in love with Clementine, a prostitute.

Jon Brion and Michael Penn provide the score for the picture, with “Clementine’s Loop,” a haunting score, making its way onto PTA’s following two features as well. “Craps Table” accompanies Hoffman’s one and only scene, a bouncy little tune that illustrates the delightful eccentricity of the character. He lights up a cigarette while getting competitive with Hall’s Sydney, preparing to shoot craps with who he perceives as a threat, repeatedly referring to him as an old timer. This intimate indie feature, accompanied by its lowkey score, would position PTA for the soundtrack-heavy epics he would soon endeavor.

may have usurped the throne now, but this, for many, has been regarded as the most accessible and exciting film in the PTA canon. Hilarious to make this case, knowing that it involves the 70s porn industry in the San Fernando Valley, but those of age repeatedly point to it as a rollickingly good time at the movies. The role that made Mark Wahlberg a movie star is an icon for the ages- Dirk Diggler, a runaway teen who joins a porn movie company in hopes of making it as a “big, bright shining star.” Julianne Moore, Burt Reynolds (in one of the finest comeback performances in cinema), Don Cheadle, John C. Reilly, William H. Macy, Heather Graham, Luis Guzmán, Nicole Parker, Alfred Molina, Ricky Jay, and Philip Seymour Hoffman are all on fire, an ensemble of working actors whose careers would take off after this.

An embarrassment of riches best describes the film’s soundtrack, rivaling 

for best soundtrack of the 90s. It opens with The Emotions’ popping “Best of My Love,” stacks up the middle section with Chakachas’ sensual “Jungle Fever” and War’s party playlist go-to “Spill the Wine,” climaxes with Rick Springfield’s electric “Jessie’s Girl,” and closes with The Beach Boys’ emotional love ballad “God Only Knows.” Disco, the late 70s into the early 80s, PTA knows how to be period accurate while making it all look sexy as hell.

The cycle of familial abuse is what Anderson decides to tackle following the death of his father. 

 is a three-hour epic mosaic with intertwining storylines, messy characters, and a whole lot of tears. It also takes place in the San Fernando Valley (not as many pornographic images this time around). Starring Tom Cruise (in an Oscar-nominated performance), Jeremy Blackman, Melinda Dillon, and Jason Robards (in his final film role), in addition to returning PTA movie cast members- Moore, Baker Hall, Seymour Hoffman, C. Reilly, Macy, Molina, and Ricky Jay all dive deeper into their dramatic chops. Our characters search for happiness, forgiveness, and the meaning of this dilemma called life.

Aimee Mann is the star of the film’s soundtrack. Her prior music served as an inspiration to PTA while writing the film. Mann wrote two songs for the movie: “You Do” and the closer “Save Me,” which was nominated for an Oscar for Best Original Song. “One,” the film’s opener,” is a cover of a 1968 Harry Nilsson song (its most famous cover belonging to Three Dog Night). “Wise Up,” featured during a sequence where the characters sing along, was initially written for Cameron Crowe’s 1996 classic Jerry Maguire (Cruise owned the 90s, didn’t he?) until Crowe decided it was too heartbreaking. It fits well with the sheer heartache our characters face in 

It’s not a film for all, but for those who need it.

Adam Sandler was a massive star in the late 90s and early 2000s and continues to be a Hollywood icon. One could say PTA was “selling out” with his 2002 collaboration with the comedy legend, but its box office bomb suggests otherwise. Anderson was such a fan of Sandler’s championing 

 that he wanted to utilize his talents through his intense microscope as a filmmaker. Sandler plays an entrepreneur with seven sisters (who all emotionally abuse him) coupled with severe social anxiety, often leading to serious violent outbursts. He falls in love with his sister’s co-worker, played by Emily Watson, and the two discover each other’s quirks and make one another stronger in the process. While coping with his loneliness prior to him dating her, he calls a phone sex line, which turns out to be a scam to extort money, run by a mattress store owner played by Philip Seymour Hoffman, who was put on Earth to make any movie a thousand times better.

Acclaimed composer and record producer Jon Brion takes center stage for the soundtrack. He offers lead vocals on “Here We Go,” a melancholy tune with lyrics that capture the protagonist’s plight. “He Needs Me” stands out most from Robert Altman’s 1980 film 

. Shelley Duvall’s lovely vocals complement the whimsy romance our characters immerse themselves into amongst the anxiety-ridden, cold-hearted world they belong in. There’s no country for old dreamers, but in a PTA production, they get to star in it.

We’ve made it. The Big Kahuna. The one in the history books they call magnum opus. The crowning achievement in cinema that turned America into the capitalistic greedfest that it now is. That last part is untrue, but the power of the movie remains. 

was tailor-made to be an epic, from its title to Daniel Day-Lewis (who makes like one movie every 30 years) to the olden-time period piece prestige it takes pride in depicting. A silver miner turned oilman spirals down a relentless pursuit of wealth during the Southern California oil boom of the late 19th century. It also stars Paul Dano, Kevin J. O’Connor, Ciarán Hinds, and Dillon Freasier.

 would require a musical artist with experience to assemble a piece of art that can be considered epic. Who better than Radiohead’s guitarist Jonny Greenwood, who played a massive part in the success of acclaimed albums such as 

? The drilling rig trouble turned into full-blown fire is one of the most remarkable set pieces in modern cinema, with Greenwood’s song “Convergence” being a crucial reason why the scene is so effective. The frantic pacing, the ferocity of the fire, oil everywhere, and a father’s duty to save his son are all captivating; however, the offbeat, experimental feel of the score carefully elevates this from a gripping period drama to innovative, masterful filmmaking. The scene would’ve been amazing without it, and the movie would’ve been too, but PTA knows how important music and sound are to a movie. With the score incorporated in, it is unforgettable.

Oh great, the Scientology movie. The movie that caused Tom Cruise to walk out of an early screening, who was utterly pissed off. Those who aren’t devotees of L. Ron Hubbard but instead fans of PTA will recognize 

as a fascinating character study. It follows a troubled World War II veteran who finds a home with a cult leader and his family. Philip Seymour Hoffman stars in his first leading role in a PTA movie, along with Joaquin Phoenix, Amy Adams, Jesse Plemons, Ambyr Childers, Rami Malek, and Laura Dern. The Church of Scientology was one of several inspirations, including the works of Thomas Pynchon and John Steinbeck and drunken Navy stories from the late Jason Robards.

This isn’t the last you’ll hear of Jonny Greenwood. He would go on to compose the score for the three films that would follow. The bold and harsh tones of his work are at his most extreme here in this soundtrack, “Able-Bodied Seamen,” encapsulating Phoenix’s character and the disturbed state of mind he finds himself wrestling with. “No Other Love (feat. Jo Stafford)” is a lonesome tune that soothes when our two characters split apart.

A chain smoker’s movie. It may not be his most accessible work, but it is every bit as fascinating. We’re back with a large ensemble cast- Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterson, Eric Roberts, Reese Witherspoon, Benicio del Toro, Jena Malone, Martin Short, and Joanna Newsom. Doc, a stoner, hippie, and private investigator, twists into the 1970s Los Angeles criminal underworld.

Greenwood’s back in action on the soundtrack, capturing the groovy LA scene. Psychedelia is a wavelength you’re either on or off. It’s incoherent yet witty, with several 70s artists thrown in. The most sentimental moment the movie allows itself to reach is when Neil Young’s “Journey Through the Past” plays a nostalgic, rainy-day romance that may never be attainable again.

We’re back on the Daniel Day-Lewis period piece train. This time, it’s 1950s upper-class London, and it is unlike 

The Last of the Mohicans, Gangs of New York, 

in terms of how subdued and emotionally complex it is. Reynolds Woodcock is not among the natives, the baddest gangster, or an opportunistic oil tycoon; he’s a high-end dressmaker living in a nice, proper home with his sister and wife (also his artistic muse). You could say he’s as talented and passionate as those characters, but he isn’t physically harming anyone. Instead, it’s toxic emotional abuse. Lesley Manville and Vicky Kreips also star.

Greenwood researched the 1950s London music scene and conjured up a classical music composition for the soundtrack that is so charming to the ear that Johann Sebastian Bach would gush. The opener, “House of Woodcock,” and closer, “For the Hungry Boy,” depict the daily routine of a stubborn man and his need for a motherly figure in his spouse, respectively.

The film’s core romance was bound to stir up some controversy, with a 25-year-old woman who begins flirting with a 15-year-old boy. The kid is a bit of a cocky prick, while the girl is struggling to build her career (what person in their 20s can’t relate to). The dynamic works since much of the story relies on their friendship above all else. Some casual racism was bound to piss people off too, but the same could be said for 

. People didn’t give a damn back then, and you could be confident that they still don’t care now; they just hide it better. Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Skyler Gisondo, Mary Elizabeth Ellis, John Michael Higgins, Harriet Sansom Harris, and Benny Safdie are giving it their all. It’s hard to beat coked-out Bradley Cooper, though.

In terms of having the best soundtrack, I believe we’ve saved the best for last. The list went chronologically, of course, but his recent effort has the most fun collection since 

. Some of the most prominent ‘70s hits get shine; the film’s called 

for Pete’s sake, so you’d better have needle drops that deserve an extra spin. Opening with Nina Simone’s “July Tree,” our young protagonist falls for his older crush during Chris Norman and Suzi Quatro’s “Stumblin’ In,” a ride or die moment which is met with “But You’re Mine” by Sonny & Cher, The Doors’ “Peace Frog” blasting while our young hustlers collect cash, Paul McCartney and Wings’ “Let Me Roll It” intensifying while lust almost takes over, and David Bowie’s “Life on Mars?” which steals hearts while the summer of youth remains victorious.

Paul Thomas Anderson's Ultimate Movie Music Playlist

If you enjoy pretty images of the Pacific Northwest with soothing indie folk music, you’ve come to the right filmography. Gus Van Sant is an independent filmmaker who is one of the pioneers of the New Queer Cinema movement. The subjects in his films are often disillusioned youth, depicting their specific flaws and qualities through a patient, dream-like cinematic microscope. He later garnered mainstream success with two Oscar-winning pictures, 

. Often picking songs to fit whichever setting his films take place in, the soundtracks of Van Sant are both ear-catching and soulful. We seek the quietly brilliant needle-drop moments in his most beloved works.

Art imitates life, or is it the other way around? When 

was made, the source material was unpublished, as the author, James Fogle, was still in prison. Like the characters in the story, he was a drug user and dealer. In 1971, Bob Hughes, our 26-year-old protagonist, leads a nomadic group of addicts as they rob pharmacies and hospitals to support their rather unhealthy needs. Fresh off of his run as an 80s teen idol, Matt Dillon stars as Bob, along with Kelly Lynch, James LeGros, and Heather Graham.

The soundtrack features songs fitting for the film’s time and setting, along with scores by Elliot Goldenthal. Abbey Lincoln’s “For All We Know" enhances the dreamy opening shot and montage, giving off the vibe of someone leaving their old-timey radio on as they lie on the couch in a dream state, most likely under the influence.

This is considered a landmark film in the New Queer Cinema movement. An LGBT independent picture starring two young stars, predating 

. Starring River Phoenix, Keanu Reeves, James Russo, and William Richert, this loose adaptation of Shakespeare’s Henry IV and V offers remarkable performances, particularly Phoenix in a vulnerable portrayal of a street hustler named Mike. While in a gang of street kids, he meets a rich kid, Scott, played by Reeves, who’s in the hustling game until he turns 21. That is when he will inherit his father’s fortune, who is the mayor of Portland. Mike confesses his love for Scott, while Scott reminds him that he only sleeps with men for money. It is a touching portrait of unrequited love.

 score was composed by pedal steel guitarist Bill Stafford. He adapted the cowboy anthem “Home on the Range” and the patriotic “America the Beautiful.” Various artists are featured on the soundtrack, including Elton John, Madonna, and Eddy Arnold. Arnold’s “Cattle Call” opens the film, as the credits intertwine with Mike receiving fellatio from a male client in Seattle.

A rare meeting of the stars where almost everyone involved in the production delivers career-defining work. 

is Van Sant's most universally recognized and beloved film. It won Oscars for Ben Affleck, Matt Damon, and the late Robin Williams. It also platformed the late Elliott Smith’s music into the mainstream, who is now considered one of the greatest singer/songwriters ever.

Damon stars as janitor Will, a mathematical genius whose work is discovered by Professor Lambeau of MIT, played by Stellan Skarsgård. He offers to help Will avoid jail time for assaulting a former bully if he agrees to study math under his supervision while attending psychotherapy sessions. The sessions do not work, as Will mocks each therapist. Lambeau calls on his college roommate Williams’ Dr. Sean Maguire, a psychology professor at a community college, to help. Sean challenges Will, eventually leading Will to open up. His childhood trauma remains, but a door is now open for him to heal and move forward. The film also stars Ben Affleck, Minnie Driver, Casey Affleck, and Cole Hauser.

Danny Elfman provides a moving score for the film. You get the sense that you’re in for something special, giving it the feel of an American movie classic. However, the selection of songs by Elliott Smith truly tugs at the heartstrings. You could highlight any of them. “No Name #3” rewards Will after he gets the number of Skylar, the girl he likes, and even shows it to the pompous Harvard student, who had tried to embarrass his friend. We hear “Say Yes” as we watch Will and Skylar’s adorable first kiss. They cuddle in bed as “Between the Bars” gently plays. After they break up, Will calls Skylar, letting her know how he’s doing, with “Angeles” as the emotional climax. Finally, “Miss Misery” accompanies the ending scene and credits when Will lets Sean know what to say to Lambeau regarding his absence.

“Son of a bitch- he stole my line…”

Based in part on the 1999 Columbine High School massacre, 

unassumingly chilling depiction of the events leading up to a school shooting garnered both controversy and praise, accused of inspiring some school shootings while winning the Palme d’Or at the 2003 Cannes Film Festival. It stars Alex Frost, Eric Deulen, and John Robinson. There’s no significant buildup to the violence, nor is there a purpose or epic climax in how it happens. That means no intense score or a lengthy soundtrack.

That does not mean that music isn’t still incorporated. Ludwig van Beethoven’s “Bagatelle No. 25 in A Minor” and “Piano Sonata No. 14 in C Sharp Minor Op. 13” are performed by Alex on piano as Eric plays a video game involving gunplay. It humanizes the characters while keeping us at a distance, and both characters maintain poker faces. Nothing is friendly about them, but they don’t come across as complete monsters. The choice to go with classical music is intentional- it’s pleasant to the ears while also not telling us enough about them that a contemporary artist, such as a rock band or rapper, would.

covers, you guessed it, the last days of the life of a popular musician, loosely based on Kurt Cobain. For years, Van Sant wanted to make a biographical drama on the Seattle legend but feared a potential lawsuit by Cobain’s widow, Courtney Love. After several conversations with her, he would write, produce, and direct this film, receiving mixed reception from critics. It had enough of a legacy to inspire an English opera adaptation and the characterization of Bruce Wayne in Matt Reeves’ 

It stars Michael Pitt, Lukas Haas, Asia Argento, and Scott Patrick Green.

The antiquated soundtrack features original compositions by cast members Pitt and Haas and an acclaimed number by The Velvet Underground. “Venus in Furs” is a literal needle-drop featured in the film. A hypnotic, drug-infused dance sequence ensues between Cobain’s friends. They are stoned out of their minds, swaying and walking around like zombies. This is the environment surrounding him, filled with enablers and leeches.

are most commonly referred to as a death trilogy, I believe that this 2007 retelling of Dostoevsky’s “Crime and Punishment” has enough in common with those to make it a tetralogy instead. Based on the 2006 young adult novel by Blake Nelson of the same name, 

follows Alex, a 16-year-old skateboarder who accidentally commits a crime in an attempt to fit in the skater crowd. We follow his struggles to cope with his actions while avoiding being caught. Starring Gabe Nevins, Taylor Momsen, Jake Miller, and Daniel Liu, the cast consists of primarily unknown teenage actors and skaters who were in Portland at the time. It premiered at the 2007 Cannes Film Festival.

The soundtrack came together as Van Sant and the film’s editors would listen to each other's iTunes collections, picking out songs they felt fit best. Featuring scores from Nino Rota and even a piece from Ludwig van Beethoven, it offers an introspective, closer look into the lives of skaters. Such was the case for 

, and it is the two selected songs from Elliott Smith that hit home most, with “Angeles” being reprised in the Van Sant canon. “The White Lady Loves You More” is a haunting melody while Alex walks out of class, meant to orchestrate him moving past the horror that once plagued him.

This 2008 release is a more straightforward approach to the biographical drama subgenre. 

follows the life of gay rights activist and politician Harvey Milk, played by Sean Penn. He was the first openly gay man elected to public office in California. Van Sant shoots the picture on the actual stomping grounds of the man on Castro Street in San Francisco. The film also stars Emile Hirsch, Josh Brolin, Diego Luna, and James Franco. It grossed $54 million worldwide and won two Oscars, Penn for Best Actor and Dustin Lance Black for Best Original Screenplay.

Danny Elfman reunites with Van Sant to compose the film’s score. The soundtrack packs a punch, too, featuring David Bowie, Sly & the Family Stone, Patti Smith Group, and Judy Garland. Elfman’s lovely “Give ‘Em Hope” plays during the final scene. A tape recording of Harvey as he rehearses a speech that he will give his people and the aftermath of his words is shown. Thousands of people who believed in him joined together in a candlelight vigil on their way to The Castro. Equality is what he fought and died for. That is why his legacy remains.

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