By Maria Luiza Montejano Pedrosa
Film composers take on the great challenge of making our eyes hear unspoken emotions, working through diverse history and backgrounds that set every tone and key.
What are the sounds you associate when you think of the 007 films? It may be the iconic James Bond Theme composed by Monty Norman in 1962, it may be Skyfall that guaranteed Adele an Academy Award in 2012 or No Time to Die that was an instant, also Oscar-worthy, success for Billie Elish in 2022. How about the majestic original score of The Lion King by the great Hans Zimmer, considered one of the greatest film composers of all time?
The task of turning a picture into sound is challenging but vital to any film; it captures the soul of a moment and emphasises every detail that goes unnoticed by our bare eyes. Take Star Wars as an example. It’s a franchise that could be recognised by many features – but a certain highlight goes to the soundtrack that comes alive with every detail of each scene. Try to imagine the opening scene without any music, how would that be? Check it out below.
It changes a whole lot, doesn’t it? That is the power that music holds, it goes unnoticed at times as busy eyes focus on what lines are being said and where the characters are going but the notion that guides them though the screen comes from the sounds.
You don’t have to be a composer or a music lover to experience the magic of soundtracks. That’s because there are now film screenings supported by a live orchestra at the Royal Albert Hall, with concerts every month that captivate the audience in awe by the whimsical fantasy unfolding in front of them.
Roger Pastó Cortina, a Lecturer in Music for Film and Media at London Metropolitan University who has composed for films and documentaries for more than 20 years, does not minimise the importance of an original score.
“It is very important. The ultimate audio visual result happens from the combination of the music and the visual but why change very much the perception of what you look like in a film,” he said.
“If you go to a horror film and there is no sound at all, which sometimes is really cool because it provides more suspense as you know something is about to happen. But the music is not foretelling and at times the film loses its power and mystery.”
This is seen in Longlegs (2024), a horror thriller that went viral last year with its branding around the mystery reveal of its main villain, portrayed by Nicolas Cage. When it came to the actual reveal, the scene was surprisingly quiet as it unfolded to viewers.
There was no jumpscare or loud noises but an evolving tension with violins for just a couple of seconds that seemed to match the main character’s anguish, scratching the minds of the audience that was teased for so long and matching the branding surrounding the film perfectly.
Most horror classics thrive with jumpscares and obnoxious scores, but there is a balance to be respected before it gets too heavy and loses its spark.
Cortina has worked with many genres throughout his career, going from documentary to drama, from drama to animation. Though switching from different backgrounds can be hard, he has an extensive knowledge about his way of working that he likes to remind himself of.
“As a composer, you have to be able to understand what the director wants. You almost have to have a sort of psychological understanding approach to understanding people because they would not necessarily know how to express themselves musically,” he says.
To build tension in a horror or drama film is essential, but how can you build that same tension in animation? The key is in the sound palettes, Roger reveals.
The scene mentioned is a chasing scene from the animation film titled Tad, the Lost Explorer (2012). There you can see his rescoring at its best, it is possible to feel the tension building up quickly and comically as the characters engage which is much different from tension building in a drama movie, for example.
Recently, the remarkable work of composer Ludwig Göransson in the new blockbuster Sinners (2025) has been praised both by critics and the public, not only for the quality but for the history behind each tune.
The film follows the story of twin brothers Smoke and Stack, both played by Michael B Jordan, and their cousin Sammie, portrayed by Miles Caton, as great danger approaches their lives in the Mississippi Delta Area, 1932. With references of Blues and Son House, each track was full of meaning and representation for the true repression of Black culture and what the characters were going through with bold, electrifying elements that made for one of the best films of 2025 so far.
Surrounded by blues and folk, Ludwig moved with his partner to New Orleans and was present for the shooting as it unfolded. He told Variety that he took trips to Memphis to research, embracing the roots of both the Delta area culture and even the Irish roots explored in ‘Rocky Road to Dublin’, performed by Jack O’Connell and Darren Holden.
Soundtracks are the marriage of sound and picture, it is the feeling our eyes see but also the tone our ears reach for. To master the art of original scoring, a composer must understand the equipment and the particular quality it can offer. In Sinners, what made the production extra special was the original 1932 Dobro Cyclops resonato guitar used both in the film and in the tracks.
Known for his attention to detail, Göransson wanted to compose songs as close as he could to the historical blues references, with instruments from the time that provided the exact quality used back then. Paired with the choice of having the cast actually singing the songs performed in the film, Miles Caton had to learn guitar for his role as Preacher Boy where he delivered stunning vocals in ‘I Lied to You’ and ‘Travelin’.
There was also the grand appearance of Blues legend Buddy Guy, who delivers a great performance post credits, and the out-of-body experience that was the performance of ‘Pale, Pale Moon’ done by Jayme Lawson.
The reality is that as long as there are films it is inevitable to have sound, a need that existed even during the mute era of cinema when sounds had to be captioned to the audience.
True, I loved it, soundtracks are the union between sound and image!
Absolutely loved this article! It’s such a great reminder of how crucial film soundtracks are. Fantastic job, Maria Luiza – really insightful!
O texto é uma análise profunda e bem estruturada sobre a importância das trilhas sonoras nos filmes, destacando como elas podem transformar a experiência cinematográfica e emocionar o público. Aqui estão alguns pontos positivos e negativos:
Pontos positivos:
1.Análise detalhada: O texto oferece uma análise detalhada sobre a importância das trilhas sonoras, citando exemplos específicos de filmes e compositores.
2.Entrevista com especialista: A inclusão da entrevista com Roger Pastó Cortina, professor de música para cinema e mídia, adiciona credibilidade e profundidade ao texto.
3.Exemplos variados: O texto cita exemplos de diferentes gêneros de filmes, como terror, animação e drama, mostrando a versatilidade das trilhas sonoras.
4.Análise da trilha sonora de “Sinners”: A análise da trilha sonora de “Sinners” é detalhada e mostra como a música pode ser usada para contar a história e criar atmosfera.
Ponto negativo:
Extensão: O texto é bastante longo e pode ser cansativo para alguns leitores.
No geral, o texto é bem escrito e oferece uma análise profunda sobre a importância das trilhas sonoras nos filmes. Com algumas ajustes, pode se tornar ainda mais atraente e informativo para os leitores.
Girl, what an amazing article! I was completely drawn in by the way you explored the importance of soundtracks in film. The analysis of Longlegs and Sinners was absolutely brilliant, it really showed how music can completely transform the viewer’s experience. I also loved Roger Pastó Cortina’s insights, especially about how composers need to understand the director’s vision on a deeper level. Seriously, this piece is so well written, informative, and inspiring, you nailed it, proud of you!