Meredith Holt, Published January 13 2013
Favorite Things: Holt shares her favorite movie soundtracks
FARGO – I’ve always appreciated a well-compiled movie soundtrack, and I have quite a few.
Like “Parks and Recreation’s” Ben Wyatt says,soundtracks are like mixtapes from your favorite directors.
Here are my top six. (I don’t think it’s fair to include musicals; otherwise my list would be a lot longer.)
“The Breakfast Club.” Highlight: “Don’t You (Forget About Me),” Simple Minds. The closing credits wouldn’t be the same without the song so closely tied with the iconic 1985 John Hughes movie. Fun fact: Billy Idol turned it down before it was offered to Simple Minds.
“Garden State.” Although I own the movie, I haven’t watched it yet, but I also own the soundtrack, and I know that well. The music hand-picked by writer, director and star Zach Braff perfectly fit the time it was released (2004).
Highlights: “In the Waiting Line,” Zero 7; “New Slang,” The Shins.
“Grosse Pointe Blank.” Produced by The Clash’s Joe Strummer, the soundtrack to the film starring John Cusack as a conflicted hit man features mostly ’80s indie music, comes in two volumes, and includes some of my favorite songs.
Highlights: “Under Pressure,” David Bowie and Queen; “We Care a Lot,” Faith No More; “Let My Love Open the Door (E. Cola Mix),” Pete Townshend.
“The Insider.” The ominous music adds to the dark mood of the 1999 Academy Award-nominated whistle-blower thriller.
Highlights: “Sacrifice,” Lisa Gerrard and Pieter Bourke; “Iguazu,” Gustavo Santaolalla; “Safe From Harm (Perfecto Mix),” Massive Attack.
Gerrard came to fame after her work with fellow Aussie Bourke on this film and later collaborated with Hans Zimmer on “Gladiator.”
“The Dark Knight.” Speaking of Hans Zimmer, who’s one of my top three film composers, along with John Williams and Danny Elfman … The second of director Christopher Nolan’s Batman trilogy wouldn’t be the same without its fantastic film score (nor would the first or last).
Highlights: “I’m Not a Hero” and “Aggressive Expansion,” Hans Zimmer and James Newton Howard.
“Magnolia.” Director Paul Thomas Anderson’s interwoven storylines mostly feature songs from Aimee Mann (she receives title billing on the album) and prog-rock Brits Supertramp, and I love both.
Highlights: “Driving Sideways,” Aimee Mann; “Logical Song,” Supertramp.
Readers can reach Forum reporter Meredith Holt at (701) 241-5590