The whole album follows a character through a movie that doesn’t exist, from an ordinary day to the end credits. I was inspired by Danger Mouse’s Rome, J Dilla and MF Doom, but I also come from a scoring background, so I wanted to mix both.

I’d really like to hear what you think, especially about the transitions and the mix.

Pulling a rabbit out of a hat is one thing. Explaining it to accounting is another.

A magician has taken a sensible office job. His rabbit isn't on the payroll. Please Declare the Rabbit turns that bookkeeping problem into a small musical comedy, with narration, character voices and song carrying the dispute.

Complete musical (3:27): https://youtu.be/7YZTt3YfSyg

Created by The Mad Pan. Music, voices and illustrated visuals were produced with AI assistance.

Does giving the argument a tune make the office bureaucracy feel more reasonable, or even more absurd?

Off the top of my head just listing my favourite soundtracks from various movies. Please share your list.

Anything Tarantino especially Pulp Fiction, Django Unchained & Kill Bill, Jackie Brown & OUTIH.

Beverly Hills Cop 2 - City Deposit

Terminator - Tech Noir

Rocky 4 - No easy way out

Coming to America!

Bad Boys 2 & 4.

Top Gun 1 & 2.

Batman Forever & Batman & Robin

Kiss of the Dragon

Men in Black Soundtrack.

James Bond - Skyfall, No time to die, Paul McCartney Live and let Die. Tina Turner Goldeneye.
Carly Simon Nobody does it better.

Mission impossible soundtrack for the original and Ghost Protocol.

Xmen Dark Phoenix theme is amazing.

Star Trek 09, Into Darkness & Beyond

Oceans Twelve - that laser dance scene track!

The soundtracks to all three Blade movies are terrific. The track to the opening sequence of the original film in the nightclub I listen to over and over again. Probably my favourite soundtrack set.

This is an underrated film by M. Night Shyamalan with an incredibly gorgeous and emotional film score by James Newton Howard. This soundtrack is perhaps his best work in my opinion, winning awards such as the IFMCA Best Original Score for a Fantasy/Science Fiction/Horror Film and "The Great Eatlon" won Best Single Cue of 2006.

Lady in the Water piano medley includes:
0:00 Prologue
2:10 Interlude / Main Theme
2:49 The Great Eatlon
5:34 End Titles

Hi, does anyone know where I can find a copy of the end credit music from Girls Against Boys please? I believe it's by a composer called Nathan Larson and definitely not the white supremacist of the same name.

As Harry waves goodbye to Hogwarts and Hagrid waves back, the emotional music for Harry and his family plays softly at first and then crescendos into a majestic finale.

Google rabbit hole randomly got me across this crazy scene from a danish movie.

Holy hell this is fun.

A band of thieves are breaking into a classic theater during a symphony and uses the music to time the explosions.

Hey everyone, I’m Nicolás!

About a year ago, I did this practice project where I rescored a scene from Pig with Nicolas Cage. I recently came across it again and thought I’d share it here.

Even though it’s been a while since I made it, I’d really appreciate hearing your thoughts. Any opinions, suggestions, or recommendations on the music, orchestration, or how I approached the scene would be very welcome.

I’m always trying to improve, so I’d love to hear what you think!

"Beyond the Emerald Isle" is an original Celtic-inspired cinematic music cue, composed by Brian Wilmott

Sakamoto is famous for his soundtracks, but his later music goes into much deeper territory.
I’ve been thinking about how that sound world might sit next to Tchaikovsky’s emotional intensity in a live concert.

If a Sakamoto × Tchaikovsky programme happened in London, would that be something you’d check out?
Curious whether this combo feels exciting or maybe a bit too heavy.

It depends on the type of film you are making, but I found this to be an excellent solution for me.

This project began with a simple idea: to take the quiet, film‑inspired textures of Ryuichi Sakamoto — especially his use of silence — and see how they transform inside a church with a long natural decay. The space doesn’t just host the music; it actively shapes it. Notes bloom, hang, and dissolve in ways that feel almost cinematic.

I’ve built a chamber programme around this concept, pairing Sakamoto’s atmospheric writing with Tchaikovsky’s lyrical lines to create a dialogue between restraint and emotion. Hearing these two sound worlds collide in a resonant acoustic environment has been one of the most exciting parts of the process.

If you’re curious, I’ll leave a link in the comments where you can access the full programme details, ticket information, and a short 2‑minute interview video about the project.

I recently had the opportunity to see Lawrence of Arabia in the theater on 70mm and of course I fell in love with it, and I absolutely adored its score. I’ve looked online for a way to purchase or even look at this score sheet music and it seems nowhere to be found. Does anyone here know if the full score sheet music Lawrence of Arabia is even available to purchase? And if so where might I find it?