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@Hybrid, what happened with Trevor? Why his scores are not listed in the page? ThanksIt is somewhat bizarre that you all are thinking directors actually want to work with Junkie. Surely, the only reason anyone hires him is that they want Zimmer who is not available. Yes, some may have heard Mad Max but it would be silly to think anyone actively wants a Junk score.Bob Badami (as Robert Badami), Melissa Muik, Mark Wherry (as Mark Andrew Wherry are music editors!<br><br>Booklet credits<br><br>Music Editor: Melissa Muik <br>Score Wrangler: Bob Badami<br>Digital Instrument Design: Mark WherryI don't think Junkie XL picks the shittest films to work on. It's just that art film directors won't choose him to score their films. Even in RCP, a lot of his colleagues are more well respected than he is. I would argue Benjamin Wallfisch is already more well regarded. Mad Max is an exception because of its unique setting and story line.Metro Expanded Score (1997) By Steve Porcaro & James Newton Howard<br><br>I found an interesting about unreleased tracks from the whole movie by one hour and 57 minutes, it's meant something missing in the movie. But I did edit some unreleased tracks from the movie, but not in OST It could be Expanded Score. I'm sure about that!<br><br>1. Main Title (1:57)<br>2. Sam's Death (1:31)<br>3. Keep You Out Of This (0:41)<br>4. Roper & Ronnie (0:51)<br>5. Jewelry Store Heist / That's Korda (1:46<br>6. First Chase (2:41)<br>7. Cable Car Pursuit (6:18)<br>8. He's Getting Away (0:21)<br>9. Car Garage Capture (0:51)<br>10. Dinner Only (1:06)<br>11. Intruder (3:14)<br>12. Ronnie Attack (4:41)<br>13. Love Theme (1:51)<br>14. Korda's Escape (1:49)<br>15. Is She Out There ? (0:26)<br>16. Ronnie Kidnapped / Korda's Demands / The Shipyard (3:16)<br>17. Final Chase (3:11)
"I do think he knows how to place emphasis on music as opposed to Joss Whedon or any of the other studio director who treats it like a byproduct."<br><br>I agree with you, except that Snyder and I have very different ideas about what makes good (film) music, and how to emphasize it. Ridley Scott is a somewhat similar case. Somehow he has gotten a ton of great music written for his movies over the years despite the fact that his musical instincts are really strange and misguided sometimes. At least Snyder doesn't butcher the scores he gets.<br><br>You're right that a director like Whedon doesn't seem to pay that much attention to how music can enhance his movie. But as someone who cares about film music 95% of the time as albums, not in film, I often find that a director who gets out of the way and just trusts the composer to do his/her thing is preferable to one who gets overly involved with the scoring process and has lots of ideas about how things should sound. That the subsequent scores end up buried or ineffective in their films is a shame, but the music at least tends to be good on its own terms.@mrzimmerfan<br>Oh no, I mean I love the score as a whole. I was just saying my personal highlights. Man of Steel emotionally resonated with me. But that’s cool that you like BVS, I personally just think Man of Steel is more engaging.@mpolonest: But that moments are simply moments, not the entire score, i prefer BvS, because there is a variety in it: Batman, Wonder Woman, Luthor, and is more complex than MoS (also i prefer the movie over MoS).<br><br>And yes, the theme for Superman is cool, but that dosen't make the entire score cool too.and some nice boob representation, too.@MrZimmerFan<br><br>Point Break is a lousy movie, but the score and guitar main theme isn't all that bad. Those 10 minutes on the soundtrack don't do it enough justice at all.<br><br>But again - this is Junkie doing action scoring....Miles better than any of his slow stuff. For me, anyway.
@Edmund <br>He’s definitely not my favorite director, but I do think he knows how to place emphasis on music as opposed to Joss Whedon or any of the other studio director who treats it like a byproduct. One of my biggest pet peeves is when directors/composers just use music as a sonic wallpaper, instead of letting it improve  and add to the scene. John Ottman is a great example. He can write great themes, but he tends to write underscore which adds nothing to the film. That’s why Zimmer, Williams, James Newton Howard, etc. are so good. They treat each moment with care."Zack Snyder, a director who actually understands music"<br><br>A matter of opinion, and not an opinion I share.@mrzimmerfan <br>I disagree with you there. I love Man of Steel, I think the themes and the overall bombastic nature of the score work perfectly. As for BVS, I’m not a huge fan honestly. There are some amazing highlights, but the tone of the score is so downbeat. It lacks the soaring elements of “Flight” or “What Are You Gonna Do...” and the action highlights of “Terraforming” or “Escape From Ship”. <br><br>To each their own though :-)For the themes mostly, this Batman and this Superman fit with the themes written by Zimmer. But the score by Elfman is miles better than MoS and BvS (for those two, BvS is much interesting and better than MoS, which is only good)<br><br>I genuinely wish we could hear Justice League, I would have loved to see what he brought to that under Zack Snyder, a director who actually understands music.
I still remember when Divergent was released, I was almost immediately dismissive of Junkie XL. Having only heard his remixes and his drum stuff for MoS/300 the first thing I expected was to hear an electronica album with percussion and sound design. So imagine my surprise when I heard several different themes, beautiful string adagios, vocals, and a pretty big variety of styles. And then Run All Night came out and blew me away. Ever since then I’ve been pretty supportive of his work, but I have to agree with everything you guys are saying.<br><br>The past two years have been pretty bad in terms of his ratio of good scores to bad. Black Mass and Brimstone, as I’ve mentioned, are solid scores that veer away from the usual JXL sound. But then we have Deadpool (abrasive), Distance Between Dreams (ok for a stand-alone album), Dark Tower (pretty fun in parts and just bland in others), and Tomb Raider (one of the most generic scores I’ve heard in recent memory). It’s frustrating to see a composer who obviously has talent and a diversity of skills write almost the same thing over and over. <br>And the weirdest thing is, his earlier scores are far more distinctive than his current ones. How did that happen?Nope he released All I see is you Soundtrack last year and it was a great soundtrack..<br><br>Are you sure you're a fan of him?<br><br>So far no project announced for this year but I think there will be at least one...What happened to Marc Streitenfeld? It's been a long time since there has been any involvement or a new score from him. Some years ago, I thought he's going to be the new upcoming star from the horizon of RCP. But then abruptly silence. Any reason or information?@Meta: Really Point Break was interesting?, it's only 10 minutes of music released, and i din't care about it, honestly, and the movie was really, really bad.<br><br>As for Tomb Raider, the music was serviciable in the movie, but i more comfortable with it than Point Break.I'm not sure JXL is picking the projects. In the case of Tomb Raider it seems like WB handed it to him when Joss Whedon asked them to replace him on Justice League. I guess they were annoyed because he had been a frequent collaborator, so giving him another blockbuster straightaway was a soft way of dealing with that.<br><br>Also yes poor JXL really seems pigeonholed. Even though, to be honest, the only style he's proven excellent so far is the rythmic stuff (see the highlights of Fury Road). His rare excursions to other styles have been quite bland to me, so the fact that he's always asked to do the same style isn't really a surprise. Directors/producters who want this specific sound will call JXL, and people who're making a comedy or romance won't even bother and will call another composer.

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co composerOrchestrator
Gavin GreenawayHarry Gregson-WilliamsHeitor PereiraBruce Fowler
Spy Kids
Label: Chapter III Records
Length: 31'36 rating:        3/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (4094 votes)


  1. Cortez Family (1:38)
    Harry Gregson-Williams, Gavin Greenaway, Heitor Pereira
  2. My Parents Are Spies (2:07)
    Danny Elfman
  3. Spy Wedding (2:09)
    Los Lobos, Robert Rodriguez
  4. Spy Kids Demonstration (1:03)
    John Debney, Robert Rodriguez, Marcel Rodriguez
  5. Parents On Mission (1:15)
    John Debney, Danny Elfman, Gavin Greenaway, Heitor Pereira
  6. Kids Escape House (3:12)
    Gavin Greenaway, Heitor Pereira
  7. Pod Chase (1:37)
    Harry Gregson-Williams, Danny Elfman, John Debney
  8. The Safehouse (0:45)
    Danny Elfman, John Debney
  9. The Third Brain (0:58)
    John Debney, Robert Rodriguez, Marcel Rodriguez
  10. Buddy Pack Escape (1:37)
    Danny Elfman
  11. Oye Como Spy (2:57)
    Los Lobos, Tito Puente, David Garza, Robert Rodriguez
  12. Floop's Song (Cruel World) (0:58)
    Alan Cumming, Danny Elfman
  13. Spy Go Round (2:10)
    Gavin Greenaway, Heitor Pereira, Robert Rodriguez & Marcel Rodriguez
  14. Minion (1:02)
    Chris Boardman, Gavin Greenaway, Heitor Pereira, Robert Rodriguez
  15. Sneaking Around Machete's (0:34)
    Danny Elfman
  16. The Spy Plane (1:27)
    Danny Elfman, John Debney
  17. Floop's Castle (1:27)
    Chris Boardman
  18. Final Family Theme (1:40)
    Harry Gregson-Williams
  19. Spy Kids (Save The World) (2:20)
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Michael Poleschuck reply Replies: 11 || 2017-02-14 09:04:40
No! I can't believe this! Gavin Greenaway is writing the additional music for "Spy Kids" with Harry Gregson-Williams, Heitor Pereira, Danny Elfman, John Debney and many-many others. And he's not there!

Edmund Meinerts2017-02-14 12:33:43
Uh...yes he is. He's listed on five tracks in the tracklist right above this comment.

Also, who appointed you Gavin Greenaway's knight in shining armor?

Michael Poleschuck2017-02-14 12:53:23
Nobody appointed me as Gavin Greenaway's knight in shining armor. I just looked closely. I'm sorry for my behaviour.

Michael Poleschuck2017-02-14 13:35:02
Besides, the photos of Gregson-Williams, Pereira, Fowler, Meyerson, McIntosh are here. But Greenaway's photo is missing!

joe2017-02-14 14:07:33
@ Michael Poleschuck: Mr. Greenaway, is it you?

Michael Poleschuck2017-02-14 14:09:25
No! It's just a guy, who visited this site for 5 years as anonymous and decided to take a active part in this and nothing more.

Michael Poleschuck2017-02-14 14:11:12

Joe2017-02-14 16:22:49
@ Michael Poleschuck: :D i'm just making a joke, so please don't feel offended. It's cool that you're having the eye for details :)

Joe2017-02-14 16:22:49
@ Michael Poleschuck: :D i'm just making a joke, so please don't feel offended. It's cool that you're having the eye for details :)

Michael Poleschuck2017-02-14 16:25:38
@ Joe: Relax! It's alright!

Hybrid Soldier2017-02-14 16:47:49
Having met Gavin, I can confirm he's great.

Unfortunately during an update last year my pal Nicolas (yeah I love to blame others lol) erased all of Gavin's career on this site. I rebuilt it but probably missed a few things. Gavin won't be mad... lol

Michael Poleschuck2017-02-14 17:08:00
Cool! Interesting story: who was the original composer of the film? And how did it happened that the final product incorporated so many great composers in this?

Robert Rodriguez reply Replies: 2 || 2012-08-05 04:35:56
This score is a whole cocktail of composers. Does anyone know how it sounds? It loks interesting

Lambegue2012-08-05 11:21:05
It's rather good. One can quite easily know who did what, so maybe it lacks a bit of unity, but it is still pleasant to listen. The highlight from the score are mainly the tracks by Elfman, Debney or Gregson-Williams, plus the "Floop's castle". The two tracks by Los Lobos are not bad, but really in another mood than the general score. So yes I think it's interesting to have it, and I remember it being quite cheap.

HGW42012-08-05 19:53:38
I agree! It is definitely worth purchasing. I bought a copy a year ago and I really enjoy it. It is nice to have a variety of composers on this score. I would recommend it for sure.

Mr. Fate reply Replies: 0 || 2012-08-05 12:58:16
It's such a weird coincidence that people would pop up and start commenting on this page! I was just reminiscing about seeing this movie as a kid and thought, "Hmmm, I think I'll go find the soundtrack." Is this a new page, or have people never ever commented on it until just now?© 2001-2017 OST 
Spy Kids soundtrack - Gavin Greenaway - Harry Gregson-Williams - Heitor Pereira 2001