NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback


@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.

Please install Flash®
and turn on Javascript.

Rate those CD:
Top 50

Harry Gregson-WilliamsJustin BurnettHeitor PereiraStephen Barton
ComposerAdditional MusicAdditional MusicAdditional Music
Man On Fire
Label: Varese Sarabande
Length: 64'21 rating:        4/5
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 (13163 votes)


  1. Una Palabra - Carlos Varela (1:19)
  2. Main Title (3:05)
  3. Taxi (0:53)
  4. El Paso (0:41)
  5. Creasy's Room (0:34)
  6. The Rave (4:23)
  7. Pita's Sorrow (1:47)
  8. Nightmare (1:06)
  9. Bullet Tells The Truth (1:36)
  10. Followed (1:02)
  11. Smiling (0:48)
  12. You Are Her Father (1:45)
  13. No Mariachi (0:43)
  14. The Drop (2:58)
  15. Angel Vengador - Gabriel Gonzalez (1:22)
  16. You Betrayed Me (1:25)
  17. She's Dead (0:43)
  18. The Crime Scene (0:57)
  19. Pita's Room (1:48)
  20. Gonzalez (1:57)
  21. La Niña (1:49)
  22. Creasy's Art Is Death (0:54)
  23. The Voice (2:59)
  24. Sanchez Family (4:45)
  25. The Rooftop (5:07)
  26. The End - Lisa Gerrard (9:34)
  27. Man On Fire Remix - Hybrid & Lisa Gerrard (3:41)
Create Topic

Pages << 1 2 3 >>

Darth reply Replies: 3 || 2015-03-17 09:11:02
hi everyone,

my main question is about the track "El Paso". In the release, we've got a 40s piece. But when you watch the movie, this piece is more then 2min long. It has such a beautiful and emotional vibe, it's maybe the best piece of music from this movie. so my question is, why it was cutted for the album?

you can find again the half of that missing piece in the end credits, but before it shows its full length, it's again cutted and it starts another music.

is this cue anywhere to be listen in its full length? "El Paso" is just the end of it, and it makes me sad that it was not released in its full glory. Who played it? Was it Heitor Pereira?

I really would appreciate any help for this, as i'm looking eagerly to find any information about it. Thank you very much :)

Darth2015-03-18 08:46:58
Mh, no one? :(

Darth2015-04-05 21:13:46
sadly no one...

Jim2015-04-06 14:22:56
I really want this one @ Expanded :/

Anonymous reply Replies: 0 || 2011-03-25 00:00:00
It took me quite a while to find this since I live in S.Korea.
I really enjoyed the movie with such a beautiful music sound.

syd reply Replies: 0 || 2010-11-10 00:00:00
Una Palabra - Carlos Varela (1:19)

nedjmo reply Replies: 0 || 2009-12-30 00:00:00
merci a tt liquipe

Adam reply Replies: 0 || 2009-07-20 00:00:00
i think this sound track omg it's unbelievable amazing i like it no i think that i'm cazy about this music

One time post reply Replies: 0 || 2008-10-27 00:00:00
@Helen: I think you mean Mas by Kinky, off of their album also called Kinky. Might be track 13, not sure. I was looking for this one myself. Not sure if that is the one you want, hope so.

Melanie reply Replies: 0 || 2008-09-30 00:00:00
I absolutely love this soundtrack and I loved the movie!

Antas, Webmaster reply Replies: 0 || 2008-08-08 00:00:00
@bahle : just buy it

bahle reply Replies: 0 || 2008-08-07 00:00:00
I need to down load the full movie

Aamir reply Replies: 0 || 2008-06-23 00:00:00
The song at the end of the film that is sung by Lisa Gerrard is called The End(Creasy Dies).

It's the one where Denzel is in the car and he dies looking at the volcano thing.

Once again, it's called The End(Creasy Dies)- Lisa Gerrard

Brenda reply Replies: 0 || 2008-05-13 00:00:00
where can I find the lyrics for Lisa Gerrard's song The End from Man on Fire

Mélissa reply Replies: 0 || 2008-04-01 00:00:00
Ce film est magnifique, intense, profond, triste jdr les film triste et celui la est vraiment génial. la chanson de la fin c la cerise sur le gato! je nai jamais pleuré pr un film et celui la a preske réussi! Denzel washington c un trè bon acteur. Je veu revoir ce film o plu vite!!!

Vladimir reply Replies: 0 || 2008-03-25 00:00:00
best saundtrack ever

Helen reply Replies: 0 || 2008-02-17 00:00:00
can anyone tell me the name of the song that came after una palabra in the movie man on fire at the end of the film. Thanks

seamus reply Replies: 0 || 2008-02-15 00:00:00

heunis reply Replies: 0 || 2008-02-10 00:00:00
hi, can you please put the title of the song of lisa gerrard from the movie man on fire, i've been looking for the title all my life

omatr reply Replies: 0 || 2008-01-02 00:00:00
very nice

sopjohn reply Replies: 0 || 2007-12-22 00:00:00
c le film de tou les temps

Anonymous reply Replies: 0 || 2007-11-30 00:00:00
fear has a voice

Rosario reply Replies: 0 || 2007-11-23 00:00:00
One of the best lirycs ever! (Una palabra)

nery reply Replies: 0 || 2007-11-02 00:00:00
The film is amazing, My favourite. The music was beautiful. Good job (Y)

Liana reply Replies: 0 || 2007-08-15 00:00:00
The film is amazing, My favourite. The music was beautiful. Good job (Y)

sina reply Replies: 0 || 2007-07-21 00:00:00
this CD in very very great i see this film and i crying with this sound tracks

bob reply Replies: 0 || 2007-03-28 00:00:00

daulina reply Replies: 0 || 2007-01-19 00:00:00
the end music in this film is perfect and

GÖKHAN reply Replies: 0 || 2007-01-19 00:00:00

véronique reply Replies: 0 || 2006-12-02 00:00:00
If someone could plss tell me where could i download the song or even send it to my mail: ### i would really appreciate.

The End (Music Composed by Harry Gregson-Williams and Lisa Gerrard&--#8218-- Vocals by Lisa Gerrard) Thanks a lot!!!

IntellectBG reply Replies: 0 || 2006-12-02 00:00:00
Does someone have the text for The End by Lisa Gerrard? Or there is none?

faisal reply Replies: 0 || 2006-09-10 00:00:00
Awesome movie....Dakota Fanning is superb along with danzel washington.....************.....may he be blessed by the GOD

Pages << 1 2 3 >>© 2001-2017 OST 
Man On Fire soundtrack - Harry Gregson-Williams 2004