The film scores of the 1990s were as rich and varied as the films themselves, as the decade saw — well, heard — established masters peak (John Williams) or push themselves in new directions (Philip Glass), bold outsiders bring new genres into the narrow conversation of what movie music “should be” (Tom Tykwer, The RZA), and singular iconoclasts revolutionize how that music is recorded (remember the time when Neil Young just improvised the entire score for “Dead Man” by watching a rough cut in his studio?). Women like Rachel Portman and Deborah Wiseman continued to make headway in a field from which they’ve long been excluded, while some of the most essential composers of the 21st century (Carter Burwell) began to hit their stride and point towards an even brighter future.
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