We won’t keep you hanging – #12 on the AFI’s list turns out to be Bernard Herrmann’s score for the 1958 Hitchcock psychological thriller Vertigo! How do Herrmann’s musical suspensions perfectly serve the Master of Suspense? Why was this story of obsession such fertile ground for his distinctive compositional style? And, between Jon and Andy, who does the best terrible Jimmy Stewart impression?

Rampaging onto the AFI’s list at #13 is Max Steiner’s score for the 1933 fantasy adventure classic King Kong. Did Steiner invent film music in the first place? Does this music have more in common with modern scores or silent film accompaniment? And, whatever became of King Kong’s acting career?

John Williams makes his first appearance on the AFI’s list at #14, with his 1982 score for E.T. the Extra-Terrestrial. Why does this movie ask so much of its music? What’s the relationship between a composer and a temp score? And, how loud are your keys?

In this special super-sized episode, Jon and Andy take a break from their countdown of the AFI’s list, and examine the five films and composers nominated for this year’s Best Original Score Oscar. These wide-ranging scores come at the question of what to do with film music from some very different directions. Who will win? Who should win? Join us on the red carpet!

Look, up in the sky, it’s John Barry’s score for 1985’s Out of Africa! In the #15 score on the AFI’s list, does the melody for the famous airplane scene get enough use through the movie? When should the music connect one scene to the next, and when shouldn’t it? And, was Sydney Pollack right when he said turning this material into a screenplay was impossible?

Franz Waxman’s score for 1950’s Sunset Boulevard is ready for its closeup! Jon and Andy bring some differing viewpoints to their discussion of #16 on the AFI’s list. What musical reference joke does Waxman use for his love theme? Should the score climb the stairs when the characters do? And, how comfortable were our 2017 armchairs?

Jon and Andy are excited to welcome a special guest onto the show! After their discussion of Elmer Bernstein’s score for 1962’s To Kill A Mockingbird, stick around to hear a chat with Emilie Bernstein – Elmer’s daughter and longtime orchestrator! How did Elmer focus in on the right perspective from which to tell the story? What distinctive scale makes the main theme sound wondrous? And, can Andy talk as low as Gregory Peck?

Jerry Goldsmith’s score for the 1968 sci-fi landmark Planet of the Apes was #18 on the AFI’s list the whole time! What technique does Goldsmith call on to sound so alien? What wacky instruments does he throw into the mix? And have we finally seen the last of Charlton Heston’s bare chest?

Another Kazan/Brando collaboration turns up as the AFI’s #19: it’s Alex North’s score for the 1951 film adaptation of Tennessee Williams’ stage classic A Streetcar Named Desire. Why is North’s groundbreaking use of jazz so effective? Why was the music for the famous “Hey Stella!” scene deemed to be too sexy? And what does it sound like to go to crazytown?

Now it’s time for the AFI’s #20: Henry Mancini’s score for the 1963 farce The Pink Panther. Why is the iconic Pink Panther tune such a great melody? When does Mancini feel the need to “hit things with the comedy hammer?” And did Blake Edwards really make this movie just so he could go on vacation?