Movies. Movies can transport us into different worlds with characters that we find pieces of ourselves within their story arc, making watching films a memorable experience for many movie lovers. Equally as important as the characters in a plot are the soundtrack and songs that drive the movie home.
Some movies have become classics carried single-handedly by one song and artist that many people have already come to know in love. When the elements of character, setting, plot, and music blend, this is the true recipe of a classic film
Curating music for film, in my opinio,n is one of the most important steps in solidifying a film as a box office hit or generational classic music supervisors are the backbone to the body of work that an on screen film is injecting, emotion and purpose into the film with the music of the film being so important to get movie goers to buy tickets and sell theaters
Music supervisors are the backbone of the body of work that an on-screen film is injecting, emotion and purpose into the film, with the music of the film being so important to get movie goers to buy tickets and sell theaters
Peter Gabriel — “In Your Eyes” in Say Anything (1989)
Being a teenager is a rite of passage that all human beings inevitably go through, apart from dealing with the emotional maturity and growth that being a teen forces you to undergo. One component in figuring out oneself during this time is how they ask teenagers to handle one of the big things that their universe at the time revolves around in relationships. Director Cameron Crowe did a masterful job of depicting his version of a Romeo and Juliet love story.
In the scene that the song is connected to, actor John Cusack’s character, Lloyd Dobler, is holding a boom box over his head while in your eyes is playing while standing in front of the window of Ione Skyes’ character Diane Court. In an effort to win her back after Diane’s father convinces her that you should break up with Lloyd, ultimately, Diane is moved by Lloyd’s gesture, and they can reconcile within themselves and get back together.
Interestingly, In Your Eyes was never originally intended to be the song that was playing in the scene. Director Cameron Crowe originally picked a song called To Be a Lover by Billy Idol. In a 2019 article written by Corey Irwin for the website Classic Rock and Culture, on the iconic boombox scene Cameron Crowe details, his stock process in relation to the scene:
“I wrote that scene for Billy Idol’s ‘To Be a Lover,’ if you can believe it,” the filmmaker confessed. “There was one day I liked that song, and that was the day I wrote the scene. By the next day, I knew it was a hideously wrong choice.”
in all honesty to be a lover is a much more up tempo song that feels more pop than a love ballad that a young teenager would dedicate to someone that he loves the song in your eyes was a part of Peter Gabriel‘s fifth studio album, entitled so which released in 1986 with the song being recorded in 1985 the album would go to sell 5 million copies in the US with in your eyes being a massively popular song.
In a February 2023 article written by American Songwriter, it is guessed that Gabriel’s inspiration for the song may be a religious relationship that he has with God rather than what many previously speculated as his girlfriend at the time, Rosanna Arquette.
These lyrics may confirm the divine connection:
In your eyes
The light the heat
In your eyes
I am complete
In your eyes
I see the doorway to a thousand churches
In your eyes
The resolution of all the fruitless searches
Whatever the inspiration behind the track may be, one thing is for sure that In Your Eyes will forever live in the hearts of many, thanks to a movie like Say Anything.
- Music artist: Peter Gabriel
- Song: In Your Eyes
- Movie: Say Anything (1989)
Director Cameron Crowe did a masterful job at depicting his version of a Romeo and Juliet love story in the scene that the song is connected to actor John Cusack’s character, Lloyd Dobler is holding a boom box over his head while in your eyes is playing while standing in front of the window of Ione Skyes character Diane Court in an effort to win her back.
(For album context: Peter Gabriel’s So.)
Whitney Houston — “I Will Always Love You” in The Bodyguard (1992)
Just Whitney Houston‘s name is powerful to stand on its own, as she is a legend in the singing community, giving everyone timeless hits after timeless hits. The amount of power and elegance in her voice to hit every note may never be seen again in the 80s and 90s; she was at the height of her fame and celebrity. In 1992, Whitney Houston starred alongside actor Kevin Costner.
However, Director Mick Johnson and his production team didn’t view Whitney Houston as a worthy cold star for Kevin Costner, because of her lack of acting experience, they wanted to find someone they felt was more suited for the role. However, Costner adamantly supported Houston, causing Johnson and his team to cave in and officially give you the part.
The plot revolves around singer Rachel Marron (Whitney Houston) receiving a mysterious death threat by a stalker her team enlist the help of Frank Farmer (Kevin Costner) to protect her, especially giving his background as a former Secret Service agent.
After clashing for much of the film, Rachel realizes the severity of her safety and starts to follow Frank’s directions the relationship goes from professional to romantic near the end of the film. Frank decides that his job is too dangerous for him and Rachel to have a serious relationship, and they part ways while on tour. Rachel takes the stage to perform I Will Always Love You with this song now having more meaning because of her brief romance with Frank and her trying to fight for him to stay.
The song was not originally Whitney Houston’s to begin with; in fact, country music legend Dolly Parton penned the ballad as an act of gratitude and thanks, seeing her poetic goodbye in a creative way to country singer Porter Wagoner who worked with Dolly Parton on his TV show, subsequently signing her to his label.
After a few years of success and exposure under Wagoner’s wing, Parton wanted to make a name for herself as a solo artist and decided the only way to do that was to leave. Dolly Parton recalled the events that led up to the birth of I Will Always Love You in a March 2024 interview with BBC News
Parton explained in that interview that the emotions behind the song were complex, mixing heartbreak with deep gratitude. One of the most surprising parts of the song’s early story is that Elvis Presley wanted to record a version of I Will Always Love You.
Parton has shared that she was honored by the request but ultimately declined because Elvis’s manager, Colonel Tom Parker, demanded half of her publishing rights in exchange. Turning down Elvis was one of the hardest decisions of her life, but it allowed her to maintain full ownership of the song’s legacy, which later opened the door for Whitney Houston’s iconic version.
Houston’s recording became a centerpiece of The Bodyguard, elevating the emotional stakes of Rachel and Frank’s relationship. According to Billboard, Houston’s version spent fourteen weeks at number one on the Hot 100.
(Soundtrack context: The Bodyguard Original Soundtrack Album.)
The Beatles — “Twist and Shout” in Ferris Bueller’s Day Off (1986)
When audiences think about iconic musical moments in film, Ferris Bueller standing on a parade float, orchestrating the city of Chicago like his own personal concert, is unforgettable. Released in 1986 and directed by John Hughes, Ferris Bueller’s Day Off features the Beatles’ classic Twist and Shout in a scene that has been celebrated for decades. In a feature by Rolling Stone, the parade sequence is highlighted as one of the film’s most defining and joyous moments.
Hughes understood that using Twist and Shout would instantly transport viewers into Ferris’s world of carefree rebellion. The song’s placement elevated the moment, making it feel spontaneous and alive. For many younger viewers, the film was their first introduction to the Beatles, proving how one movie scene can revive a classic song for new generations.
What makes this scene even more memorable is its perfect blend of comedy, celebration, and freedom. Ferris is not just skipping school. He is creating an atmosphere that sweeps up everyone around him into the same feeling of liberation. As the horns section blasts and Ferris lip syncs with full confidence, construction workers dance on scaffolding, crowds cheer from sidewalks, and even the usually stoic citizens of Chicago break character to join in. The camera captures their joy with wide sweeping shots that make the city itself feel like a character coming alive through the music.
Twist and Shout had already been one of the Beatles’ biggest hits, but the movie introduced the song to an entirely new era. After the film’s release, the track re-charted on the Hot 100, showing the direct influence a powerful movie moment can have on a decades-old record. Ferris turning a parade into a personal stage was not just comedic flair. It was a cinematic affirmation that music has the power to stop a city in its tracks and turn an ordinary day into something unforgettable.
(Track context: “Twist and Shout”; chart history overview via Billboard.)
Kate Bush — “Running Up That Hill (A Deal with God)” in Stranger Things, Season 4 (2022)
Kate Bush’s Running Up That Hill remains one of the strongest examples of how a television series can resurrect a song decades after its original release. The track, recorded in 1985, found new life in 2022 after being used in Stranger Things Season 4 during Max Mayfield’s most emotional and terrifying moment.
According to Billboard, the song saw an unprecedented spike on Spotify immediately after the episode premiered.
Detailed description of the scene
In Episode 4, Max becomes the next target of Vecna, the season’s primary antagonist, who preys on trauma and grief. After experiencing visions and physical symptoms, Max is eventually pulled into the Upside Down during a visit to Billy’s grave. The world around her shifts into Vecna’s nightmarish red landscape, where she becomes trapped and immobilized by vines as Vecna prepares to kill her.
Meanwhile, her friends discover that music can break Vecna’s psychological hold on his victims. They frantically search through her belongings until they find her Walkman and cassette tape. When they play Running Up That Hill through her headphones, the song pierces through Vecna’s realm and reaches Max, opening a glowing portal back to reality.
As the drums and synths of the chorus swell, Max sees memories of her friends, the school, and the happier moments of her life. She rips herself free from the vines and desperately runs toward the portal while debris explodes around her and Vecna claws at her back. The song drives the momentum of her escape and transforms the scene into one of the most emotional and triumphant sequences in the series.
Securing the rights to the song required significant effort. In an in-depth report from Variety, the show’s music supervisor revealed that it took months of communication to secure permission from Bush, who is famously protective of her catalog.
Bush ultimately approved the request because she respected the creative intention behind the scene. In a public statement covered by The Guardian, Bush shared that she was moved by how a new generation embraced her music.
The global resurgence of the song proved how film and television can give older music a new cultural impact.
Why these moments endure
From Peter Gabriel’s heartfelt In Your Eyes to Whitney Houston’s soaring I Will Always Love You to the Beatles’ energetic Twist and Shout to Kate Bush’s resurrected masterpiece Running Up That Hill these songs prove that when film and music come together, they create something greater than entertainment. They create culture.
Movie moments become memories. Scenes become emotions. Songs become timeless.
Music supervisors, directors, composers, and artists shape these moments, but it is the audience who carries them forward. These songs live on because viewers felt something, remembered something, or saw part of themselves reflected in the melody or the story.