SIFFscores: Staff Picks 2019

We asked our staff: What's your favorite song from a film?

SIFFscores

Here are just a few of their answers. Listen to the full, epic 8-hour playlist on our SIFFscores Spotify account.

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The 1975, "Love Me" (Love, Simon)
"A great piece of 80s-esque funk rock that's incredibly fun; so much in fact that it very fittingly appears in a scene where all the main characters are just jamming out to it in the car."—Jim Saunders, Guest Relations Intern

The Breeders, "Driving on 9" (Landline)
"Kim Deal is a god."—Mike DeStefano, Membership Manager

David Bowie, "Heroes" (The Perks of Being a Wallflower)
"This song makes me feel infinite."—Whitney Veloski, Marketing Coordinator

David Bowie, "Magic Dance" (Labryinth)
"Try not to dance. Fight me."—Christa Lynn Luckenbach, Festival Venue Operations Manager

Dennis Brown, "Things In Life" (Chungking Express)
"'California Dreamin' is maybe the more memorable track in this film, but I love the laid-back cool that matches Wong Kar-wai's style."—Caroline Beston, Box Officer

The Cornelius Brothers & Sister Rose, "Too Late to Turn Back Now" (BlacKkKlansman)
"You could drop someone with even a minimal amount of film knowledge into the moment that this song soundtracks in BlacKkKlansman and there's a very good chance that they could identify it as being from a Spike Lee film. It's a magic moment that reminds you of how distinctive and essential he is, all at a time when most people had assumed his best work was already behind him. Don't call it a comeback."—Nick Bruno, Public Cinema Programs Manager

Bobby Darin, "Beyond the Sea" (A Life Less Ordinary)
"I was so obsessed with this movie and its soundtrack in 1997 that I created a GeoCities fan webpage about it."—Clare Canzoneri, Digital Marketing Manager

Earth, Wind and & Fire, "Reasons" (Killer of Sheep)
"I never fail to cry during the scene this is used in."—Aaron Dean, SIFF Cinema Staff

Black Caviar and Blackway, "What's Up Danger?" (Spider-Man: Into the Spider-Verse)
"The pivotal moment of the movie when Miles finally figures out and embraces his spider powers. Combined with the swelling score and the incredible animation, the moment is without a doubt on the best of any Marvel movies."—Mackenzie Wardlow, Guest Relations Intern

Buffalo Springfield, "For What It's Worth" (Lord of War)
"Absolutely awesome song pairing to the opening sequence."—Andrew Walker, Programming Assistant

Joe Esposito, "You're The Best" (The Karate Kid)
"In a tournament of fist bumping 80s power montage soundtracks, this song sweeps the floor and legs."—Will Cadra, Festival Marketing Associate

Anthony Gonzalez, "Remember Me" (Coco)
"About halfway through this film, a voice in my head whispered 'at the end of this film, that boy is going to sing that song to his great grandmother, and it's going to kill you'. And then it happened, and even thought I knew it was coming, I was still reduced to a puddle of tears."—Dan Roberts, Festival Marketing Associate

Daryl Hall & John Oates,"You Make My Dreams" (500 Days of Summer)
"Am I super basic for this? But the scene where this song plays is such a feel good song and the animations along with real life acting is such a cool mixture!"—Bryan Pérez, Festival Graphic Design Intern

Glen Hansard, Marketa Irglova, "Falling Slowly" (Once)
"It's nearly impossible for me to pick just one song from this film—I love them all!—but this is the one that sends shivers through me each time I hear it. Such a beauutiful, romantic song and Marketa's harmonies are perfect."—Elizabeth Rossi, Director of Marketing and Communications

Isaac Hayes, "Shaft" (Shaft)
"It doesn't get much more iconic than this."—Stan Shields, Festival Programming Manager

Huey Lewis and the News, "Power of Love" (Back to the Future)
"If you don't think of Back to the Future or American Psycho when you listen to Huey Lewis and the News, then that's tragic. For me these films + Huey Lewis are one and the same."—Shelby Smout, Festival Social Media Associate

Gene Kelly, "Singin' in the Rain" (Singin' in the Rain)
"Because it always makes me smile."—Ruth Hayler, Programmer

The Kinks, "This Time Tomorrow" (The Darjeeling Limited)
"Best slow-motion ‘oops, I missed the train' scene. Featuring Adrian Brody and Bill Murray."—Hélène de Lacoste, Programming Assistant

Aimee Mann, "Save Me" (Magnolia)
"The song that sums up the theme of the movie, the movie I go to when my existential dread needs to be soothed."—Saunatina Sanchez, Guest Relations Coordinator

The Melvins, "A History Of Bad Men" ("True Detective")
"Rust walks into a biker bar, smell of the psychospehere ensues. I contemplate the moment in the garden; the idea of allowing your own crucifixion—not dead, just sleeping."—Kasey Davis, Accounting Manager

MGMT, "The Youth" (Kings of Summer)
"Summer time teenage rebellion."—Danette Kha, Festival Social Media & Digital Marketing Intern

Rick Moranis & Ellen Greene, "Suddenly Seymour" (Little Shop of Horrors)
"This might be the greatest love duet in movie musical history. It'll also bring down the house at karaoke if you feel it in your heart."—Marcus Gorman, Programmer

Roy Orbison, "In Dreams" (Blue Velvet)
"Dean Stockwell lip-syncing and an insane Dennis Hopper weeping with outbursts of violence? As an 18 yr old I found this transformative."—Leah Anderson, Marketing Manager

The Pixies, "Where is my mind?" (Fight Club)
"This song perfectly represents the duality of Tyler Durden."—Anthony Noceda, Festival Venue Manager

Pointer Sisters, "Jump (For My Love)" (Love Actually)
"I relate to this scene on a spiritual level, and every time I hear it, I have to dance along!"—Carley Callahan, Festival Operations Manager

Prince, "When Doves Cry" (Purple Rain)
"Prince lost Apollonia. The heartbreak was just too powerful!"—Tracy Rector, Programmer

The Proclaimers, "I'm gonna be (500 miles)" (Benny and Joon)
"Johnny Depp's Buster Keaton and the forks in the twinkies in the diner melt my heart every time."—Cindy Brettler, SIFF Cinema Staff

Q Lazzarus, "Goodbye Horses" (The Silence of the Lambs)
"Maybe Buffalo Bill was a psychotic serial killer, but at least he had good music taste."—Emily Shurtz, Print Traffic Manager

Queen, "Don't Stop Me Now" (Shaun of the Dead)
"One of the greatest rock songs at the climax of one of the greatest horror-comedies."—James Davis, Operations and Cinema Programs Coordinator

The Ramones, "Judy is a Punk" (The Royal Tenenbaums)
"The perfect song to expose Margot's secret life!"—Katie Jenkins, Print Traffic Officer

Red Krayola, "Born in Flames" (Born in Flames)
"Perfect soundtrack for a feminist call to revolutionary action."—Sophie Donlon, SIFF Cinema Staff

The Shins, "New Slang" (Garden State)
"This song will change your life."—Dan Doody, Programmer

Simple Minds, "Don't You (forget about me)" (Breakfast Club, Pitch Perfect)
"Judd Nelson with his fist in the air is so iconic they had to recreate it for the Final number in Pitch Perfect!"—Andy Yardley, Box Office & Customer Service Manager

Nancy Sinatra, "Bang Bang-My Baby Shot Me Down" (Kill Bill Vol. 1)
"Getting murdered by your lover never sounded so sexy."—Nicole Beuerlein, Festival Graphic Design Associate

"Drive it Like You Stole it" (Sing Street)
"It's a fun upbeat song!"—Romana Guillotte, Box Officer

Sixpence None the Richer, "Kiss Me" (She's All That)
"Who doesn't love a 90s rom com classic?"—Empress Rivera Ruiz, Festival Graphic Design Intern

Starship, "Nothing's Gonna Stop Us Now" (The Skeleton Twins)
"I have never cried harder at a pop song in a movie than at this lip sych scene. I'm getting weepy just thinking about it!!"—Jenn Misko, Box Officer

Sufjan Stevens, "Visions of Gideon" (Call Me By Your Name)
"This song so perfectly demonstrates Elio's feelings of first love that just hearing it, without watching the movie, brings tears to my eyes."—Justin Phillips, Front Desk Volunteer

Thompson Twins, "If You Were Here" (Sixteen Candles)
"When you hear the synth, you know everything will be okay. Samantha is going to be just fine, and so, too, will you."—Kathy Buchanan, Festival Credentials Coordinator

Traffic, "Dear Mr. Fantasy" (Avengers: Endgame)
"I think for those who've seen Endgame, we can all agree that the soundtrack would've gotten a stamp of approval from resident music connoisseur Starlord himself. Not only is it a classic rock song worthy of any playlist for its mellow vibes, it's the perfect opening to Endgame. I LOVE THIS SONG 3000."—Kelly Phan, Festival Marketing Intern

The West Coast Pop Art Experimental Band, "I Wont Hurt You" (Isle of Dogs)
"One of my favorite animated movies and this scene where they're walking shows Wes Anderson's talent and creativity! So wholesome."—Miranda Navarro, Festival Procurement and Special Events Intern

Matthew E. White & Natalie Prass, "Cool Out" (To All the Boys I've Loved Before)
"This song... even without the context of the movie, the song really embodies a very young and carefree innocence. The song represents the feeling of genuine care and appreciation for another, and doesn't get heavy-handed with that idea. The choice to have the song play over the credits of a well-made teenage romcom is what sealed the deal."—Alex Cash-Muskiewicz, Festival Marketing Intern

Yusuf/ Cat Stevens, "If You Want to Sing Out, Sing Out" (Harold and Maude)
"This song just makes my heart overflow every time, especially in the context of Harold and Maude's relationship. There's so much love and freedom in the lyrics."—Megan Bernovich, Festival Publicist