Notable Film Scores
| Year | Title | Info | Limited? | Label | OOP / SOLD OUT |
|---|---|---|---|---|---|
| 2006 | Black Christmas | Final score before passing on. Replaced Vince Lauria. | ----- | ----- | NO CD |
| 2006 | Final Destination 3 | ----- | ----- | NO CD | |
| 2003 | Willard | Promotional CD released. | ----- | ----- | NO CD |
| 2003 | Final Destination 2 | Promotional CD released. | ----- | ----- | NO CD |
| 2000 | Final Destination | Complete score isolated on a DVD release, with commentary over parts. A shorter promotional CD-R was also issued. | ----- | ----- | NO CD |
| 1996 | Escape from L.A. | Co-composed with John Carpenter, and Alan Howarth | No | Milan Records | NO |
| 1993 | Batman: The Mask of the Phantasm | Feature film | 3,000 | La La Land Records | Yes |
| 1992 | Memoirs of an Invisible Man | Replaced Jack Nitzsche | No | Varèse Sarabande | OOP |
| 1997 | The Black Stallion | Co-composed with Carmine Coppola; some additional scoring by: Nyle Steiner, Bill Douglass, Kenneth Nash, & George Marsh. Replaced two other composers. | 1,500 | Intrada Records | SOLD OUT |
| 1990 | Chicago Joe and the Showgirl | As Walker stated in an interview, for legal reasons Hans Zimmer had to take credit, but she was the one who composed the score. | ----- | ----- | NO CD |
Read more about this topic: Shirley Walker
Famous quotes containing the words notable, film and/or scores:
“Every notable advance in technique or organization has to be paid for, and in most cases the debit is more or less equivalent to the credit. Except of course when it’s more than equivalent, as it has been with universal education, for example, or wireless, or these damned aeroplanes. In which case, of course, your progress is a step backwards and downwards.”
—Aldous Huxley (1894–1963)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)
“What is it then between us?
What is the count of the scores or hundreds of years between us?
Whatever it is, it avails not—distance avails not, and
place avails not,”
—Walt Whitman (1819–1892)