"Fantastic Four" Soundtrack Lyrics

"Fantastic 4 (Original Motion Picture Score)" Soundtrack Description

Overview

Two albums cover the 2005 film’s music: John Ottman’s orchestral Fantastic 4 (Original Motion Picture Score) and the companion rock/hip-hop compilation Fantastic 4: The Album. The score provides the team’s bold brass motif and cleanly spotted action writing; the song set handles marketing muscle and a handful of on-screen moments.

Ottman’s album (Varèse Sarabande) runs 14 cues (~45 minutes). The song compilation (Wind-up Records) spans 20 tracks, including Velvet Revolver’s “Come On, Come In” and Ben Moody & Anastacia’s “Everything Burns.” For baseline discographic facts, Apple Music and Spotify listings align with Wikipedia’s release notes.

Questions & Answers

How many official albums are tied to the film?

Two: Ottman’s orchestral score (Varèse Sarabande) and the various-artists Fantastic 4: The Album (Wind-up).

Who composed the score?

John Ottman. He builds a straightforward brass theme and kinetic action cues around the team’s beats.

Who was the music supervisor?

Dave Jordan is credited as music supervisor on the film.

When were the albums released?

The song album streeted July 5, 2005; the score followed July 12, 2005.

Is “Everything Burns” in the movie or only on album?

It plays over the end credits (second credit song) and appears on the Wind-up compilation.

What’s the boat-party track near the end?

Miri Ben-Ari & Pharoahe Monch’s “New World Symphony” underscores the celebratory boat scene.

Any in-film songs not on the commercial album?

Yes — Gabin’s “Bang Bang to the Rock ’n’ Roll” is heard in-film but omitted from the Wind-up CD.

Notes & Trivia

• Velvet Revolver’s “Come On, Come In” was recorded specifically for the release cycle and promoted with a DVD-bonus video.
• “Bang Bang to the Rock ’n’ Roll” (Gabin) is in the film but not on the commercial compilation.
• Taking Back Sunday’s “Error Operator” doubled as a tie-in with the Activision video game.
• Ottman’s score album is a tight 14-track program; many film cues remain unreleased.
• Trusted catalogs (Apple Music, Spotify) mirror the track counts and runtimes found on label and discography sites.

Genres & Themes

Orchestral superhero writing. Clear brass motto for the team; driving strings and percussion for set-pieces; warmer woodwinds for Ben/Alicia grace notes.

Rock/alt sheen for brand identity. The Wind-up cuts supply radio-friendly hooks that fit promos, end credits, and a few diegetic beats.

Tracks & Scenes

“Bang Bang to the Rock ’n’ Roll” — Gabin
Scene: Montage of the new living arrangement; Johnny pranks Ben; everyone adjusts to powers. Diegetic feel via source-like placement; ~short montage.
Why it matters: Bright, cheeky groove that undercuts super-seriousness; not on the commercial album.

“Now You Know” — Miss Eighty 6 & Classic
Scene: Ben trudges through the city after transforming; pauses outside a Big & Tall store. Non-diegetic; ~brief scene.
Why it matters: Hip-hop bed gives urban weight to a lonely beat in Ben’s arc.

“Noots” — Sum 41
Scene: Early alpine resort sequence; Johnny showboats on the slopes with a nurse before his first fiery “flame-on” flourish. Non-diegetic; ~1–2 min.
Why it matters: Pop-punk energy for Johnny’s adrenaline personality.

“Kirikirimai (Fantastic Four Remix)” — Orange Range
Scene: Johnny rolls into the X-Games scene and laps up attention. Non-diegetic; brief needle-drop.
Why it matters: Imports a hyped stadium vibe; quick character color.

“Error Operator” — Taking Back Sunday
Scene: Ben in the bar (first cue heard there) before meeting Alicia. Source/ambient mix; short.
Why it matters: Edgy alt tone telegraphs Ben’s dislocation.

“Waiting (Save Your Life)” — Omnisoul
Scene: Ben meets Alicia in the bar; the film softens for their first connection. Source-leaning placement; ~1 min.
Why it matters: Humanizes Ben; warmth over gravel.

“Come On, Come In” — Velvet Revolver
Scene: Ben and Reed watch Johnny stunt on a bike and flirt; media spectacle ramps up. Non-diegetic; compact placement.
Why it matters: Big-riff swagger for celebrity-era superheroes.

“New World Symphony” — Miri Ben-Ari feat. Pharoahe Monch
Scene: Post-victory boat celebration near the end. Non-diegetic; ~1 min on screen.
Why it matters: A hybrid of classical motif and hip-hop cadence — fitting for a public coronation.

“Whatever Happened to the Heroes” — Joss Stone
Scene: 1st end-credits song. Non-diegetic.
Why it matters: On-nose title that plays with the team’s image dilemma.

“Everything Burns” — Ben Moody feat. Anastacia
Scene: 2nd end-credits slot. Non-diegetic.
Why it matters: Melodic, brooding wrap that became the compilation’s breakout single.

Music–Story Links

Public image vs. private strain. Glossy rock cues (Velvet Revolver, Sum 41) pump Johnny’s stunts while Ottman’s score re-centers the group’s cohesion and cost.

Ben’s humanity. Bar-source tracks (“Waiting,” “Error Operator”) soften the Thing’s edges before the score’s nobler brass lifts him in the finale.

Team as headline act. The boat-party cut folds classical DNA into hip-hop swagger, mirroring a science-born team that’s now celebrity chemistry.

How It Was Made

Score. Recorded with the Hollywood Studio Symphony; Damon Intrabartolo conducting; orchestrations by Ottman/Intrabartolo/Rick Giovinazzo/Frank Macchia. Casey Stone engineered/mixed at Fox’s Newman Scoring Stage. The album (Varèse) condenses highlights into 14 cues.

Song compilation. Wind-up’s 20-track set arrived a week earlier, anchored by “Come On, Come In” and “Everything Burns.” Label notes and trade press flagged bespoke contributions (e.g., Taking Back Sunday’s “Error Operator” tied to the Activision game). Music supervision on the film credits: Dave Jordan.

Reception & Quotes

“Buy it… only if you are a very avid John Ottman collector.” Filmtracks

“Much more impressive is Ottman’s action and suspense music.” Movie Music UK

Fan response to the albums splits along those lines: score for compact action writing; compilation for era-specific hooks. Availability on Apple Music, Spotify, and Discogs remains stable.

Additional Info

• Release timing: Wind-up album July 5, 2005; Varèse score July 12, 2005.
• End-credits order: Joss Stone leads; “Everything Burns” follows.
• In-film but off-album: Gabin’s “Bang Bang to the Rock ’n’ Roll.”
• Promo/media: “Come On, Come In” had a Wayne Isham-directed video on home-video extras.
• Trailer cue: Some promos used non-album tracks; retail albums focus on film usage and tie-ins.

Technical Info

• Title: Fantastic 4 (Original Motion Picture Score) / Fantastic 4: The Album
• Film/Year: Fantastic Four — 2005
• Composer: John Ottman (score)
• Music supervision: Dave Jordan
• Labels: Varèse Sarabande (score); Wind-up Records (various artists)
• Key placements (film): “Bang Bang to the Rock ’n’ Roll” (montage); “New World Symphony” (boat scene); “Everything Burns” (end credits)
• Availability: Apple Music, Spotify, Discogs (multiple pressings documented)

Canonical Entities & Relations

Sources: Wikipedia; Apple Music; Spotify; IMDb; SuperHeroHype; Filmtracks; Movie Music UK; SoundtrackINFO; Discogs.

November, 09th 2025