Title: I Build the Tower
Content:  loved – and spans the time and distance from nineteenth century Italy to present-day Los Angeles. The classical score was arranged and conducted by noted silent film music composer Robert Israel. Jazz pianist Nate Morgan composed an original jazz score using Verdi's themes and performed by Morgan's ensemble. Filmmakers Byer and conceived a hip-hop song incorporating Rodia's own voice as lead vocal, backed up by jazz vocalists Dwight Trible and Logan Johnson, Jr., set to music by Michael Abels. In April, 2009, I Build the Tower was the opening presentation of "Art and Migration: Sabato Rodia's Watts Towers in Los Angeles", the first international conference on the Watts Towers. The conference was held in Genoa, Italy, sponsored by the University of Genoa and the U.C.L.A. International Institute.
Title: Strange Days (film)
Content:  International music was chosen as the primary music style of Strange Days due to its variety of sounds and instruments. According to music supervisor Randy Gerston, who previously worked on True Lies, this type of music helped the film-makers create a futuristic atmosphere, noting that "the world is shrinking and people are getting acclimated to strange languages being part of the pop vernacular." Michael Kamen was the first composer hired to create a score for the film. Michel Sanchez and Éric Mouquet, the French duo known as Deep Forest, were then hired to replace Kamen's work. In addition to their score, Deep Forest teamed with Peter Gabriel to write 
Title: It (2017 film)
Content:  On March 23, 2017, Benjamin Wallfisch was announced as the composer of Its score. Wallfisch stated that Jerry Goldsmith, John Williams, Alan Silvestri, as well as Dave Grusin's composition for The Goonies (1985) were largely influential in the score of It, as he felt so passionate about those "big thematic style of scoring", albeit at the same time wishing to go beyond the idea that it would be a purely orchestral and adventurous score. According to Wallfisch, he had to develop a theme for Pennywise which included finding and creating music that could infect all the other melodies as there are several themes in the film but the Pennywise score is a very quiet and whispered childlike tune using very high strings. Wallfisch spoke of Pennywise's second theme, inspired by Skarsgård's portrayal, in which he used the old children's song "Oranges and Lemons", which had always disturbed him as a child: "We knew we wanted some kind of children's song to signify Pennywise's strange and demented inner monologue. I also very subtly use certain melodic fragments from it in other themes, for example the piano music that opens and closes the movie."
Title: The Island at the Top of the World
Content:  The film's score was created by film composer Maurice Jarre. This was Jarre's first score for a Disney film. The score featured sweeping themes that were tinged with ethnic string and percussion instruments that helped to portray the various cultures represented in the film.
Title: The Italian Straw Hat (film)
Content:  In 1952 Georges Delerue wrote a music score to accompany a screening of the silent film. The British composer Benedict Mason also composed an orchestral score for the film, into which he incorporated Jacques Ibert's Divertissement which that composer had based on his own incidental music for a performance of the original play by Labiche and Michel in 1929. For the DVD edition of The Italian Straw Hat by Flicker Alley (2010), an orchestral score compiled by Rodney Sauer and performed by the Monte Alto Motion Picture Orchestra was provided, together with an alternative piano accompaniment by Philip Carli.
Title: The New World (2005 film)
Content:  The musical score for The New World was composed by James Horner. He worked first from the script and then from edited scenes. As the film was re-edited, more changes to the score were required. Because Malick's editing was extensive and involved reordering or dropping passages or inserting sequences, much of Horner's score was not used. For the final version, Malick used sections of Horner's music along with the prelude to Wagner's Das Rheingold, Mozart's Piano Concerto No. 23, and other pieces. Horner and Glen Ballard wrote and recorded the song "Listen to the Wind", sung by Hayley Westenra, for the closing credits, but this too was unused.
Title: The Blood on Satan's Claw
Content:  The film's score was composed by Marc Wilkinson, an Australian composer who had previously worked alongside Haggard at the National Theatre. "[He] had a wonderful command of strange sounds," said the director. "He wasn't somebody who would ever give you a stock sound. And I think he absolutely excelled himself. It's certainly one of the best scores I've ever had for a film."
Title: One Million Years B.C.
Content:  Composer Mario Nascimbene was in charge of the film's music and score. The soundtrack was released in Italy as a 7-track limited edition vinyl LP on the Intermezzo label in 1985. It was re-released in Italy on compact disc in 1994 (now out of print) as a soundtrack compilation also including two other Hammer films. The original score for the film:
Title: The World to Come
Content:  British composer Daniel Blumberg was commissioned to compose music for the film. He collaborated with avant-garde musicians including Peter Brötzmann, Josephine Foster and Steve Noble on the score, and enlisted Scott Walker producer Peter Walsh to co-produce.
Title: Witchfinder General (film)
Content:  Witchfinder General's celebrated score was composed by Reeves' friend Paul Ferris, who had previously scored The Sorcerers, and acted in the film under the alias "Morris Jar" (a reference to his favourite composer, Maurice Jarre). He drew inspiration from the folk song "Greensleeves" in writing the romantic theme "Peaceful Interlude" as a means of evoking its time period, as well as to serve as a counterpoint to the film's violence. Film critic Tim Lucas has compared the score to that of Marcello Giombini's music for the swashbuckler film Knives of the Avenger (1966), noting that both films are "historical melodrama[s] that [function as] metaphorical Westerns". Ferris' ambitions clashed with Tenser; the composer hoped to have the score performed with traditional Elizabethan instruments, a creative choice that Tenser vetoed for budgetary reasons. He instead conducted a 55-piece orchestra 

Question: Who was the composer of The International?
Answer: Tom Tykwer.