The chapter offers three additional case studies of film/music analysis. The first considers the current style in Hollywood music—what I have called ‘sound-design style’—in which sound resembles music and music resembles sound. The typical function of music (and sound, as the two are to be considered interconnected, ‘integrated’) in this style is the ‘somatic-perceptive function’, when music and sound are called to provide a bodily connection between the viewer and the story world. The second example explores the power of timbres to carry connotations by employing an example from André Previn’s music to Billy Wilder’s Kiss Me, Stupid (1964) and the one from Ennio Morricone’s score The Sicilian Clan (1969). Finally, I discuss contrasting audiovisual macro-configurations, which David Irelad has called ‘Incongruent Music’, in comedy and horror cinema, with examples from the Zucker-Abrahams-Zucker TV show Police Squad! and Jerry Goldsmith’s score to Poltergeist II. The Other Side (1986).