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For the second of 1997's dueling Buddhist epics (the other being Seven Days in Tibet, scored by John Williams), director Martin Scorsese made a wise--if commercially challenging--choice in tapping noted minimalist composer Philip Glass to score Kundun. Glass (who's previously scored the avant garde documentary Koyaanisqatsi trilogy, Mishima, and the strange Candyman horror series), is the perfect choice here; his own Buddhist beliefs play a key role in meshing image and music. Glass's familiar compositional techniques are wedded on Kundun to a sensitive use of ethnic instruments and the voices of the Gyuto Monks, adding an aura of spiritual power missing from most Hollywood fare.

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