The Soundtrack of Your Childhood: Vince DiCola Reflects on Scoring Iconic Films and Video Games

Vince DiCola’s name is synonymous with some of the most iconic soundtracks in film, from the high-octane training montages of Rocky IV to the emotional, synth-heavy score of Transformers: The Movie. As a composer, DiCola has shaped the sound of the ‘80s, leaving a lasting impact on cinematic and later gaming experiences. His journey into music composition was anything but conventional—starting as a keyboardist in a cover band and eventually finding himself at the heart of two legendary franchises. Beyond his film work, DiCola has also contributed to major video game titles, from Angry Birds Transformers to Transformers: Devastation and a few others, further solidifying his influence on the auditory landscape of gaming. In this exclusive interview, DiCola opens up about his musical influences, the challenges of scoring iconic films, and how his work has evolved in the gaming industry. Through it all, DiCola’s music continues to resonate with fans across generations, connecting the past with the present in unforgettable ways.

How did you first get into composing? Was there a particular moment or project that set you on this path?

One night in 1982, while playing in a cover band in Los Angeles, I was approached by Frank Stallone, Sylvester’s brother. I soon joined Frank as a keyboard player for some small shows in and around the L.A. area, and at that time my position was that of a supporting musician only. We played these shows as a duo—Frank singing and playing acoustic guitar, and me on keyboards and vocal harmonies. At that time, I had no thought at all of composing music for movies, TV shows, or video games.

Later that year, we decided to assemble a full rock band, and Sylvester made a surprise appearance with his entourage during one of our rehearsals. That was a very big deal for me, as I was (and still am) a big fan of the Rocky and Rambo franchises. During a break, Sly took Frank aside for a private conversation.

After Sly and his people left and we finished our rehearsal, Frank asked me to stick around. He shared that his brother had just signed on to write and direct a movie called Staying Alive, a sequel to the 1977 movie Saturday Night Fever. SNF went on to enjoy major success at the box office, and its soundtrack eventually became the most successful soundtrack in the history of movies up until that time. It remains one of the most successful soundtracks of all time.

Sylvester offered Frank the opportunity to write and submit a song for Staying Alive with the understanding that Sly could not show any favoritism toward his brother. The music would have to effectively support the story and be approved by a panel of people. To my incredible good fortune, Frank asked me to collaborate with him. That led to my becoming a co-writer on seven songs for Staying Alive, one of which was a top 10 hit called “Far From Over.” That project set me on the path as a songwriter and composer for film.

You have a very distinct musical style, especially with your use of synthesizers. Who were your biggest influences when you were developing your sound?

My biggest influences were two very successful progressive rock bands of the 1970s: ELP (Emerson, Lake & Palmer) and Yes. In the ’80s, I went on to draw inspiration from artists, songwriters, and bands such as David Foster and the band Toto. Thankfully, when I did start writing for film, I had the opportunity to combine all my sources of inspiration into what has been referred to by some as a distinct musical style (although it’s hard for me to be objective about that!).

Many fans associate your music with the energy and intensity of the '80s. How do you think the era shaped your approach to composition?

As mentioned above… although there was some music in the ’80s I drew inspiration from, it was music from the ’70s that shaped my approach to composition to a great degree later on.

Your work on Rocky IV and The Transformers: The Movie had such a cinematic and emotional impact. How did you approach scoring these films compared to your other projects?

Thank you for the kind words! On Rocky IV, I was incredibly lucky in that I had the previous three movies in the franchise to draw inspiration from. Scoring Transformers: The Movie was quite a different and more challenging experience for me. I had no knowledge of the Transformers toy line or TV shows when I signed on to score the movie, which turned out to be to my advantage. I came into that project fresh and was granted the opportunity and freedom to stylize the music the way I wanted. It was especially challenging in that there was no actual footage to score to because it was still being animated. All they could provide me with were storyboards. That was a format I wasn’t as familiar with at the time compared to scoring to picture, but it was an interesting and educational experience.

Jumping into the Rocky franchise after Bill Conti must have been a huge challenge. How did you approach composing for the film, balancing the need to stay connected to the Rocky legacy while also creating your own unique musical identity for this installment?

I’ve asked myself the same question many times over the years! You have to understand that the attempt to land the composing gig for the fourth film in the Rocky franchise was an incredibly long shot. I was up against two major potential stumbling blocks:

1. I had never scored a movie before, and...
2. Two words: Bill Conti!

Consequently, the entire time I was writing music for consideration, I was 100% convinced there was no way I would be chosen for this opportunity. The odds were probably something like 100,000 to 1! However, that provided me with a major advantage in that I didn’t have a director, producer, or star looking over my shoulder critiquing my work. I was able to approach the process as a fun experiment and a great learning experience.

Of course, I knew going into the project that Bill Conti’s iconic music from the previous three films was a very important factor. How did I incorporate his style into my own while trying to create my own musical identity for the movie? I honestly don’t know! I was “flying by the seat of my pants” for the most part, although it was helpful having Conti’s music to draw inspiration from.

Robin Garb—my manager at the time and music supervisor for Rocky IV and other Stallone movies—came up with a great idea for a pitch on my behalf. He suggested I come up with five pieces: one each for a training scene, a fight scene, a death/funeral scene (for Apollo Creed), and two tender dramatic cues for some interaction between Rocky and Adrian. I came up with my ideas in that order and went on to assemble demos. My good friend Ed Fruge co-produced the score with me and played a major role in getting the demos together.

Long story short, 90% of my initial thematic ideas ended up being used in the film, and the demos for “Training Montage” and “War” (main fight) ended up on the soundtrack nearly in their original form. That decision was made even before the film was finished. The way things worked out, we had to create alternate versions of “Training Montage” and “War” for the film, but the versions that ended up on the soundtrack had already been recorded and approved. For the most part, it was just a matter of adjusting to picture and coming up with some cues for Drago and a few piano/string cues. There were just over 37 minutes of score material.

In addition to the score, I also wrote the music for the song “Heart’s on Fire,” which went on to be performed by John Cafferty. (Two close friends of mine—Ed Fruge and Joe Esposito—came up with the inspiring lyrics.)

The Rocky IV soundtrack, despite now being considered iconic, actually received a Razzie Award at the time. How did you feel about that back then, and how do you look at it now, after so many years and its lasting popularity?

Of course, that was very disappointing and disheartening at the time, but when I became aware that other elements of the film also received a Razzie, I eventually came to terms with it and even chuckled about it a bit as time went by.

Your Transformers: The Movie score gave the film a unique musical identity. What was the creative process like for that project, and how much freedom did you have?

I was granted an enormous amount of freedom on that project. The producers reached out to me because they loved my score for Rocky IV, and the only request they made of me (and I’m really glad they did) was to write and demo a piece of music representing how I might shape the music based on the information they provided me about the overall concept and story. I wrote a 6-minute suite that I eventually titled “Legacy,” and I incorporated a few different themes into the piece. There was some heroic music for the ‘good guys,’ some intense and malevolent music for the ‘bad guys,’ with some space battle music and a sort of ‘peace after the war’ theme thrown in for good measure! The producers loved the piece and hired me, but ironically none of the music from “Legacy” ever made it into the movie. However, that piece is on the set list when I perform live with my band, and it’s great fun and really challenging to play (it’s a fairly complex piece of music). The audience response to “Legacy” has been terrific.

I basically used the same process when writing the music for this movie as I did for Rocky IV, the only difference being that it was agreed upon by all parties that the Transformers score needed to be 100% electronic.

Transformers: The Movie was unique in how it mixed licensed metal songs with your synth-driven score. How did that idea come about? Did it influence how you approached composing for the film in any way?

Honestly, the two elements were kept quite separate, with the score being created by me and the songs being written and performed by artists who happened to be on the Scotti Brothers roster at the time (Scotti Brothers was the record label attached to the soundtrack). Consequently, I was not involved with the songs, with one exception: “Dare,” performed by Stan Bush. That song was written by me (music) and my good friend Scott Shelly (lyrics) and played a major role in the movie.

The death of Optimus Prime in Transformers: The Movie was groundbreaking, not only for its emotional depth but also for how your music amplified that moment. It sparked an uproar among the fanbase at the time. Did you ever imagine the scene would have such a profound emotional impact on fans, and how did you personally react to it, especially given how your music played a key role in shaping the reaction?

I NEVER anticipated that piece garnering the amount of attention it did! Remember, I wasn’t familiar with the characters or TV shows or storylines prior to coming into the project, so I wasn’t nearly as emotionally attached to the concept as fans of the franchise were. My approach to that particular piece was simply to write some sad music to represent the death of a major character in the storyline. Little did I know how much that scene and its music would devastate the fans! (When we perform it live, there are quite a few tears shed!) I’m glad I was able to capture the weight and importance of that scene in the music.

Transformers: The Movie was quite unusual for the ‘80s, featuring well-known musicians like yourself, Weird Al, and Stan Bush, alongside an all-star cast including Leonard Nimoy, Judd Nelson, and even Orson Welles. Did you—or anyone from the production—expect the film to have such a lasting impact? How do you feel about the lasting impact of your Transformers work?

Speaking only for myself, I most certainly did not expect the movie and its music to have such a lasting impact, especially given the fact that it failed pretty miserably at the box office when it was originally released. Listen, my score to Transformers: The Movie has somehow withstood the test of time in the minds of the fans, for which I will be eternally grateful. When I appear at the conventions, I get the great opportunity to interact with some of the nicest people I’ve ever met. The fans are awesome! If someone had told me in 1986 that my music to this movie would still appeal to people nearly 40 years after the fact, I never would’ve believed it. I’ve truly been blessed, and I’m so touched by the ongoing enthusiasm from the fans.

You eventually returned to the Transformers franchise, though not in the movies. How did it feel to come back with Angry Birds Transformers and Transformers: Devastation? How did your approach to the franchise change when composing for these games?

I had been collaborating with my good friend Kenny Meredith for decades when I was approached to score Angry Birds Transformers, so it was a given that Kenny and I would work on it together. Luckily, the music director of that game was a fan of my TFTM score, so he gave us a lot of freedom. Of course, we wanted to tie the music back to the style of my TFTM score to a certain degree, with the goal of making the music sound more contemporary. We had so much fun on that project and are thrilled with how it turned out.

Our music to Angry Birds Transformers attracted attention from the producers of Transformers: Devastation, and once again we were granted the freedom to approach the music the way we wanted. Everyone seemed happy with our work, so that was another successful collaboration.

Apart from those games, you also composed for Saturday Morning RPG and Teenage Mutant Ninja Turtles: Mutants in Manhattan, both of which embrace the feeling of the ‘80s. What attracts you to that nostalgic sound?

As previously mentioned, the most musically influential years of my life were the 70s. That’s really where the nostalgia stems from for me.

How different is scoring for games compared to movies or doing your own music?

The process is quite different for each medium. Scoring movies and TV shows involves timing the music to the action (frequently referred to as “hitting to picture”), whereas for video games, the composer is mostly requested to come up with themes and moods. Doing my own music, of course, is the most fun and freeing experience because there are no rules!

One thing I have to say regarding all the music I do on my own and with Kenny and others: The writing process is far easier, faster, and more enjoyable than the actual production process! We tend to make it hard on ourselves when assembling a production and trying to come up with unique sounds and soundscapes. There’s LOTS of trial and error involved, which can be tedious and time-consuming.

Video game music has evolved significantly over the years, from simple chiptunes to full orchestral and adaptive scores. How do you see your style fitting into the modern landscape of game music?

Honestly, I’m not that familiar with a lot of game music. Some of the game music I have heard is impressive, and it’s great how much the genre has grown over the years. How does my music fit into the modern landscape of game music? I really have to defer to the listener on that. He/she probably knows a lot more about game music than I do!

The music industry has changed drastically with digital production and AI-generated music. How do you feel about these shifts in composition?

Well, I think it’s too early to make an assessment of the use of AI in music at the moment. However, I think the future holds a lot of surprises that none of us can really envision right now. Good? Bad? We’ll see. One thing I will say is that music technology has come a long way, which is great in some ways but not so much in others. It’s amazing that an artist/songwriter/composer can sit in a room the size of a closet and end up with a huge and impressive-sounding production. What’s concerning to me is that sometimes it seems like more emphasis is placed on the technology than the music itself. Also, I think, to a certain degree, music technology has contributed somewhat to a lack of diversity and uniqueness in today’s music world. It feels to me like there’s more trend-following going on as opposed to trend-setting. With a lot of contemporary music and even some film/video game/TV music, it’s becoming more difficult to differentiate one artist/band/composer from another. That said, you can still find people here and there who are pushing the envelope… sonically, compositionally, production-wise, etc. That’s inspiring.

Looking back at your career, is there a particular piece or project you’re most proud of?

Relative to music of mine that’s already out there, I would have to say I’m most proud of my score to Rocky IV, just because I’m still dumbstruck as to how and why that even happened! It’s hard for me to remember what my thought process was during these projects, and sometimes I wish I could go back and relive that period of my life. If I had to pick one published piece I’m most proud of, that would have to be “Training Montage” from Rocky IV.

That said, I’ve been working on a progressive rock suite with my close friend and partner Doane Perry (drummer for Jethro Tull for 30+ years) called “Figurehead,” and although the piece sounds impressive in its current state, we’re not willing to ‘unleash it’ until all the elements are on the recording. The process has been painfully slow, and there have been lots of roadblocks (and I’m sure there will be many more). At this point, we’re just hoping people will be able to hear this suite while we’re still on the planet! At any rate, I consider this piece to be my finest work; something I don’t think I will ever be able to top (or even match). As for when that music will finally be released, I honestly can’t offer any timeline on that yet.

Many composers, like Frank Klepacki, have cited you as an influence. How does it feel knowing your work has inspired a whole new generation of musicians?

Surreal and extremely proud and honored.

If you had the opportunity to compose for any video game or movie franchise, past or present, which one would you love to work on and why?

Great question! One thing I will admit is that I wish I had the opportunity to contribute to one or more of the live-action Transformers movies. Beyond that, believe it or not, I’d probably choose a project that calls for dramatic material. Many people may not be aware of that side of my music. There's an older film called On Golden Pond (with music composed by Dave Grusin) that deeply touched me and continues to inspire me. Also, one of my favorite contemporary film composers is Thomas Newman, who excels in dramatic music, though he's worked in various genres.

As for movie franchises, the film music that has had a major impact on me over the past decade or so is Hans Zimmer’s work on the Batman and Dune franchises. I would love a chance to contribute some music to one of those, although I think Hans has it pretty well covered!

What’s next for you? Are there any upcoming projects or collaborations that fans should keep an eye out for?

“Figurehead,” which I mentioned previously. I’m also in a band called SAGA STAR and I’m really proud of that music. Our debut album (probably a double set) has been in the making for decades as well. I’m also in a band called CannonballZ, and we’re currently working on our second album.