Not nominated, but over time they evened up the score

Hindsight often proves the Academy Awards to be, shall we say, shortsighted. Many films that haven’t won an Oscar — or weren’t even nominated — prove to be quite influential over time. Such is the case with many classic film scores, from Bernard Herrmann’s swirling “Vertigo” to Jonny Greenwood’s queasy “There Will Be Blood.” Here’s a rundown of 10 beloved scores that were never nominated:

“Vertigo,” 1958.

Many consider this to be the pinnacle of Herrmann’s longtime collaboration with director Alfred Hitchcock. “Psycho,” 1960. The sounds of Herrmann’s stabbing strings help to make the shower scene what it is, but while Hitchcock and Janet Leigh were nominated, the composer was left out in the cold.

“Goldfinger,” 1964.

Composer John Barry won five Oscars, including one for “Dances With Wolves,” but not one of his 11 James Bond scores ever got the nod. “The Godfather,” 1972. The film academy nominated composer Nino Rota but then withdrew the nomination after deeming Rota’s music too reliant on themes he wrote for “Fortunella.” But Rota did receive a nomination for “The Godfather: Part II” — and he won.

“Halloween,” 1978.

The heartpumping piano theme composed by director John Carpenter went on to influence the genre (and become star Jamie Lee Curtis’ ringtone). “Blade Runner,” 1982. Vangelis’ score for “Chariots of Fire” is a memorable Oscar winner, but fewer people recall his future-noir music for the following year’s “Blade Runner,” a score that director Ridley Scott called “the soul of the movie.”

“Back to the Future,” 1985.

Alan Silvestri’s score is instant nostalgia, its main theme carried through “Future” sequels.

“Batman,” 1989.

Danny Elfman earned no nomination for his breakout — and wouldn’t get academy recognition until 1998, when he was nominated twice, for “Men in Black” and “Good Will Hunting.”

“Rudy,” 1993.

Jerry Goldsmith’s score is pure underdog music, rousing dreams of glory — which explains why it’s often played at sporting events.

“The Matrix,” 1999.

The film won Oscars for editing, sound, sound effects editing and visual effects, but the academy overlooked Don Davis’ avant-garde orchestral and electronic score.

“Requiem for a Dream,” 2000.

Clint Mansell, a frequent collaborator with director Darren Aronofsky, delivered hypnotic and melancholy music that soaked into moviegoers’ consciousness. “There Will Be Blood,” 2007. Greenwood, the Radiohead guitarist and arranger, wrote a noted score for the Paul Thomas Anderson film, but the academy deemed it ineligible because it used existing music. Greenwood is nominated this year for another Anderson collaboration, “Phantom Thread.”