The final chapter in Hearing Death at the Movies considers the larger question of intention. What evidence do we have that composers are purposely inserting into their film scores references to the Dies Irae? On the one hand, a number of composers have spoken or written about their positive inclusion of the melody, such as the songwriters for Frozen 2, Kristen Anderson-Lopez and Robert Lopez, and the composer of Citizen Kane, Bernard Herrmann. In both cases, the melody is incorporated for its symbolic use. On the other hand, Bear McCreary denies knowing the long history of the Dies Irae, despite his use of the melody in numerous different film (and TV) scores.