This chapter theorises the ways in which musical worlds are created within films by analysing the opening sequences of the films and their use of music. Music is shown to be acting as a form of cinematic suture, a psychoanalytical concept adapted by film scholars and used to theorise music’s ability to draw a viewer into a film world while simultaneously building it around them. Musical and audiovisual analyses within this chapter take varying methodological approaches, and music is understood in terms of motivic or melodic development as well as harmonically through the adoption of Scott Murphy’s (2014) system of ‘tonal triadic progression classes’ (TTPCs) in contrast with Frank Lehman’s (2013) ‘chromatically modulating cadential resolutions’ (CMCRs), all of which shows how certain harmonic progressions have been codified to signify certain concepts. This points towards both an increased musical familiarity among viewers and a more systematic use of musical and visual tropes that become shortcuts into these vast fantasy spaces, able to quickly orient viewers within increasingly familiar worlds at the start of each new episode.