This week on “Picture Perfect,” we’ve got the need for speed.

With Mad Max back in theaters, we’ll have music from the second installment in the series, “The Road Warrior” (1981). Australian composer Brian May wrote the music, as he did for the original. The director, George Miller, specified that he was looking for a gothic, Bernard Herrmann-type mood to underscore his dystopian vision of a post-apocalyptic Australian Outback.

Maurice Jarre took over to write the music for the third installment, “Mad Max Beyond Thunderdome,” but it’s purely by coincidence that we’ll hear selections from another Jarre score built for speed, “Grand Prix” (1966). The film’s international cast featured James Garner, Eva Marie Saint, Yves Montand, and Toshiro Mifune, but the plot’s assorted relationship and business conflicts take a back seat to driver’s-eye views of lapping the track.

When we remember Steve McQueen, chances are one of the first images that springs to mind is that of McQueen behind the wheel of his Ford Mustang GT 390 Fastback, tearing up and down the streets of San Francisco in “Bullitt” (1968). The high-octane action sequence became the yardstick against which all big screen car chases were measured (at least until “The French Connection”). Lalo Schifrin provided the jazzy score.

Finally, Marty McFly and Doc Brown’s time-travelling DeLoreon needs to hit 88 miles per hour in order to get “Back to the Future” (1985). Director Bob Zemeckis had already worked with composer Alan Silvestri on “Romancing the Stone,” but the producer of “Back to the Future,” Steven Spielberg, didn’t care for the music in that film. Zemeckis’ advice to his colleague: go grand and epic, since Spielberg had a marked preference for the music of John Williams. It was a very good choice.

I hope you’ll join me for an hour of chases and races, this evening at 6 ET, with a repeat tomorrow morning at 6; or that you’ll listen to it later as a webcast, at http://www.wwfm.org.

Just be sure you’re not driving when you do!