As it has been ten years since his win for Babel and Brokeback Mountain, I thought the question should be asked: Have your opinions of these scores and of Gustavo winning the Oscar for both of these scores changed in the past ten years?
I accept his Oscar for Brokeback Mountain much like I accept Il Postino (instead of Apollo 13/Braveheart), the Academy wanted to give a consolation prize to Brokeback Mountain/Il Postino. I think the Oscar for Babel bothers me more than Brokeback Mountain. Wasn't the most notable cue by Gustavo in the score was not actually composed for the movie but was composed years before (Iguazu)?
As it has been ten years since his win for Babel and Brokeback Mountain, I thought the question should be asked: Have your opinions of these scores and of Gustavo winning the Oscar for both of these scores changed in the past ten years?
I accept his Oscar for Brokeback Mountain much like I accept Il Postino (instead of Apollo 13/Braveheart), the Academy wanted to give a consolation prize to Brokeback Mountain/Il Postino. I think the Oscar for Babel bothers me more than Brokeback Mountain. Wasn't the most notable cue by Gustavo in the score was not actually composed for the movie but was composed years before (Iguazu)?
Nah, my feelings haven't changed. Trying to not be snarky, but I still hate both those scores and can't understand how they weren't rejected in the first place.
There are no consolation prizes at the Oscars. People vote in isolation. "Brokeback Mountain" won in several key categories, though it didn't win the big prize. When you look at the Music nominees that year, it's obvious. None of the other films ("The Constant Gardner," "Memoirs of a Geisha," "Munich," and "Pride and Prejudice") made any impact as films. Voters had liked "Brokeback." The score won.
I wasn't a huge fan of the movie, but I found the score effective. I don't think a more conventionally "emotional" would have jibed with the tone of the film.
I agree on "BROKEBACK MOUNTAIN" featuring an emotional score and although there was superior stuff that years (absolutely "Memoirs of a Geisha"!) I can understand why the Academy did award it with best original score.
It's not a bad score, actually is a good one but not great. Santaolalla pity consolation would had been the song that wasn't nominated.
"Babel" didn't deserve to win ever. I don't get it yet and it baffles me that this score was nominated for every single award (Golden Globe, BAFTA [also won!], Grammy...)
I can actually thank Santaolla's Oscar wins for serving as the catalyst for my ultimate disinterest in the Oscars- after his second win, I stopped watching the ceremonies and have gotten at least 50 hours of time I would have wasted on those broadcasts to do other more productive things.
