 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Dec 13, 2016 - 5:23 PM
|
|
|
|
By: |
Moviedrone
(Member)
|
From FilmMusicReporter:
http://filmmusicreporter.com/2016/12/13/academy-announces-145-original-scores-in-oscar-race/
Probably the biggest omission is ARRIVAL.
The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards®.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The BFG,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli ?rvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna, composers
“The Birth of a Nation,” Henry Jackman, composer
“Bleed for This,” Julia Holter, composer
“The Boss,” Christopher Lennertz, composer
“Bridget Jones’s Baby,” Craig Armstrong, composer
“The Bronze,” Andrew Feltenstein and John Nau, composers
“Captain America: Civil War,” Henry Jackman, composer
“The Charnel House,” Todd Haberman, composer
“The Choice,” Marcelo Zarvos, composer
“Collateral Beauty,” Theodore Shapiro, composer
“The Conjuring 2,” Joseph Bishara, composer
“Criminal,” Bryan Tyler and Keith Power, composers
“Deadpool,” Tom Holkenborg, composer
“Deepwater Horizon,” Steve Jablonsky, composer
“Denial,” Howard Shore, composer
“Doctor Strange,” Michael Giacchino, composer
“The Dressmaker,” David Hirschfelder, composer
“Eddie the Eagle,” Matthew Margeson, composer
“The Edge of Seventeen,” Atli ?rvarsson, composer
“Elle,” Anne Dudley, composer
“Eye in the Sky,” Paul Hepker and Mark Kilian, composers
“Fantastic Beasts and Where to Find Them,” James Newton Howard, composer
“Fences,” Marcelo Zarvos, composer
“Finding Dory,” Thomas Newman, composer
“The First Monday in May,” Ian Hultquist and Sofia Hultquist, composers
“Florence Foster Jenkins,” Alexandre Desplat, composer
“Floyd Norman: An Animated Life,” Ryan Shore, composer
“The Founder,” Carter Burwell, composer
“Free State of Jones,” Nicholas Britell, composer
“Ghostbusters,” Theodore Shapiro, composer
“The Girl on the Train,” Danny Elfman, composer
“Gleason,” Dan Romer and Saul Simon MacWilliams, composers
“Gold,” Daniel Pemberton, composer
“Greater,” Stephen Raynor-Endelman, composer
“Hacksaw Ridge,” Rupert Gregson-Williams, composer
“Hail, Caesar!,” Carter Burwell, composer
“The Handmaiden,” Cho Young-wuk, composer
“Hands of Stone,” Angelo Milli, composer
“Hell or High Water,” Nick Cave and Warren Ellis, composers
“Hidden Figures,” Pharrell Williams and Benjamin Wallfisch, composers
“High-Rise,” Clint Mansell, composer
“How to Be Single,” Fil Eisler, composer
“Hunt for the Wilderpeople,” Lukasz Buda and Samuel Scott, composers
“The Huntsman: Winter’s War,” James Newton Howard, composer
“Ice Age: Collision Course,” John Debney, composer
“Independence Day: Resurgence,” Thomas Wander and Harald Kloser, composers
“Indignation,” Jay Wadley, composer
“The Invitation,” Theodore Shapiro, composer
“Ithaca,” John Mellencamp, composer
“Jack Reacher: Never Go Back,” Henry Jackman, composer
“Jackie,” Mica Levi, composer
“Julieta,” Alberto Iglesias, composer
“The Jungle Book,” John Debney, composer
“Keeping Up with the Joneses,” Jake Monaco, composer
“Kicks,” Brian Reitzell, composer
“Krisha,” Brian McOmber, composer
“Kubo and the Two Strings,” Dario Marianelli, composer
“La La Land,” Justin Hurwitz, composer
“Land of Mine,” Sune Martin, composer
“Landfill Harmonic,” Michael A. Levine, composer
“The Legend of Ben Hall,” Ronnie Minder, composer
“The Legend of Tarzan,” Rupert Gregson-Williams, composer
“Life, Animated,” Dylan Stark and T. Griffin, composers
“The Light between Oceans,” Alexandre Desplat, composer
“Lights Out,” Benjamin Wallfisch, composer
“Lion,” Dustin O’Halloran and Hauschka, composers
“The Little Prince,” Hans Zimmer and Richard Harvey, composers
“Live by Night,” Harry Gregson-Williams, composer
“Loving,” David Wingo, composer
“Maggie’s Plan,” Michael Rohatyn, composer
“Me before You,” Craig Armstrong, composer
“The Meddler,” Jonathan Sadoff, composer
“Midnight Special,” David Wingo, composer
“Mike and Dave Need Wedding Dates,” Jeff Cardoni, composer
“Miracles from Heaven,” Carlo Siliotto, composer
“Miss Peregrine’s Home for Peculiar Children,” Mike Higham and Matthew Margeson, composers
“Miss Sloane,” Max Richter, composer
“Mr. Church,” Mark Isham, composer
“Moana,” Mark Mancina, composer
“Money Monster,” Dominic Lewis, composer
“The Monkey King 2,” Christopher Young, composer
“A Monster Calls,” Fernando Velázquez, composer
“Moonlight,” Nicholas Britell, composer
“Morgan,” Max Richter, composer
“My Big Fat Greek Wedding 2,” Christopher Lennertz, composer
“The Neon Demon,” Cliff Martinez, composer
“The Nice Guys,” John Ottman, composer
“No Letting Go,” Alain Mayrand, composer
“Nocturnal Animals,” Abel Korzeniowski, composer
“Now You See Me 2,” Brian Tyler, composer
“O.J.: Made in America,” Gary Lionelli, composer
“Off the Rails,” Steve Gernes and Duncan Thum, composers
“The Other Side of the Door,” Joseph Bishara, composer
“The Ottoman Lieutenant,” Geoff Zanelli, composer
“Ouija: Origin of Evil,” Taylor Stewart and John Andrew Grush, composers
“Our Kind of Traitor,” Marcelo Zarvos, composer
“Passengers,” Thomas Newman, composer
“Paterson,” Carter Logan and Jim Jarmusch, composers
“Patriots Day,” Trent Reznor and Atticus Ross, composers
“Pelé: Birth of a Legend,” A. R. Rahman, composer
“Pete’s Dragon,” Daniel Hart, composer
“Po,” Burt Bacharach, composer
“Queen of Katwe,” Alex Heffes, composer
“Race,” Rachel Portman, composer
“The Red Turtle,” Laurent Perez Del Mar, composer
“Ride Along 2,” Christopher Lennertz, composer
“Rogue One: A Star Wars Story,” Michael Giacchino, composer
“Sausage Party,” Alan Menken and Christopher Lennertz, composers
“The Secret Life of Pets,” Alexandre Desplat, composer
“Silicon Cowboys,” Ian Hultquist, composer
“Sing,” Joby Talbot, composer
“Snowtime!,” Eloi Painchaud and Jorane, composers
“Southside with You,” Stephen James Taylor, composer
“Star Trek Beyond,” Michael Giacchino, composer
“Storks,” Mychael Danna and Jeff Danna, composers
“Suicide Squad,” Steven Price, composer
“Sully,” Christian Jacob, composer
“Swiss Army Man,” Andy Hull and Robert McDowell, composers
“Teenage Mutant Ninja Turtles: Out of the Shadows,” Steve Jablonsky, composer
“10 Cloverfield Lane,” Bear McCreary, composer
“10 Days in a Madhouse,” Jamie Hall, composer
“13 Hours: The Secret Soldiers of Benghazi,” Lorne Balfe, composer
“Trolls,” Christophe Beck, composer
“20th Century Women,” Roger Neill, composer
“Warcraft,” Ramin Djawadi, composer
“Whiskey Tango Foxtrot,” Nick Urata, composer
“X-Men: Apocalypse,” John Ottman, composer
“Zoolander 2,” Theodore Shapiro, composer
“Zootopia,” Michael Giacchino, composer
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Perhaps it's time for directors to once again trust their composers and not temp track their film to death, which they ALL do - then they just dig in their heels and MUST have the Max Richter piece for Arrival, which they heard in some other movie - it's laughable. Trust your composer, don't hamstring him/her/them with pre-existing music just because you don't have enough talent to wait for that process to work. Can you imagine Herrmann being allowed to write Psycho today? Hitchcock TRUSTED Herrmann to come up with something unique and he did - he didn't hear someone else's music first. I'm so sick of this. Manchester by the Sea is another perfect example - it's just directorial masturbation in the case of that film and its classical selections - they have NOTHING to do with the film and Lesley Barber should have been left alone to make the score. End of rant.
|
|
|
|
|
|
|
|
|
|
And yet inclusion of THE THING and EXORCIST II didn't stop them to nominate HATEFUL 8!
what a joke!
Exactly.
But the Oscars have always been just a popularity contest for those they consider hot and valuable at the moment. It was probably their last chance to give Morricone attention.
ARRIVAL definitely deserved a nomination - but Johannson already has one Oscar, so IMO it is okay to open up one slot for someone else.
|
|
|
|
|
|
Perhaps it's time for directors to once again trust their composers and not temp track their film to death, which they ALL do - then they just dig in their heels and MUST have the Max Richter piece for Arrival, which they heard in some other movie - it's laughable. Trust your composer, don't hamstring him/her/them with pre-existing music just because you don't have enough talent to wait for that process to work. Can you imagine Herrmann being allowed to write Psycho today? Hitchcock TRUSTED Herrmann to come up with something unique and he did - he didn't hear someone else's music first. I'm so sick of this. Manchester by the Sea is another perfect example - it's just directorial masturbation in the case of that film and its classical selections - they have NOTHING to do with the film and Lesley Barber should have been left alone to make the score. End of rant.
Agreed. I love the De Palma anecdote about Bernard Herrmann screaming at him to stop the projector immediately when he first got to see SISTERS - with a temp score, even tracks composed by himself. De Palma had to frantically put the tracks off the print and then screen the film without a score for Herrmann.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Dec 14, 2016 - 2:51 PM
|
|
|
|
By: |
Jon Broxton
(Member)
|
Please don't perpetuate that myth about HATEFUL EIGHT.
The score featured 3 tracks from The Thing ("Eternity," "Bestiality," and "Despair"), which on the soundtrack run for 13:22, but only about six minutes of them were used in the film. There's one track from The Exorcist II (Regan's Theme - Floating Sound), which runs for 2:07. And there are four songs, running for a total of 9:59, although one of them played over the end credits. The rest of the score was entirely original, and totaled 51 minutes 43 seconds. So out of more than an hour of music, less than 10 minutes of it was pre-existing score music.
Furthermore, to pre-empt the response that there was less non-original music in ARRIVAL than in HATEFUL EIGHT, the Academy rule is to do with scores which are "significantly diminished" by the use of tracked music, not how much tracked music there actually is. Morricone's original music for HATEFUL EIGHT was by far the most prominent music in the film, therefore it was not 'diminished by the use of pre-existing music'. Speaking from my own point of view, I found the overture, the 7-minute main title sequence in L’Ultima Diligenza di Red Rock, the terrifying Neve sequence when Samuel L Jackson is making his prisoner walk around in the snow, and the lovely trumpet finale - all of which were ORIGINAL score - to be the most prominent musical moments of the film, much more so than anything from The Thing or The Exorcist.
In Arrival, you could easily argue that Johannsson's original music was NOT the most prominent music in the film - Richter's was - and therefore it WAS 'diminished by the use of pre-existing music'. This is certainly my view, and it appears to be the Academy's point of view too.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Well...Stanley Kubrick Kept his Temp Track in his Film...2001.
All Directors do this. All they are doing is, getting the editing down...that certain flow.
When Sydney Pollack "Temp'd" Out of Africa with African Music, Barry told Pollack, that Out of Africa is a love story.
The wacky Phil Kaufman temp'd The Right Stuff with ton's of Classical music...even so much so...Bill Conti's score was almost a mirror image what the temp tracks were. And Won Best Score...hummm...those wacky Academy Members.
That certain flow, eh? Funny how the great filmmakers of old and their editors didn't need temp tracks to get that certain flow. There was no temp track in Psycho or any other Hitchcock film Herrmann did. I doubt Billy Wilder needed one for any of his Rozsa films, save for Sherlock Holmes, where it wasn't a temp track but the desire to use the violin concerto for obvious reasons. The composer got to watch and spot the film without music. He then got to write the score that came out of his musical imagination and not out of some damn temp track of music from other movies and classical pieces. Yes, Kubrick loved his classical music - he was the exception back then, and most certainly not the rule.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Dec 15, 2016 - 7:10 AM
|
|
|
|
By: |
Thor
(Member)
|
From the list above, my dream nominees would look like this (it's 5 per category, right?):
“Eddie the Eagle,” Matthew Margeson, composer
“The Handmaiden,” Cho Young-wuk, composer
“Miracles from Heaven,” Carlo Siliotto, composer
“The Neon Demon,” Cliff Martinez, composer
“The Red Turtle,” Laurent Perez Del Mar, composer
And then some runner-ups on the shortlist:
“Alice through the Looking Glass,” Danny Elfman, composer
“Deadpool,” Tom Holkenborg, composer
“Elle,” Anne Dudley, composer
“Hacksaw Ridge,” Rupert Gregson-Williams, composer
“Lion,” Dustin O’Halloran and Hauschka, composers
“Midnight Special,” David Wingo, composer
“A Monster Calls,” Fernando Velázquez, composer
“Passengers,” Thomas Newman, composer
“Swiss Army Man,” Andy Hull and Robert McDowell, composers
“Fantastic Beasts and Where to Find Them,” James Newton Howard, composer
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
