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Still, what a great line up of nominated scores
Indeed, great line up. All nominated scores were deserving. I think I have to seek out Angela's Ashes now (don't own it on CD, though I've heard some of it) based on Thor's recommendation.
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Posted: |
Jan 18, 2017 - 8:12 AM
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By: |
Mike Esssss
(Member)
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I do know that Corigliano is a huge admirer of Goldsmith.
Ooooh, I love cross-pollination like this. I did some digging and here's a quote from Corigliano as part of an interview that Doug Adams conducted in the run leading to the '99 Oscars:
"But basically, I sense that symphonic composers have certainly loved the idea of writing for film. Some of them just can't do it, in terms of egos, because you do have the cooperative thing with a good director or, unfortunately, with a bad director -- not a bad director, but a director who doesn't really listen to you. You are just subject to that. I'll never forget how awful I felt for Jerry Goldsmith in Alien when the Howard Hanson Romantic Symphony came in at the end. I thought, god, that man Goldsmith is a wonderful composer. I'm sure what he wrote was terrific. I felt so angry! ... It was a terrible thing to do and, knowing Jerry Goldsmith's gifts, if that director didn't like that idea, [Goldsmith] could have come up with another one that would have been just as fabulous as Howard Hanson's."
Excerpt link: http://www.filmscoremonthly.com/articles/2001/08_Aug---The_Red_Violin_John_Corigliano_Interview_Conclusion.asp
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Popularity and influence most certainly would NOT have made "American Beauty" the deserved winner! By that reasoning, John Williams would have Oscars for "Superman", plus one or more of each of the "Indiana Jones" and "Harry Potter" films. Just because the Oscars has been reduced to nothing more than a ratings-based popularity contest doesn't make any of the people who win based on that criteria deserving. The score for "The Red Violin" is neither popular or influential, yet the reasons it won are just as valid now as they were ten years ago.
So are those other scores you mentioned
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I do know that Corigliano is a huge admirer of Goldsmith.
Ooooh, I love cross-pollination like this. I did some digging and here's a quote from Corigliano as part of an interview that Doug Adams conducted in the run leading to the '99 Oscars:
"But basically, I sense that symphonic composers have certainly loved the idea of writing for film. Some of them just can't do it, in terms of egos, because you do have the cooperative thing with a good director or, unfortunately, with a bad director -- not a bad director, but a director who doesn't really listen to you. You are just subject to that. I'll never forget how awful I felt for Jerry Goldsmith in Alien when the Howard Hanson Romantic Symphony came in at the end. I thought, god, that man Goldsmith is a wonderful composer. I'm sure what he wrote was terrific. I felt so angry! ... It was a terrible thing to do and, knowing Jerry Goldsmith's gifts, if that director didn't like that idea, [Goldsmith] could have come up with another one that would have been just as fabulous as Howard Hanson's."
Excerpt link: http://www.filmscoremonthly.com/articles/2001/08_Aug---The_Red_Violin_John_Corigliano_Interview_Conclusion.asp
Agreed. Goldsmiths theme is haunting and much more in tune with the tenor of the film. The Hanson is a beautiful piece In of itself but it's jarring when it comes in. Didn't fit and still doesn't after all these years.
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RIPLEY by a mile!
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Posted: |
Jan 18, 2017 - 11:22 PM
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By: |
Morricone
(Member)
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The Oscars are bollocks. They reflect the opinions of who exactly? More importantly though, in the long run, who cares?
Exactly, I stopped caring 35 years ago when I learned what a bunch of BS the whole thing is.
I couldn't agree more.
Again I answered the first question above. These comments used to bother me then I heard the story of Sam Peckinpah. He had only one enemy - the "suits", that is, the head of the studios. And yet when the two producers Peter S. Davis and William N. Panzer, who worshipped Peckinpah as an artist, hired him for his final film THE OSTERMAN WEEKEND he still treated then as "suits" and forbid them to even visit the set. Peckinpah completed the film on time despite his ill health and alcoholism. In the end the two producers did what Sam felt all "suits" do, took over the editing and "botched" the film. I learned from this story that some people NEED enemies. Someone to vent all their outrage on. Even though the group in question here might contain all the respected composer names I listed above.
So despite their mistakes and miscalculations I hope many understand why I have always felt there was a larger degree of "bullocks" coming from so-called "Fans" than from any composer, the Academy, record label or those actively "doing " something in film music rather those who have the loudest shrill voice on the internet.
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Posted: |
Jan 19, 2017 - 12:12 AM
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By: |
jenkwombat
(Member)
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The Oscars are bollocks. They reflect the opinions of who exactly? More importantly though, in the long run, who cares?
Exactly, I stopped caring 35 years ago when I learned what a bunch of BS the whole thing is.
I couldn't agree more.
Again I answered the first question above. These comments used to bother me then I heard the story of Sam Peckinpah. He had only one enemy - the "suits", that is, the head of the studios. And yet when the two producers Peter S. Davis and William N. Panzer, who worshipped Peckinpah as an artist, hired him for his final film THE OSTERMAN WEEKEND he still treated then as "suits" and forbid them to even visit the set. Peckinpah completed the film on time despite his ill health and alcoholism. In the end the two producers did what Sam felt all "suits" do, took over the editing and "botched" the film. I learned from this story that some people NEED enemies. Someone to vent all their outrage on. Even though the group in question here might contain all the respected composer names I listed above.
So despite their mistakes and miscalculations I hope many understand why I have always felt there was a larger degree of "bullocks" coming from so-called "Fans" than from any composer, the Academy, record label or those actively "doing " something in film music rather those who have the loudest shrill voice on the internet.
I'm sorry, but, to me, that was a strange posting. Unless I'm totally misunderstanding your message(?).
So, people who don't care about the Academy Awards or even watch the Oscars, are not swayed or of the same opinion as anonymous strangers... need enemies and are shrill? Or is it just because they dare to say it on the internet?
I'm not proud or ashamed of not caring what the Academy thinks. I just don't care.
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While all scores are deserving, 'The Talented Mr Ripley' is an integral part of the whole movie experience and it weaves its feelings of uneasiness and heartache throughout the movie.
My bet was on Red Violin that year too.
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Agreed. Goldsmiths theme is haunting and much more in tune with the tenor of the film. The Hanson is a beautiful piece In of itself but it's jarring when it comes in. Didn't fit and still doesn't after all these years.
Indeed... Goldsmith's End Title was a much, much, much, much better fit.
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Posted: |
Jan 19, 2017 - 9:22 AM
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By: |
Morricone
(Member)
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The Oscars are bollocks. They reflect the opinions of who exactly? More importantly though, in the long run, who cares?
Exactly, I stopped caring 35 years ago when I learned what a bunch of BS the whole thing is.
I couldn't agree more.
Again I answered the first question above. These comments used to bother me then I heard the story of Sam Peckinpah. He had only one enemy - the "suits", that is, the head of the studios. And yet when the two producers Peter S. Davis and William N. Panzer, who worshipped Peckinpah as an artist, hired him for his final film THE OSTERMAN WEEKEND he still treated then as "suits" and forbid them to even visit the set. Peckinpah completed the film on time despite his ill health and alcoholism. In the end the two producers did what Sam felt all "suits" do, took over the editing and "botched" the film. I learned from this story that some people NEED enemies. Someone to vent all their outrage on. Even though the group in question here might contain all the respected composer names I listed above.
So despite their mistakes and miscalculations I hope many understand why I have always felt there was a larger degree of "bullocks" coming from so-called "Fans" than from any composer, the Academy, record label or those actively "doing " something in film music rather those who have the loudest shrill voice on the internet.
I'm sorry, but, to me, that was a strange posting. Unless I'm totally misunderstanding your message(?).
So, people who don't care about the Academy Awards or even watch the Oscars, are not swayed or of the same opinion as anonymous strangers... need enemies and are shrill? Or is it just because they dare to say it on the internet?
I'm not proud or ashamed of not caring what the Academy thinks. I just don't care.
Sorry I was misinterpreted. Actually in the mainstream not caring about the Academy Awards is normal. When I was a kid I was amazed at the high ratings it got because it was about art direction, cinematography and film music, as well as acting and films. No, it is the ones who pop up year after year in a discussion about the Oscars, such as this one, and not just declare they never cared for it. They tend to have to get riled up, call it bullshit, ask who cares and even sometimes deride those that do (even the composers!). My estimation about enemies comes from why does it bother them that others do care? If you don't care about it, fine. This is like the argument I present on the Stylotone thread. To hate something is one thing but to make it a "cause" and start knocking those who do is something else.
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