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Oscar Nominations 2013
Posted By Scott Bettencourt 1/16/2014 - 3:00 PM


ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES (ORIGINAL SCORE)

THE BOOK THIEF - John Williams
GRAVITY - Steven Price
HER - William Butler, Owen Pallett
PHILOMENA - Alexandre Desplat
SAVING MR. BANKS - Thomas Newman

An interesting mix of the perpetually-nominated (this makes 12 for Newman, six for Desplat, and I-can't-count-that-high for Williams) and newcomers. Everyone except me knew Gravity was a shoo-in; I thought the branch might not cotton to its non-melodic, atmospheric approach, and frankly I also felt it was the film's one craft area that wasn't oustanding. Her is even more surprising, both because of the presence of two composers, and also the nature of the scoring credit: "Music by Arcade Fire, Additional Music by Owen Pallett." Hans Zimmer's 12 Years a Slave is the surprising omission, especially since it was one of the most nominated films overall, and I thought Captain Phillips would provide a first nomination for the rapidly rising Henry Jackman.


ACHIEVEMENT IN MUSIC WRITTEN FOR MOTION PICTURES (ORIGINAL SONG)

"ALONE YET NOT ALONE" - Alone Yet Not Alone - Music by Bruce Broughton, Lyric by Dennis Spiegel
"HAPPY" - Despicable Me 2 - Music and Lyric by Pharrell Williams
"LET IT GO" - Frozen - Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
"THE MOON SONG" - Her - Music by Karen O, Lyric by Karen O and Spike Jonze
"ORDINARY LOVE" - Mandela: Long Walk to Freedom - Music by Paul Hewson, Dave Evans, Adam Clayton and Larry Mullen, Lyric by Paul Hewson

The IMDB page on Alone Yet Not Alone doesn't list a single actor I've ever heard of, while Rotten Tomatoes doesn't have a single review. That must be a hell of a song (William Ross wrote the actual score to the film).  I think Frozen could have earned more song nominations if the studio had submitted more of its songs; either way, "Let It Go" seems like the front runner, especially since both the album and the film are hugely successful. Spike Jonze joins the company of such Oscar-nominated lyricists as Julie Taymor and Lars von Trier.

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Next FSM ONLINE Issue Now Live!
Posted By Tim Curran 1/15/2014 - 2:00 AM
The ever-hopeful January edition of FSM ONLINE is now live. Kicking off 2014, the cover story is an interview with PATRICK DOYLE on JACK RYAN: SHADOW RECRUIT, featuring a wealth of multimedia exclusives, including scoring session footage, and the composer demonstrating his themes at the piano. And hold on on to your seats for our annual YEAR IN REVIEW coverage, with diverse contributions from an array of contributors. Also in this issue: BENJAMIN WALLFISCH, discusses THE THIRTEENTH TALE and HOURS; an enormous look at the film music critic PAGE COOK; Part 2 of AN EVENING WITH GEORGE FENTON, in which the composer talks of his collaborations with Harold Ramis, Andy Tennant and more; a review of the London live-to-picture concert of THE ARTIST; a first-time TORN PAGES; more embedded audio clips, and more.
 
Subscribers, you’ll get notification by email shortly. Or, just go here to log in. For those who want to join FSM ONLINE, go here, click on the “Subscribe” link and follow the instructions. And email us if you have any questions.
 
Sincerely,
 
Your Friends at FSM ONLINE
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Aisle Seat 1-15: It's a MAD MAD MAD MAD Blu-Ray
Posted By Andy Dursin 1/14/2014 - 9:00 PM
Though far from the funniest film ever made, IT’S A MAD, MAD, MAD, MAD WORLD (154/197 mins., 1963) is undoubtedly one of the biggest cinematic comedies ever mounted in terms of scale – offering a veritable who’s who of classic Golden Age comedians in a picture that has long generated a love/hate relationship among viewers. While the movie’s artistic merits are debatable, there’s no denying that Criterion has produced one of the most praiseworthy restorations we’ve seen on home video in years with their new Blu-Ray/DVD edition of Stanley Kramer’s gargantuan 1963 release.
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Aisle Seat 1-14: RAISING The New Year
Posted By Andy Dursin 1/13/2014 - 9:00 PM
Sir Lew Grade’s ITC Entertainment produced a number of high-profile cinematic vehicles in the ‘70s, several of them ending up as notable box-office failures. The most notorious of the lot was RAISE THE TITANIC (**½, 116 mins., 1980, PG), a film that’s actually not nearly as terrible as its disastrous commercial performance would lead one to believe.
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Film Score Friday 1/10/14
Posted By Scott Bettencourt 1/9/2014 - 9:00 PM
The latest CDs from La-La Land, due next week, are new and improved releases of previously available scores -- a remastered version of one of Leonard Rosenman's finest scores, the Oscar-winning science-fiction adventure FANTASTIC VOYAGE, featuring the same cues as the early Film Score Monthly CD but with improved sound; and a greatly expanded version (78 minutes, compared to the original 32-minute Varese release) of Patrick Doyle's full-bodied romantic thriller score for his second feature collaboration with director-star Kenneth Branagh, DEAD AGAIN.


The British Academy of Film and Television Arts has announced their latest nominations for their film awards, including Original Film Music:

THE BOOK THIEF - John Williams
CAPTAIN PHILLIPS - Henry Jackman
GRAVITY - Steven Price
SAVING MR. BANKS - Thomas Newman
12 YEARS A SLAVE - Hans Zimmer

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Film Score Friday 1/3/14
Posted By Scott Bettencourt 1/2/2014 - 9:00 PM
Next week Intrada releases two scores from very different eras of filmmaking. THE YOUNG SAVAGES, a 1961 adpatation of Evan Hunter's novel A Matter of Conviction, was the feature directing debut of John Frankenheimer, pitting district attorney Burt Lancaster against muderous juvenile delinquents. The film was also the feature scoring debut of David Amram, who went on to compose The Manchurian Candidate for Frankenheimer as well an unused score for Seven Days in May. Their other new release features Vince DiCola's score for 1986's beloved (by a certain generation) animated feature TRANSFORMERS: THE MOVIE, featuring Orson Welles as the voice of Unicron.


Music Box has announced two new CDs due this month - Angelo Badalamenti's score for the 1987 noir TOUGH GUYS DON'T DANCE, adapted by director Norman Mailer from his own novel, starring Ryan O'Neal, Isabella Rosselini, Wings Hauser, Lawrence Tierney, Penn Jillette and Frances Fisher, featuring 10 minutes of music not included on the original Varese Sarabande LP; and a CD featuring three scores by Michel Korb -- AFRIKAOILI, TRAVAIL D'ARABE and LES 4 SAISONS DESPIGOULE.

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My Vintage Selection for 2013, Part 2!
Posted By Thomas Rucki 12/31/2013 - 3:01 AM
 
 
In this final part, we will thoroughly analyze the television music of one single decade: the Swinging Sixties. Let's ride along with wayfarer George Duning and his gang of composers!
 
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My Vintage Selection for 2013, Part 1!
Posted By Thomas Rucki 12/31/2013 - 3:00 AM
 
 
In this first part, we will focus on two decades of film music scores from the Swinging Sixties to the Subversive Seventies. 2013 was generous for Jerry Fielding—and especially, with a Clint Eastwood-related score: Escape from Alcatraz (1979)—and Jerry Goldsmith materials.
 
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CD Checklist 2013
Posted By Scott Bettencourt 12/30/2013 - 9:00 PM
AALTIO, PANU

METSAN TARINA (MovieScore Media)


ABRIL, ANTON GARCIA

TEXAS, ADDIO (Quartet)


ADDISON, JOHN

THE AMOROUS ADVENTURES OF MOLL FLANDERS (Quartet)


ALLAMAN, ERIC

THE ANGEL TRILOGY (Buysoundtrax)


AMON, RYAN

ELYSIUM (Varese Sarabande)


ARMSTRONG, CRAIG

THE GREAT GATSBY (Watertower - CD-R)


ARNOLD, DAVID

BOND FOR ORCHESTRA (Carl Davis Collection)
THE WORLD IS NOT ENOUGH
(MCA - import)


ARRIAGADA, JORGE

LINES OF WELLINGTON (Disques CineMusique)


ARUNDEL, NICK

BATMAN: ARKHAM ASYLUM (Watertower - CD-R)


AYRES, MARK

DOCTOR WHO: GHOST LIGHT (Silva)

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Did They Mention the Music? 2013
Posted By Scott Bettencourt 12/29/2013 - 9:00 PM
*Films with an asterisk were added after this column was originally posted


THE PRAISE:

ADORE - Christopher Gordon, Antony Partos

"Exquisite beauty, as exemplified by Christophe Beaucarne’s pristine widescreen images and Christopher Gordon’s lush orchestrations, are apparently all the explanation or justification one needs."

Justin Chang, Variety

AFTERMATH - Jan Duszynski

"Inspired by Jan Gross’ book 'Neighbors,' about the 1941 massacre of a Polish village’s Jewish population by their Catholic neighbors, Wladyslaw Pasikowski's 'Aftermath' retools the material into a fast-paced “backwater burg with a dark secret” quasi-horror film, complete with spooky lighting, ominous music, unexplained phenomena and hostile townfolk. Writer-director Pasikowski, co-scenarist of Andrej Wadja’s 'Katyn' and helmer of several successful thrillers, has a foot in both the arthouse and commercial camps. Pawel Edelman, lenser of Polanski’s 'The Pianist,' navigates the woodlands in atmospheric fashion; Jan Duszynski’s score cannily ratchets up the tension while Jaroslaw Kaminski’s kinetic cutting keeps action flowing briskly."

Ronnie Scheib, Variety

ALL IS LOST - Alex Ebert

"J.C. Chandor knows what a jewel he has in Redford, and he creates an appropriately simple, transparent setting. There’s minimal digital trickery here, and no flashbacks, cutaway scenes, or dream sequences to break up the action. The musical theme -- a simple, haunting melody by Alex Ebert -- is used sparingly and effectively, with natural sound providing most of the sonic backdrop."

Dana Stevens, Slate.com

*AMERICAN HUSTLE - Danny Elfman

"A key element is the energizing use of music, perfectly attuned to every turn the action takes. Danny Elfman’s cool connective score follows the lead of the Duke Ellington number 'Jeep’s Blues,' smoothly integrated into a killer collection of cocktail tunes, brassy jazz and primo ‘70s nuggets that includes tracks from Chicago, America, Jeff Lynne, Steely Dan, Donna Summer, Elton John, David Bowie and the Bee Gees. Oh, and extra points for using the Harold Melvin & The Blue Notes original of 'Don’t Leave Me This Way,' instead of the heard-to-death Thelma Houston redo.

David Rooney, Hollywood Reporter

THE ARMSTRONG LIE - David Kahne

"His filmmaking is strenuously alpha, too. Like all Gibney's documentaries, 'The Armstrong Lie' is fast-paced, aggressively stylized, and juiced by a driving score. That fits, but perhaps we should offer thanks that the tribute film never panned out: Not too deeply buried in the press notes is the casual but staggering disclosure that Armstrong would have taken a cut of the movie's returns in return for 'unprecedented' access."

Ella Taylor, NPR

ARTHUR NEWMAN - Nick Urata

"Special mention goes to composer Nick Urata for his haunting, strings-based score, the strongest element in a generally solid tech package."

Peter Debruge, Variety 

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