Outstanding Music Composition for a Series (Original Dramatic Score): Game of Thrones – "The Long Night" – Music by Ramin Djawadi. Outstanding Music Composition for a Limited Series, Movie or a Special (Original Dramatic Score): Chernobyl – "Please Remain Calm" – Music by Hildur Guðnadóttir Original Main Title Theme Music: Succession – Theme by Nicholas Britell Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score): Free Solo – Music by Marco Beltrami & Brandon Roberts Original Music and Lyrics: Crazy Ex-Girlfriend – "I Have To Get Out" / Song Title: "Antidepressants Are So Not A Big Deal" – Music & Lyrics by Rachel Bloom & Adam Schlesinger, Lyrics by Jack Dolgen Outstanding Music Direction: Fosse/Verdon – “Life Is a Cabaret” – Alex Lacamoire Outstanding Music Supervision: The Marvelous Mrs. Maisel – "We’re Going To The Catskills!" – Robin Urdang, Amy Sherman-Palladino & Sam Palladino
Not to be negative, but I just dont understand the appeal about the Chernobyl score. Was there even actual music there? I remember only hearing alarms and such, lol
Not to be negative, but I just dont understand the appeal about the Chernobyl score. Was there even actual music there? I remember only hearing alarms and such, lol
Well I would give it listen if I were you. it has some pretty great tracks. It's mostly atmospheric with some choirs at times.
And I'm guessing this new documentary music category was created because scores recorded in a home studio (like those for most of episodic TV today) had little chance of winning against fully-orchestrated, expansive in scope scores by the likes of Fenton (who should be brought back to score the BBC natural science films as his work on these series was exemplary).
BTW: How did "Free Solo" qualify (in any category) as it was already released theatrically (and was the winner of an Academy Award)?
Jesus... how did we end up from Goldsmith and Broughton to... this?!
Yes. And there were no such key as D minor at lot of these people wouldn't have gigs.
Seriously, there's no composition there...it is, for the most part, an assemblage/manipulation of electronically generated and specially recorded sounds. I'm aware that there are still big scores like "The Orville" being recorded, though I start to tune out once I figure out which of Horner's/Goldsmith's scores are being used as the stylistic template (at least with Dennis McCarthy on the ST shows you'd get a musical surprise now and then where you just go...whoa!...what did you do there?)*
* - I can actually recall applauding the screen when his credit came up at the end of certain TNG/Enterprise segments.
Interesting that you mention Bruce and Jerry. The year they shared the Emmy podium it was for substantial scores (and know I don't have to tell you this B&R), Jerry's Masada and Bruce's thirty-plus minute score for an episode of "Buck Rogers," both efforts being very compositional....and fresh sounding (still).
There was ONE emotionally powerful cue in CHERNOBYL. Prominently heard during the evacuation of the town and other.mournful moments. I assume that cue earned the Emmy.
Happy to see that Nicholas Britell won for "Succession's" main title. He's one of the most dynamic and creative composers in film and TV today. I especially appreciate his versatility in orchestration. I always look forward to his new scores, and I can't say that about many younger film composers working today. I'm still reeling from the double shot of "Beale Street" and "Vice" in 2018. Super nice guy, too.
