The deadline to vote is 15 August. (You'll need to create a Film Fest Ghent account in order to gain access to the voting platform. You can use the account to vote in future editions too.)
The nominees will be announced via the newsletter mid-September. The winner will be announced at the World Soundtrack Awards ceremony & concert on 23 October.
There will again be two symphonic concerts during Film Fest Ghent:
22 October: Great Greek Composers (with music by Eleni Karaindrou, Evanthia Reboutsika, Mikis Theodorakis, Vangelis et al.) 23 October: World Soundtrack Awards, with guest of honour Max Richter and Lifetime Achievement Award recipient Eleni Karaindrou
Great score for a good film. Coulais has always been a very interesting composer, experimenting with lots of interesting sounds and approaches while placing those within extremely well-built musical structures. He moves from traditional instruments to experimental sounds to electronic creations with ease, and a deftness that comes from his high degree of musical skill.
On an album listen, the overall contour is highly fluid, choosing the key that best suits the mood.
In contrast, another score I would have chosen is Amelia Warner's WILD MOUNTAIN THYME. Similar style but that music plays a little too repetitively as an album, in part because much of it is in the key of D. While suitable for its Irish roots, it doesn't help give the music its own internal drive for standalone listening.
I would feel funny about voting at all. The only way I could vote would be to listen to all of the scores (hopefully, in the context of the film) and to have had some system for evaluating their merits. Otherwise, I would feel bad for the nominees that I never heard and they might actually be better scores.
I have no grievance against those who do vote without full knowledge of all of the nominees, but I don't want to feel like the often uninformed voters for the Academy Awards and the like.
I would feel funny about voting at all. The only way I could vote would be to listen to all of the scores (hopefully, in the context of the film)…
Quite valid point. I mean, I've only listened to these in their entirety:
A Quiet Place Part II - Marco Beltrami* Chaos Walking - Marco Beltrami & Brandon Roberts* Love and Monsters - Marco Beltrami & Brandon Roberts Pieces of a Woman - Howard Shore The Glorias - Elliot Goldenthal The Life Ahead - Gabriel Yared The Midnight Sky - Alexandre Desplat Unbelievable!!!!! - Gerald Fried* Il grande passo - Pino Donaggio
But then there are a number of films and composers on that list that don't or wouldn't garner my attention anyway.
For instance, I've only sampled these out of morbid curiousity:
Tenet - Ludwig Göransson Army of the Dead - Thomas Holkenborg* Godzilla vs. Kong - Tom Holkenborg* Wonder Woman 1984 - Hans Zimmer Zack Snyder's Justice League - Thomas Holkenborg*
* saw the film.
And as far as I know Baños' "His House" hasn't been released.
I would feel funny about voting at all. The only way I could vote would be to listen to all of the scores (hopefully, in the context of the film) and to have had some system for evaluating their merits. Otherwise, I would feel bad for the nominees that I never heard and they might actually be better scores.
I have no grievance against those who do vote without full knowledge of all of the nominees, but I don't want to feel like the often uninformed voters for the Academy Awards and the like.
There are certainly some good nominees, though!
Unless I've missunderstood the voting process, at the moment we are simply selecting nominees from amongst those deemed to qualify for nomination. The actual selection of the best score comes at a later stage.
WILD MOUNTAIN THYME is the best on the list. But it's missing a whole lot of my own favourites. And surprisingly heavy on scores I disliked/were indifferent to.
WILD MOUNTAIN THYME is the best on the list. But it's missing a whole lot of my own favourites. And surprisingly heavy on scores I disliked/were indifferent to.
That was also a focus of mine but ended up 2nd in my list to WOLFWALKERS which covered similar material but had a bit more versatility. WILD MOUNTAIN THYME was kind of at a disadvantage because a lot of it sounded the same in the key of D, likely because it was hewing close to its Irish storyline, whereas WOLFWALKERS was an animated fantasy so it had a lot more room.
I would feel funny about voting at all. The only way I could vote would be to listen to all of the scores (hopefully, in the context of the film) and to have had some system for evaluating their merits. Otherwise, I would feel bad for the nominees that I never heard and they might actually be better scores.
This is a valid point, in all voting procedures, but of course here each and every person is not asked to listen to all the scores on the longlist to make an informed decision, but to vote on their favourite score of the year (even if they've only heard a few). And surely, of the 'public' as a whole, film music fans visiting this message board would be among the more informed people!
Unless I've missunderstood the voting process, at the moment we are simply selecting nominees from amongst those deemed to qualify for nomination. The actual selection of the best score comes at a later stage.
There is only one voting round for the Public Choice Award: the five scores that will receive the most votes will be nominated, and the top score will be announced as the winner at the World Soundtrack Awards.
