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Of that list, I'd have to vote Williams.
I don't share the love for the Gravity score. Liked Philomena though.
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Really hoping for the U2-song.
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dp
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Bruuuuuuce!!!
The Broughton Groove Machine is back, baby! Great to see him...well, anywhere. Last thing I can remember him doing was helping out Daft Punk with their Tron score. I hope seeing his name on the Oscar list again gives him incentive to go back into the scoring arena. No reason why he shouldn't be grabbing work from the Desplat/Doyle machines.
My choice for original score is Thomas Newman. It's the only score with themes that have actually taken hold in my pea brain. Plus, as with Randy, at some point the snubbing has to stop. I hope this is his year. Lovely, memorable score. Can't say that for the others.
And if I'm not mistaken, Williams' next nomination will be his 50th...a string he began in 1967. He would've reached that milestone sooner, but he didn't want to look like a show-off.
And now, time for my 31st annual scream from the rooftops: "THEY SNUBBED BASIL POLEDOURIS FOR CONAN THE BARBARIAN??? WHAT THE.......!!!!!!"
-
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I sort of lean toward Thomas Newman, who's been nominated and never won.
And, don't worry, GRAVITY will win plenty, at least in all the technical categories. Visually, it's really a wonder, especially in 3-D.
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I sort of lean toward Thomas Newman, who's been nominated and never won.
And, don't worry, GRAVITY will win plenty, at least in all the technical categories. Visually, it's really a wonder, especially in 3-D.
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Posted: |
Jan 16, 2014 - 1:31 PM
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By: |
TheSeeker
(Member)
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OK, let's take a look at this, won't take long...
Receiving the only nomination for the film, The Book Thief did so because it's John Williams. Simple as that. His record of being the most nominated person alive won't help his chances of winning this one, though.
Philomena is, to a degree, also due to Desplat's reputation. It seems to me that 'Best Score' was one of the few categories where the film was eligible and/or likely to receive a nomination (by that I mean other technical and/or acting nominations were unlikely), and it did. That it received a 'Best Picture' nomination helps, too.
Gravity has been getting rather good word-of-mouth from the very beginning and the great success of the movie almost ensured Price a nomination. The score has so far been nominated for all the major awards, and I expect to see at least three nominations for it from the IFMCA. Despite being a sound design/ambience kind of score for most of the film, it receives attention by the lack of other sound. It's prominent in the mix, too, and that is always a huge help (same thing as with 'The Artist'). Definitely a front-runner, also considering how the Academy seems to favour first-time nominees over multiple-time nominees when awarding the Oscar.
Her by Arcade Fire et al. My guts tell me this one stands a very high chance of winning the Oscar. I don't know much about either the movie, the score or Arcade Fire (apart from them being Canadian, eh!). I can see two huge factors in their favour: 1) They are a rather well-known group by now and qualify as a cross-over entry, just like Reznor and Ross did three years ago. Never underestimate the appeal of awarding a "public" artist the Oscar, makes the voters look all stylish and in with the youngsters. 2) It could well be the only Oscar this film will get (along the lines of "We had to give the film SOMEthing!"). It's also nominated for 'Best Song', which apparently often is a help to the score (think 'Frida').
And then there is poor Thomas Newman. After his BAFTA nomination, it was highly likely he would receive another Oscar nomination for Saving Mr. Banks. It would be my personal pick this year, if only for the fact that this recognition, however much (or little) it actually means, has eluded Newman for so long. Newman is another favourite of the Music Branch, as his constant nominations show, with such unlikely contenders as 'The Good German' in 2006 or even 'Skyfall' last year. His craftmanship can't be argued, but his scores are rarely prominent enough to be noticed by the normal Oscar voter. It would also seem that Saving Mr. Banks didn't carry much weight with the Academy, so he has no support from, say, a 'Best Picture' nomination.
I am confident in saying that either Her or Gravity will be the winner on March 2. The only way I can see that one of the other three nominees will come through is if these two scores manage to split the votes between them, but based on precedence and my gut feeling, I doubt this is going to happen.
Anyhoo, my $0.02...
CK
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BANKS is a fine piece of work from Newman that nails the film as well as any of his scores. It possibly suffers a bit by sharing the stage with the Poppins score, which gets the best musical moments of the film.
PHILOMENA brings a very strong whimsical nostalgia to the film that it probably wouldn't have had without the composer deciding to bring it. There are a few too many nods to the EXTREMELY LOUD score (which should have won Desplat his Oscar), but I can well see why he didn't want to let all that work disappear without a trace.
HER is the only one of the three that brings the music right into the storytelling. (Arguably the core themes are written by one of the characters.) Like Vangelis's BLADERUNNER or David Holmes' CODE 46, it's a score that's both a score and the sound of a world (and some of the objects within that world). Lovely bit of musical storytelling.
GRAVITY probably gets it though. And I don't mind that at all. Price's music finds a way to bring some pretty classic ideas about musical storytelling into a form that builds up from basis that is almost sound design. This would not have come easily.
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Steven Price deserves more recognition for his work on Gravity so I hope it takes the prize.
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John williams is going to be "snubbed' again!
What's that make 40 "losses"
ahahahha!!
c'mom Academy - you dont hafta nominate the maestro every year
WAR HORSE yes! TIN TIN no!
brm
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