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Posted: |
Mar 3, 2014 - 12:29 AM
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By: |
SchiffyM
(Member)
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Book Thief was good Williams, but not great.
Saving Mr. Banks contained way too much Mary Poppins. I was surprised it was eligible.
Phenomena was very good but Desplat can write a score like that in his sleep.
Her was just kinda ...there. I LOVED the film, but the score didn't do anything for me.
Gravity is a very effective score within the film that builds to an uplifting crescendo that folks remember as they finish watching the film.
I have a much higher opinion of "Her" than you do -- to me, it perfectly conveyed the film's early sense of malaise and later sense of romance and even domesticity. I think I would have voted for that one.
The score for "Saving Mr. Banks" was purposely "Poppins"-free. I'm a Thomas Newman fan, and I liked it, but he's done it before. I'd just like to see him win some day.
As for "Gravity," I thought it was exactly what the film needed. I think some here automatically dismiss it because it doesn't have a tonal base, but I think that's the whole point. The music wasn't supposed to sweep you along, or provide comfort of any kind (in the way that so many scores I love do so effectively). Bullock was stranded in space, in a vacuum, without a single creature comfort. The music could not provide that. Instead, it was purposely cold (throughout most of the film), stark, and prone to being sucked into silence. I wouldn't want to hear the same score from Price again, but I think it was just right here.
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Posted: |
Mar 3, 2014 - 12:45 AM
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By: |
Mr Greg
(Member)
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The surprise for me was the song from Frozen. I hadn't heard it before. And all I'd read about it would have led me to believe that it was the greatest song since the heyday of Menken and Ashman. Color me surprised when I heard wannabe pop drivel, tuneless, with awful "empowerment" lyrics and - no ending. If that's someone's idea of a great song, count me out. Then again, the other nominees were much worse.
I must admit I don't entirely agree with you about how bad this song is...It's no classic by a long shot and will be probably be all but forgotten by this time next year, but it's certainly not that bad in my own, humble, honest opinion. But your final sentence is absolutely right. There was nothing to complete with it. The only one that could have (and even then, it would have been a bare-knuckle fight) got unceremoniously dumped (but enough of that subject on this thread, I think).
I'm interested to know what you think of the Gravity score though, Bruce!
Herrmann didn't win an Oscar for his first score – it was for his second: The Devil and Daniel Webster.
Neither did Steven Price...not quite sure what that original post was getting at, if I'm honest!
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It definitely grew on me, and served the film extremely well.
When you set out to compose your first film score it's always a good idea to win an Oscar for it. Just ask Bernard Herrmann.
Didn't Herrmann win for his second film score?
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I don't know, call me crazy but Moon River is a great song
I'm definitely not calling you crazy for that one. ;-)
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I don't know, call me crazy but Moon River is a great song
I'm definitely not calling you crazy for that one. ;-)
Every winning song can't be another "Moon River." I'm happy whenever it's not another "It's Hard Out Here For a Pimp."
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Anyone hearing the song from FROZEN for the first time IN THAT PERFORMANCE!!! would be appalled, cos it sounded crap!
I'm not saying it is (or going to be) a timeless classic (and all those timeless classics quoted also weren't AT THE TIME, that sh!t takes time and people growing up cloaked in nostalgia), but heard on the album and within the film, it's a pretty strong tune and very memorable too!
Having said that, I actually prefer Do You Want To Build A Snowman and The First Time In Forvever over Let It Go, but I see why the latter was pushed through for Oscar, as the sequence it accompanies in the film is very, very powerful.
A deserved win...and congrats to Steve Price on another deserved win.
(I still think the Oscars are a load of bollocks though) 
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John Williams robbed again of an OSCAR!
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(I still think the Oscars are a load of bollocks though)
Seconded!!
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The snatches of mostly readily recognizable themes played as segues all night did point up the dearth of melody many complain about in today's scores. Price deserved to win, his score works smashingly with the film. But it won't be providing any nimble segues in future Oscar casts I can tell you that!
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Posted: |
Mar 3, 2014 - 7:48 AM
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By: |
Brad Wills
(Member)
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The surprise for me was the song from Frozen. I hadn't heard it before. And all I'd read about it would have led me to believe that it was the greatest song since the heyday of Menken and Ashman. Color me surprised when I heard wannabe pop drivel, tuneless, with awful "empowerment" lyrics and - no ending. If that's someone's idea of a great song, count me out. Then again, the other nominees were much worse. I don't know, call me crazy but Moon River is a great song, Part Of Your World is a great song, Beauty and the Beast is a great song, Love Is a Many-Splendored Thing is a great song - Let It Go - I don't think so, IMO.
I'm with you, Bruce. A completely unlistenable song, replete with a near-zero melodic structure slathered with an unhealthy dollop of platitudinous lyrics, all ear-piercingly delivered courtesy of Idina Menzel and her customary pitch-challenged hollering. Ugh.
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"And when is the section best score, it is better to commit suicide, why not understood"
------------------------
Hey Leo, I appreciate that English may not be your first language, but SAY WHAT!!!?
Please explain.
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Kev: Amen
And to Leoncio, sometimes the individual parts may be better, but, when taken in its entirety, something else is a better whole. When a Tony is given for best actor and actress, often a different play will get the award; and just because one song wins the Grammy for best song doesn't mean the album will win for best album. Yes, a heck of a lot of "Gravity" won -- sound, music, and so forth -- but the voters simply felt that, in its entirety, they liked "12 Years A Slave" better, which I can completely understand.
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Posted: |
Mar 3, 2014 - 8:50 AM
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By: |
Ado
(Member)
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Every year this ceremony baffles me more and more. It makes no sense to reward a manager and then not reward the film he has directed, or conversely, to reward a movie and not reward before its director, or 12 years a slave has directed itself? Why is rewarding interpretation of typical character detructiva life and redemption, or the typical bio-pic every year, ceremony after ceremony. Again, makes no sense. This type of film awards each year baffles me. And when is the section best score, it is better to commit suicide, why not understood.
Simple Leo, 12 Years a Slave is a "message picture", and the Academy loves a message picture. This is an example of why the Academy Award is pretty meaningless unless you work in the industry. The average American has had little interest in the film compared to Gravity for example, and it will pretty much forgotten, like when they gave "The Artist" best picture in 2012. I mean is anyone ever going to watch that film again? Not many. The real entertainment picture in the bunch is Gravity, but the Academy considers moral pictures important for the image of the industry. Gravity just has survival as a message so they felt obliged to give 12 Years Best Picture, even though the real best picture is Gravity. The Best Director award here tells the truth.
Now scores and other credits are another matter, you can certainly have a superior score in an inferior film, but the inferior film might cost the score an award. Conversely, you can have an inferior score in a superior film and the score can well get pulled along for the ride with the accolades that the movie gets.
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Posted: |
Mar 3, 2014 - 8:56 AM
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By: |
Ado
(Member)
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The surprise for me was the song from Frozen. I hadn't heard it before. And all I'd read about it would have led me to believe that it was the greatest song since the heyday of Menken and Ashman. Color me surprised when I heard wannabe pop drivel, tuneless, with awful "empowerment" lyrics and - no ending. If that's someone's idea of a great song, count me out. Then again, the other nominees were much worse. I don't know, call me crazy but Moon River is a great song, Part Of Your World is a great song, Beauty and the Beast is a great song, Love Is a Many-Splendored Thing is a great song - Let It Go - I don't think so, IMO.
I think that Beauty and the Beast is probably the best animated picture score ever. The songs are all so good - I would say perfect, and the score along with it, I mean that movie is remarkably good. Disney has tried to catch up to that bar ever since.
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