 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bruuuuuuce!!!
And now, time for my 31st annual scream from the rooftops: "THEY SNUBBED BASIL POLEDOURIS FOR CONAN THE BARBARIAN???
-
..and BACK TO THE FUTURE & BATMAN
arguably the three great orchestral scores of the decade!
have a nice day
brm
|
|
|
|
|
|
TIN TIN ***YES*** -- most old school (80s) Williams score in a looong time. I loved every minute of it.
Yavar
|
|
|
|
|
|
TIN TIN ***YES*** -- most old school (80s) Williams score in a looong time. I loved every minute of it.
Yavar
You mean since Indiana Jones And The Crystal Skull? Outside of the Main Title, they don't sound all that dissimilar, though Tintin is way better (because it didn't have to live up to three previous classic scores).
|
|
|
|
|
|
|
 |
Posted: |
Jan 16, 2014 - 8:08 PM
|
|
|
|
By: |
Broughtfan
(Member)
|
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
Just returned from seeing Her. Superb score. Definitely a serious contender for the prize.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
