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Posted: |
Dec 12, 2014 - 11:16 PM
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By: |
Lokutus
(Member)
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“American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer
“Anita,” Lili Haydn, composer
“Annabelle,” Joseph Bishara, composer
“At Middleton,” Arturo Sandoval, composer
“Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer
“Bears,” George Fenton, composer
“Belle,” Rachel Portman, composer
“Big Eyes,” Danny Elfman, composer
“Big Hero 6,” Henry Jackman, composer
“The Book of Life,” Gustavo Santaolalla and Tim Davies, composers
“The Boxtrolls,” Dario Marianelli, composer
“Brick Mansions,” Trevor Morris, composer
“Cake,” Christophe Beck, composer
“Calvary,” Patrick Cassidy, composer
“Captain America: The Winter Soldier,” Henry Jackman, composer
“The Case against 8,” Blake Neely, composer
“Cheatin’,” Nicole Renaud, composer
“Dawn of the Planet of the Apes,” Michael Giacchino, composer
“The Disappearance of Eleanor Rigby: Them,” Son Lux, composer
“Divergent,” Tom Holkenborg, composer
“Dolphin Tale 2,” Rachel Portman, composer
“Dracula Untold,” Ramin Djawadi, composer
“Draft Day,” John Debney, composer
“The Drop,” Marco Beltrami and Buck Sanders, composers
“Earth to Echo,” Joseph Trapanese, composer
“Edge of Tomorrow,” Christophe Beck, composer
“Endless Love,” Christophe Beck and Jake Monaco, composers
“The Equalizer,” Harry Gregson-Williams, composer
“Exodus: Gods and Kings,” Alberto Iglesias, composer
“The Fault in Our Stars,” Mike Mogis, composer
“Finding Vivian Maier,” J. Ralph, composer
“Fury,” Steven Price, composer
“Garnet’s Gold,” J. Ralph, composer
“Girl on a Bicycle,” Craig Richey, composer
“The Giver,” Marco Beltrami, composer
“Godzilla,” Alexandre Desplat, composer
“Gone Girl,” Trent Reznor and Atticus Ross, composers
“The Good Lie,” Martin Léon, composer
“The Grand Budapest Hotel,” Alexandre Desplat, composer
“The Great Flood,” Bill Frisell, composer
“Hercules,” Fernando Velázquez, composer
“The Hero of Color City,” Zoë Poledouris-Roché and Angel Roché, Jr., composers
“The Hobbit: The Battle of the Five Armies,” Howard Shore, composer
“The Homesman,” Marco Beltrami, composer
“Horrible Bosses 2,” Christopher Lennertz, composer
“How to Train Your Dragon 2,” John Powell, composer
“The Hundred-Foot Journey,” A.R. Rahman, composer
“The Hunger Games: Mockingjay – Part 1,” James Newton Howard, composer
“I Origins,” Will Bates and Phil Mossman, composers
“The Imitation Game,” Alexandre Desplat, composer
“Inherent Vice,” Jonny Greenwood, composer
“Interstellar,” Hans Zimmer, composer
“The Interview,” Henry Jackman, composer
“Into the Storm,” Brian Tyler, composer
“Jal,” Sonu Nigam and Bickram Ghosh, composers
“The Judge,” Thomas Newman, composer
“Kill the Messenger,” Nathan Johnson, composer
“Kochadaiiyaan,” A.R. Rahman, composer
“Legends of Oz: Dorothy’s Return,” Toby Chu, composer
“The Lego Movie,” Mark Mothersbaugh, composer
“The Liberator,” Gustavo Dudamel, composer
“Life Itself,” Joshua Abrams, composer
“Living Is Easy with Eyes Closed,” Pat Metheny, composer
“Lucy,” Eric Serra, composer
“Maleficent,” James Newton Howard, composer
“The Maze Runner,” John Paesano, composer
“Merchants of Doubt,” Mark Adler, composer
“Million Dollar Arm,” A.R. Rahman, composer
“A Million Ways to Die in the West,” Joel McNeely, composer
“Mr. Peabody & Sherman,” Danny Elfman, composer
“Mr. Turner,” Gary Yershon, composer
“The Monuments Men,” Alexandre Desplat, composer
“A Most Violent Year,” Alex Ebert, composer
“My Old Lady,” Mark Orton, composer
“Night at the Museum: Secret of the Tomb,” Alan Silvestri, composer
“Nightcrawler,” James Newton Howard, composer
“No God, No Master,” Nuno Malo, composer
“Noah,” Clint Mansell, composer
“Non-Stop,” John Ottman, composer
“The One I Love,” Danny Bensi and Saunder Jurriaans, composers
“Ouija,” Anton Sanko, composer
“Paddington,” Nick Urata, composer
“Penguins of Madagascar,” Lorne Balfe, composer
“Pompeii,” Clinton Shorter, composer
“The Purge: Anarchy,” Nathan Whitehead, composer
“The Railway Man,” David Hirschfelder, composer
“Red Army,” Christophe Beck and Leo Birenberg, composers
“Ride Along,” Christopher Lennertz, composer
“Rocks in My Pockets,” Kristian Sensini, composer
“Rosewater,” Howard Shore, composer
“St. Vincent,” Theodore Shapiro, composer
“The Salt of the Earth,” Laurent Petitgand, composer
“Selma,” Jason Moran, composer
“The Signal,” Nima Fakhrara, composer
“Snowpiercer,” Marco Beltrami, composer
“Song of the Sea,” Bruno Coulais, composer
“Still Alice,” Ilan Eshkeri, composer
“The Tale of the Princess Kaguya,” Joe Hisaishi, composer
“Teenage Mutant Ninja Turtles,” Brian Tyler, composer
“That Awkward Moment,” David Torn, composer
“The Theory of Everything,” Jóhann Jóhannsson, composer
“This Is Where I Leave You,” Michael Giacchino, composer
“300: Rise of an Empire,” Tom Holkenborg, composer
“Tracks,” Garth Stevenson, composer
“Transformers: Age of Extinction,” Steve Jablonsky, composer
“22 Jump Street,” Mark Mothersbaugh, composer
“Unbroken,” Alexandre Desplat, composer
“Under the Skin,” Mica Levi, composer
“Virunga,” Patrick Jonsson, composer
“Visitors,” Philip Glass, composer
“A Walk among the Tombstones,” Carlos Rafael Rivera, composer
“Walking with the Enemy,” Timothy Williams, composer
“Wild Tales,” Gustavo Santaolalla, composer
“X-Men: Days of Future Past,” John Ottman, composer
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Posted: |
Dec 13, 2014 - 10:14 AM
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By: |
Broughtfan
(Member)
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I think the composers' agents submit many of these. Even though there's 114 titles to consider, this is really pretty easy to handicap:
Things to consider:
Little Chance Category:
1) All scores written containing additional music but where that composer is not listed in the nom submission (for composing dramatic underscore) as The AMPAS Music Branch (reportedly) peruses cue sheets. "The Giver" would be an example of this.
2) Films you know very few people have seen (and for which there are probably no Academy screeners).
3) Films/scores not being promoted by the studio (Disney, for instance, is not pushing "Maleficent," JNH potentially having a better shot with "Nightcrawler" because of Gyllenhaal SAG Lead Actor nom).
4) Scores for documentary films are almost never nominated (though there are exceptions: Gerald Fried's "Birds Do It, Bees Do It")
5) Scores not getting "the buzz" (those not associated with projected Best Picture nominees or films getting considerable press attention).
6) Scores where Music Branch members can't discern what is original and what is adaptation or where traditional music is combined with original score. This may be the problem with The Grand Budapest Hotel, Desplat's associates having to produce proof that the score is substantially original - which it very well may be. Selma may have this issue as well.
Based on this, you have about twenty scores in serious 2015 Academy Award contention (this is off the top of my head, and sorry if I left off an obvious choice):
Front runners:
Interstellar (provided Hans actually composed all or the majority of the score and the cue sheets confirm this)
The Imitation Game
The Theory of Everything
Unbroken (though reviews have been underwhelming, it's a stylistic one-eighty from "Imitation")
Gone Girl
The potential fifth/sixth "horse" in the race (if one or more of the above is not included):
Fury (previous Oscar winner, Price well-liked guy, film well-regarded)
The Homesman (Beltrami also well-liked, score unusual in its conceptual approach).
Grand Budapest
Dawn of the Planet of the Apes (big hit film, probably has some studio muscle behind it)
Nightcrawler (has two additional music composers listed, so hard to tell).
Under the Skin (good notices for music)
Maleficent (because JNH is well liked and film was was successful, still, no big Disney awards "push")
Selma (new composer to film, movie getting lots of attention, score well-regarded by critics)
The Judge (because it's Thomas Newman, 'nuff said)
How to Train Dragon 2
Godzilla
The Hobbit: The Battle of the Five Armies (epic film, sure to be huge holiday box office).
Birdman was not submitted, so I suppose it's out of contention.
Remember this is more about what's "buzzing" than what is "best" (though sometimes "best" prevails). You would think people in the industry, especially those who've had long successful careers in it, would have realized this by now (I am glad the word "best" has been excised from the award, now just known as Original Score).
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Posted: |
Dec 13, 2014 - 11:29 AM
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By: |
Broughtfan
(Member)
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I find the additional music gray-area the most troubling aspect of this. Now, if it's source music or a few insignificant filler type cues, then I say, fine, let the submission stand. However, when you go to these composers websites (the ones credited with "additional music") and see that they have three and five minutes long orchestral sequences on his/her Soundcloud page, you really have to wonder just what the division of labor (on a particular score) was. At least with John Williams you know he's written all of the score himself (often times even the source stuff) and no one need bother looking over the cue sheets for proof of this - the musical "thumbprints" being unmistakably identifiable.
As for, Hans, I suspect when something comes along he's truly passionate about, like "The Thin Red Line," that he will try to do it all himself (that is, aside from "being inspired" by Glass, Holst, Sibelius, etc.) Perhaps this was the case with "Interstellar."
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Well, you also have to consider that the two guys who made the "Love Story" song into a workable score didn't receive due credit: Leo Shuken and Jack Hayes (the orchestratosr/adaptors). So, if this, in your mind, is an effective score, you have them to thank.
I have never heard their names associated with Lai. Christian Gaubert was Lai's arranger/conductor as far as I have heard.
Shuken & Hayes worked with Bacharach on BUTCH CASSIDY AND THE SUNDANCE KID and that's a score you could throw into your list easier than LOVE STORY.
James
Jack Hayes told me that he and Leo Shuken were involved with "Love Story" when Jimmy Webb was supposed to write the score. They had a few meetings with Webb who was going to try some new sounds. They parted and they never heard from Webb again. They didn't work with Lai.
I heard Webb made a few demos on his own and his ideas were rejected.
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