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Here are the breakdowns from Cary Wong’s annual Memo to the Music Branch of the Academy from the current issue of Film Score Monthly Online, including his predictions and suggestions in the categories of Best Score and Song. Last Year, Cary was 4 for 5 in the “Most Likely to Be Nominated” category, with the fifth candidate coming from the “Possibilities” group. To read Cary’s full in-depth analysis of this year’s Oscar music race, please click to subscribe here.

 

Most Likely to Be Nominated:

         Anna Karenina—Dario Marianelli

         Argo—Alexandre Desplat

         Brave—Patrick Doyle

         Hitchcock—Danny Elfman

         Lincoln—John Williams

 

Possibilities:

         Beasts of the Southern Wild—Dan Romer and Benh Zeitlin

         The Hobbit: An Unexpected Journey—Howard Shore

         Life of Pi—Mychael Danna

         On the Road—Gustavo Santaolalla

         Zero Dark Thirty—Alexandre Desplat

 

My Suggestions:

          Cloud Atlas—Tom Tykwer, Johnny Klimek, Reinhold Heil

          The Impossible—Fernando Velazquez

          The Intouchables—Ludovico Einaudi       

          The Master—Jonny Greenwood

          Skyfall—Thomas Newman

 

Songs:

         “Skyfall”—Skyfall

         “Song of the Lonely Mountain —The Hobbit: An Unexpected Journey

         “Still Dream”—Rise of the Guardians

         “Strange Love”—Frankenweenie

         “Suddenly”—Les Miserables

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Comments (9):Log in or register to post your own comments
I know this won't happen, because it was such a flop, but Michael Giacchino's score for JOHN CARTER is surely worth at least an Oscar nomination. For my money, it's easily the best scrore of the year.

Gorgeous, memorable, melodic score.

(I still rankle at how Disney treated that film. There's even a book about it now, "John Carter and the Gods of Hollywood," by Michael D. Sellers.)

I agree absolutely!

And thanks for the info about the book. I loved the film and the score and have instantly purchased the kindle download of this account of why people were so happy and fast to call this masterpiece a flop.

I know this won't happen, because it was such a flop, but Michael Giacchino's score for JOHN CARTER is surely worth at least an Oscar nomination. For my money, it's easily the best scrore of the year.


For your money maybe

Do any of these awards make your listening pleasure better?

If you love the music awards do not count.

Do any of these awards make your listening pleasure better?

If you love the music awards do not count.


True. It´s just nice to see top quality rewarded. Especially if it is underestimated.

Do any of these awards make your listening pleasure better?

If you love the music awards do not count.


Definitely. In fact if you love a piece of music and every member of this board didn't, you'd simply have to block out this board when it came to that piece. But this board is here to share what we have in common and what we disagree upon to maybe get a perspective on our tastes.

For me The Oscar is an interesting award in that only composers can vote for a music nomination. And since practically all my favorite composers, who are still alive, belong to this august group I am always curious about their opinion and what they consider best among themselves. There are those here who hate the Academy and a couple who would practically spit on them at this time of year. However as I said, getting the opinion of a group that contains Williams, Desplat, Silvestri, Morricone, Giacchino, Schifrin, etc. are infinitely more interesting than any of those individuals. They are, of course, the ones I personally block out on this subject.

Do any of these awards make your listening pleasure better?

If you love the music awards do not count.


Definitely. In fact if you love a piece of music and every member of this board didn't, you'd simply have to block out this board when it came to that piece. But this board is here to share what we have in common and what we disagree upon to maybe get a perspective on our tastes.



Henry, I nominate your reply to the award: Best reply of the year here at FSM.

The two locks to me look like Beasts of the Southern Wild and The Master. Brave and Hitchcock have little to no shot (the former is basically what Doyle's been doing for years while Elfman's stretched himself thin with this, Silver Linings Playbook and Promised Land all opening in a seven-week span), the Desplat nomination will go to the higher-buzzed Zero Dark Thirty (Argo wasn't the best of scores and its Oscar hopes have seemingly faded due to it being revealed that the film was highly inaccurate with the actual story) and how many people have actually seen Anna Karenina? And I find the idea of On the Road being more likely of a nomination than The Master hilarious. The composer may have two Oscars but its award chances died after it premiered at Cannes. It was forgotten before it even opened last week.

As for the fifth nomination, I think that it will be The Best Exotic Marigold Hotel. Newman has a better shot at getting nominated than Elfman but I expect that the Academy will take the safe movie instead of the bigger Skyfall.

And one last thing: don't take the Golden Globe nominees as an indicator of what will get a Best Score nomination with the Academy. They tend to disagree quite a bit (a major example being in 1995, when A Walk in the Clouds won the Golden Globe for Best Score but was snubbed completely by the Academy).

These score choices are spot on, but I'm not sure the Academy music branch will make such default Original Song choices. They have historically gone against the Golden Globe noms and chosen the songs that best serve the films they are housed in. Suddenly has the advantage because a character sings it in context. If you look at the past decade, they have leaned heavily toward songs that are more than just closing credit tracks. Along those lines, I wouldn't count out Paul Williams, and I'd definitely give a nod to Big Machine from Safety Not Guaranteed. Those tunes played roles in their respective films.

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