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LOG IN Forgot Login? Register General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board Search Terms:  Search Within:  topics posts since 2019 2018 posts 2017 posts 2016 posts 2015 posts 2014 posts 2013 posts 2012 posts 2011 posts 2010 posts 2009 posts 2008 posts 2007 posts 2006 posts 2005 posts 2004 posts 2003 posts 2002 posts 2001 posts 2000 posts users  search tips  You must log in or register to post.   Go to page:  1 2 3      General Discussion: Fame vs.The Empire strikes back    FIRST   PRIOR   1 2 3    NEXT   LAST   Last Post   Posted:   Nov 29, 2018 - 11:03 AM     By:   Solium   (Member) This is why these kind of categories don't work. Apples and oranges. You can't compare Empire, Tess and Altered States and claim one the best over the others. Each was tailor made for their respective films.    Posted:   Nov 29, 2018 - 3:11 PM     By:   jenkwombat   (Member) As good as ESB is, it never thrilled me in the way SW did. This!!! (I never thought I'd be agreeing with Marshall so much, but when a guy's right, he's right.)    Posted:   Nov 29, 2018 - 3:53 PM     By:   ghost of 82   (Member) No no no. I won't argue about Oscar as it's clearly utterly irrelevant, the Academy awards simply nonsense, but as far as the music goes, TESB is fantastic, a masterpiece and William's masterpiece.    Posted:   Nov 29, 2018 - 9:32 PM     By:   'Lenny Bruce' Marshall   (Member) As good as ESB is, it never thrilled me in the way SW did. (I never thought I'd be agreeing with Marshall so much, but when a guy's right, he's right.) "Congratulations! You have just taken your first step into a larger universe "    Posted:   Nov 29, 2018 - 9:34 PM     By:   'Lenny Bruce' Marshall   (Member) This is why these kind of categories don't work. Apples and oranges. You can't compare Empire, Tess and Altered States and claim one the best over the others. .. You have anything better to do?    Posted:   Nov 29, 2018 - 9:38 PM     By:   'Lenny Bruce' Marshall   (Member) Yes TESS is a lovely score and ALTERED STATES is a highly sophisticated and complex one too. All I like a lot. But THE EMPIRE STRIKES BACK just pushed it a bit further...it was so well written and "attached "to the movie. Well here comes "taste" again. Anything but FAME Concerning MIDNIGHT EXPRESS and SUPERMAN...well I love SUPERMAN but in that case I kinda understand why it went to MIDNIGHT EXPRESS. Its a highly effective and "new"score. Yeah. Plus they never give composers back-to-back Oscars.... .....unless they are named Gustavo.    Posted:   Nov 30, 2018 - 5:37 AM     By:   William R.   (Member) Never understood how Michael Gore basically won Best Original Score because he wrote some very catchy songs. All of the other nominees that year were great scores by great composers...any one of them would have been worthy of the award. This came up again when Alan Menken won out over the likes of Goldsmith, Barry, Williams, and Morricone THREE TIMES a decade later. I believe this led to the categories being split again a couple of years later.    Posted:   Nov 30, 2018 - 7:44 AM     By:   JSDouglas   (Member) Basically between John Williams' win for STAR WARS and his win for E.T. - THE EXTRA-TERRESTRIAL, the Oscars best music category was punishing for traditional film score fans (I'm glad Georges Delerue picked up an award in '79 even though A LITTLE ROMANCE is not my favorite by him). MIDNIGHT EXPRESS, FAME, and CHARIOTS OF FIRE were certainly not my idea of the best of their respective years. FAME was particularly galling in that it's nomination really belonged in a different category altogether. But alas, the Academy was always able to sucker-punch us film music fans as with Herbie Hancock's win over Ennio Morricone in '86. Sometimes the Oscars get it right, but more often than not, they miss the mark entirely.    Posted:   Nov 30, 2018 - 8:40 AM     By:   Thor   (Member) I completely disagree with that. MIDNIGHT EXPRESS and CHARIOTS OF FIRE showed them pushing the envelope; both absolutely brilliant scores. It would be a terribly boring award if only traditional orchestral scores got the award every time. That being said, I still haven't heard any score segments from FAME. Does anyone have a link or something?    Posted:   Nov 30, 2018 - 9:01 AM     By:   Montana Dave   (Member) And lets not forget a few years later, 1986, we had 'Round Midnight' win for Best Original Score. Remember who else was nominated alongside this film's music that didn't win? To win over these other scores almost makes me want to cry. 'Star Trek IV: The Voyage Home' 'Aliens' 'Hoosiers' 'The Mission' but to lose to Herbie Hancock? Bette Midler announced the nominees. When she announced Ennio Morricone's name, do you rememeber the audience's loud roar of approval, and then Midler said: 'Ennio's got some fans'!    Posted:   Nov 30, 2018 - 9:38 AM     By:   JSDouglas   (Member) I completely disagree with that. MIDNIGHT EXPRESS and CHARIOTS OF FIRE showed them pushing the envelope; both absolutely brilliant scores. It would be a terribly boring award if only traditional orchestral scores got the award every time. What you say is true, even though my response is from the standpoint of fan opinion and not from any fair and objective viewpoint. Many on this board view the Oscars as boring irregardless of who wins or loses. Based on your recent film history list, I would imagine there are quite a few times you would challenge the Academy's choice of best score.    Posted:   Nov 30, 2018 - 10:29 AM     By:   'Lenny Bruce' Marshall   (Member) People still labor under the.misapprehension that Academy members take the time to carefully consider the nominees. They have "better" things to do.    Posted:   Nov 30, 2018 - 10:31 AM     By:   'Lenny Bruce' Marshall   (Member) I'm still pissed TOMMY lost out to BARRY LYNDON. Just what "adapting" did Rosenman do?    Posted:   Nov 30, 2018 - 12:57 PM     By:   William R.   (Member) Basically between John Williams' win for STAR WARS and his win for E.T. - THE EXTRA-TERRESTRIAL, the Oscars best music category was punishing for traditional film score fans. Which is ironic, since that specific five-year period represented the absolute pinnacle of post-Jaws symphonic scoring.    Posted:   Nov 30, 2018 - 1:42 PM     By:   other tallguy   (Member) Basically between John Williams' win for STAR WARS and his win for E.T. - THE EXTRA-TERRESTRIAL, the Oscars best music category was punishing for traditional film score fans. Which is ironic, since that specific five-year period represented the absolute pinnacle of post-Jaws symphonic scoring. Interesting that they couldn't give Williams multiple consecutive Oscars but they gave Allen Menken four in a row.    Posted:   Nov 30, 2018 - 1:58 PM     By:   Hurdy Gurdy   (Member) Yes, but those Menken tunes would have been clear favourites to the ones actually putting the ticks in their boxes. That's right, the pre-teen sons and daughters of the Academy members.    Posted:   Dec 1, 2018 - 7:29 AM     By:   Paul MacLean   (Member) I'm still pissed TOMMY lost out to BARRY LYNDON. Just what "adapting" did Rosenman do? He adapted several of the classical works -- some of which were vocal pieces, which Rosenman arranged for baroque string orchestra.    Posted:   Dec 1, 2018 - 10:36 AM     By:   Solium   (Member) People still labor under the.misapprehension that Academy members take the time to carefully consider the nominees. They have "better" things to do. I've said this before, the "judges" don't even have to view all the nominations. They could see one of five nominations for best picture and make a vote.    Posted:   Dec 1, 2018 - 11:28 AM     By:   villagardens553   (Member) For me, Altered States or The Elephant Man over Empire Strikes Back. P.S. John Williams' contracts only specify that he be nominated for every score he writes, not that he wins.    Posted:   Sep 7, 2019 - 1:53 PM     By:   DS   (Member) I've been curious about "Fame" for many years, chiefly because of it's Best Original Score Oscar win in a year it competed against "The Empire Strikes Back," "Tess," "Altered States," and "The Elephant Man." For the longest time - and I don't even remember what my source was for this - it was my understanding that Michael Gore's score for "Fame" was around 15 minutes long and consisted of brief cues that were based on the original songs. So imagine my surprise when I finally sat down and watched this film a few days ago and... there actually isn't any score in "Fame" at all. Not one single cue. Nothing. The closest the soundtrack gets to a film score cue is a scene early on when the students are all jamming with their instruments in the lunch room, but that wasn't really a cue (though I'm guessing it was composed specifically for the scene?) and it also included vocals from Irene Cara, so even that was really more of a song. The rest of the music in "Fame" is either classical source or songs (most of them written for the film, though Hamlisch's "The Way We Were" pops up too). "Fame" doesn't have a score. And yet, it won for Best Original Score. Does anybody know how this happened?     General Discussion: Fame vs.The Empire strikes back    << < 1 2 3  > >>  Go to page:  1 2 3   First Post    General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board You must log in or register to post.   Go to page:  1 2 3

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