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Posted: |
Jan 17, 2020 - 4:55 AM
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By: |
Coco314
(Member)
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I don't agree with Silvestri's Avengers: Endgame being snubbed. It was far from a bad score. In fact, I thought it was the most engaging of his Avengers scores. Probably the most sentimental MCU score as well. I was very surprised that both Infinity War and Endgame were front runners for Oscar nominations in the original score category. Both weren't anything particularly special. And current Silvestri has written more compelling attention worthy scores outside of the MCU (e.g.Flight,The Walk, and Welcome To Marwen). There's two main cues that people gush over from Endgame which is Portals (the rendition of the Avengers theme in this cue is a more grand version of the theme from Assemble in The Avengers)and Forge from Infinity War) and The Real Hero (which is basically a variation of his main theme from Cast Away). Both cues take place during two pivotal moments in the movie. I don't really hear people bring up any other moments in the score except those two moments, which have become iconic. I'm not trying to knock the score but I don't think it's worthy of an Oscar or a nomination for that matter. I also don't feel both cues make the score automatically worthy of a nomination or win. IMHO of course.
Quite agree with this. It's not a bad score, but I usually start directly from the "Portal" cue to the end and it's quite enough. And as said two standout moments (themselves more or less derived from previous material), as good as they are, do not make an award worthy score. Overall, I thought it was a step up from "Infinity War" though, which was much less deserving than "Welcome to Marwen", but also attached to a much more critically and financially successful movie.
It's fun that the shortlisting is back though, to take the pulse of the music branch tastes.
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I'd like to see Newman win for 1917 which is, imo, a wonderful score. However, I suspect identity politics may see Joker through or sentiment give Williams another Oscar.
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And Joker won the Oscar.
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Predictable -- the worst score wins the prize.
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Predictable -- the worst score wins the prize.
Brokeback Mountain Syndrome.
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On the plus side, that female conductor was probably the only reason we got to hear a mini-suite of the nominated scores as opposed to a few notes while the names were announced.
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Posted: |
Feb 9, 2020 - 11:05 PM
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By: |
nuts_score
(Member)
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Hildur joins Steven Price & 2 time winner Gustavo Santallalo (sic?) in their "Flavor of the month" over talent wins!
Please enjoy a Starbucks on arts behalf! Grande though, ok... ..just "of the month", Not Willams level of writing, , and we're on a budget, eh? Keeping it basic!
Jesus Christ you people are the worst music fans on Earth. Tin-earred, petty and opinionated, and uninformed. Both Price and Santaolala have enjoyed prosperity, acclaim, and their individual talents beyond a measly award win. Gudnadottir will be no different, because people who enjoy music and composers of all walks of life will continue to support her and hire her all the while you type on a message board shaking your fists to sky over the stupidest stuff.
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Predictable -- the worst score wins the prize.
Agreed -- shame, with so much talent nominated and they gave it to... this.
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Yes, nuts,
you are right. I'm little sad for Thomas Newman, but JOKER is a very good score. The composer did a perfect job on CHERNOBYL as well, by far the best series last year.
And the new SW score was, to my ears, not that interesting. JW's score is not top notch to me!
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I'm really sorry that Thomas Newman didn't win for 1917 but Joker is also an impressive piece of work and congratulations to Hildur Guðnadóttir for her win. She is clearly now a big name in film scoring and her work will be watched closely, going forward.
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