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It's not so much that certain composers drop as that other composers rise above them -- I can't assume Ludwig Goransson will have another year like this one, but it was a hell of a year for a new-ish composer, even before he got shortlisted.
As for Desplat, I know it's a debatable choice, but he's one of the few that can really straddle giant hits (the Harry Potters, Secret Life of Pets) and major Oscar movies(look at all the Best Picture nominees he's scored -- including three winners -- in just the last 12 years; Williams has been scoring films for roughly 60 years and still has only one Best Picture winner), and he doesn't have the negative baggage of Hans Zimmer, who also scores blockbusters and Best Picture winners but is often cited as a negative example of what people don't like about contemporary film music (and not just by orchestral score collectors).
Of course, the list is arbitrary, as all such lists must be. Thank you for reading it; I'm glad someone does.
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Oscars have no impact on a composer's employability.
See: Steve Price
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Oscars have no impact on a composer's employability.
See: Steve Price
I don't think that's strictly true. Gravity is such a specific, almost non-musical type of score that it wasn't likely to get Price a job scoring a romance, or a comedy, or any of a lot of genres.
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Sadly I am not familiar with many names on the list.
Mainly because they are scoring the type of films i generally avoid i e. Superheroes. ...Stat Wars ...etc.
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When I was active as a film music journalist, I would print out the complete Top forty...an invaluable resource.
Bruce
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America First!
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