 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Take it with a grain of salt because you can call yourself whatever you wish at FilmMusicReporter.com, but someone going by the name Ken Harrison (so I think it's the retired composer Ken Harrison) had praise for Shaiman's score:
"Just saw this fantastic movie. The score was perfect – kudos to the music production team including the arrangers/orchestrators. This is as good as it gets for a true Hollywood musical. Top notch. Treat yourself and see this movie in a theatre where the picture and sound are BIG!!
|
|
|
|
|
|
'Solo' should have been nominated.
Damn disney.
But Congratulations, Terence.
|
|
|
|
|
|
I hope Terrence Blanchard wins. As i was watching the movie, it kept occurring to me how the music was fitting the film like a glove and elevating it to a higher level. I really love it when that happens.
Black Panther and Isle of Dogs have some terrific orchestrations, but are otherwise pretty standard stuff.
I'm loving watching the career arc of Nicholas Britell, a real natural. Beale Street is a fine score, but not my favorite style. (His score to Vice, on the other hand, is frequently amazing. And if you haven't checked out his overlooked 2017 score for Battle of the Sexes, you should.)
And I certainly wouldn't mind if Shaiman won, given his memorable contributions over the years. (And Academy voters sure love rewarding Disney scores.) But I'm not enamored with Mary Poppins Returns, though it's a fine effort.
But I am miffed that Solo wasn't eligible. Powell and Williams ran circles around all the 2018 superhero and action-movie scores without breaking a sweat. It is a phenomenal score, and given the rocky production of that movie (which I watched a second time recently and liked it even more than the first), a first-class, not-hacked-to-bits score was no guarantee.
Ultimately, I'm just glad that this is a year where there are no nominees that make me say to myself, "You've got to be effing kidding me." So hooray for that.
-
|
|
|
|
|
|
|
|
|
|
|
For the song, my prediction is A Star Is Born. Didn't care for any of the nominees really, probably the Mary Poppins one was my favourite. The one song missing was Thom Yorke's "Suspirium", such a magical ballad and easily the best film song of the year for me.
Jackfu is pissed that "Whitey on the Moon" from FIRST MAN wasn;t nominated.
I had to explain to him that it isn't an ORIGINAL song.
BRM
|
|
|
|
|
|
|
 |
Posted: |
Jan 23, 2019 - 3:39 PM
|
|
|
|
By: |
Ray Worley
(Member)
|
I hope I'm wrong, but I've always maintained that a LOT of the general Academy voting membership is painfully ignorant of the difference between a movie "score" and "all the music in the movie including songs and source music".
To me, this makes MARY POPPINS RETURNS the odds on favorite to win best score, because "I liked the songs"....not because of the score. Looking back at the past history of the wins, this happens almost every time a musical (or a movie with lots of pop or jazz standards ) goes up against regular scores.
I'm not judging the score...I haven't seen the film. My personal fave of the score noms that I've seen is BLACK PANTHER. Granted the film is over-rated, despite it's overdue cultural importance, it's still just a super hero movie...not really Oscar caliber, IMHO. But the score is excellent. Second choice would be ISLE OF DOGS. One can argue about it's stand alone qualities (not me, I love it), but it works for the film perfectly.
|
|
|
|
|
|
|
|
|
|
Schiffy, I thought the same! My wife got to the nominations first and she asked me to guess the score nominations. I was verbally ticking off the bigger pictures first and remarked that Beale Street just--or primarily-- used records, so I skipped by that one. Of the three Desplat scores I heard this year, I liked Isle of Dogs least (loved the movie). Loved the music for Operation Finale and The Sisters Brothers.
DOGS used quite a bit of pre-existing music.
Didn't it?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I think we need more categories:
Best score for a musical
Best score for a comedy
Best score for a drama
best score for a foreign film
Best soundscape score
best thematic score...
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
