 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Yeah, in 1983 E. T. won over the not even nominated Body Heat.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Yeah, in 1983 E. T. won over the not even nominated Body Heat.
Body Heat and E.T. were not released the same year. That's why.
Hahaha! Bullseye!
|
|
|
|
|
|
That explains it!
|
|
|
|
|
|
The Oscars are more or less irrelevant, regardless of what PandaMan thinks about it.
The greatest scores, the greatest films are not, should not, and will not be determined by a bunch of Hollywood wankers. A quick glance at my CD collection reminds me of that fact every single time.
Morodor won? Doesn't matter. I have the LaLaLand Superman set and NOT his boring and lazy electronica.
Vangelis didn't win? A very good thing because his noodlings can't be compared to the Masterpieces that are Conan and ET.
And so on... It doesn't matter what the "Academy" thinks or more likely "feels".
There are no objective criteria, and the "Academy" wouldn't know what to do with them if there were and they'd still manage to muck it up. The sorry spectacle we are subjected to year in and year out is just a party for a bunch of narcissistic, virtue signaling "actors" and industry people, no more, no less.*
No disrespect to the technical people. They are the ones who make most of the magic happen.
* For an excellent summation, check Ricky Gervais tearing the phonies a new one.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Gustavo got lucky two years in a row I remember. Can't recall who he beat out, but I'm sure a few big names were in the mix. Seems so long ago now.
These examples just confirm my previous post. Even Desplat's very slight, very simplistic score for The Queen was head and shoulders above Gustavo's scores.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I actually think Gustavo's BROKEBACK MOUNTAIN score is very tuneful and pretty and I don't mind its win.
But him winning the following year, for a piece that had previously (and would subsequently) disqualify nominees was a joke.
You need only compile a list of the names of the GREAT FILM COMPOSERS who never won one, or were given a token award, to realise it is just a silly Popularity Contest and more often than not, it's less about the music and more about the (flavour of the month) film it is attached to.
... and pointless when it comes to determining the "best" score. Santaolla's slight music will be soon forgotten, if it isn't already.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
In 1953, when Alfred Newman’s masterful score for THE ROBE wasn’t even nominated, Franz Waxman resigned from the Academy in protest.
Curiously, Newman actually won an Oscar that year for his adapted score for CALL ME MADAM.
(FYI: the other original scores nominated that year were ABOVE AND BEYOND, FROM HERE TO ETERNITY, JULIUS CAESAR, LILI, and THIS IS CINERAMA. LILI won.)
|
|
|
|
|
|
|
|
|
|
|
