Four Ineligible Scores

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Post by anonymous1980 »

rolotomasi99 wrote:For the real Oscar history buffs: Is Rachel Portman the only woman to be nominated for Original Score? I know she is the only woman to have won, for EMMA. This category definitely needs more female nominees.

Anne Dudley also won for The Full Monty. It's a clear case of "we-love-the-movie-and-didn't-want-it-to-leave-empty-handed" sentiment though since I barely remembered any original score for it at all. The film was heavily reliant on pre-existing pop songs. Danny Elfman should've won that.




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Post by OscarGuy »

I excluded the likes of Diane Warren because she was only nominated in Original Song.

Ann Ronell (The Story of G.I. Joe, Drama/Comedy Score)
Lynn Ahrens (Anastasia, Musical/Comedy Score)
Marsha Karlin (as Tylwyth Kymry: The Baby Maker, Original Song Score)
Anne Dudley (The Full Monty, Musical/Comedy Score)
Marilyn Bergman (Yentl, Original Song Score/Adaptation Score)
Angela Morley (Slipper and the Rose, Original Song Score/Adaptation Score; Little Prince, Original Song Score/Adaptation Score)
Rachel Portman (Emma, Musical/Comedy Score; Cider House Rules, Original Score; Chocolate, Original Score)
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Post by rolotomasi99 »

Having just watched NEVER LET ME GO, I would say Rachel Portman would be a good nominee for her haunting score. It is much more downbeat than I am used to from her.

I could definitely see NEVER LET ME GO being nominated along with THE KING'S SPEECH, INCEPTION, 127 HOURS, and maybe TOY STORY 3 or HOW TO TRAIN YOUR DRAGON. TRON LEGACY would be a great nominee, but I think one booming sci-fi action score will be more than enough for the music branch this year. Zimmer trumps Daft Punk.

I honestly do not know if the score for THE SOCIAL NETWORK will be nominated. Much like THE HURT LOCKER, I think its nomination in that category will be a very good indication about how much support it has across the Academy.

For the real Oscar history buffs: Is Rachel Portman the only woman to be nominated for Original Score? I know she is the only woman to have won, for EMMA. This category definitely needs more female nominees.
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Post by rain Bard »

Along with its cinematography, I Am Love pretty much coasts on its John Adams music. However, it's not an original score but a collage of previously-composed pieces. Don't expect it to be nominated.
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Post by Hollywood Z »

HarryGoldfarb wrote:By the way, isn't the Jai Ho case another example of how this branch bend the rules. No matter how I rooted for it to win even before the nominations, I think I read somewhere that it wasn't composed for the film. Instead, It was originally written for the film Yuwraaj but its producer rejected it.
Really?!? Very interesting. Again, another case of the rules being bent in favor of a sweep. I'm really starting to hate how much love was heaped on Slumdog Millionaire all year. XP
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Post by HarryGoldfarb »

Sabin wrote:Here's where I'm at now:
1. Trent Reznor and Atticus Ross, The Social Network
2. Alexandre Desplat, The Ghost Writer
3. Nibel Godrich, Scott Pilgrim vs. The World
4. The Tindersticks, White Material
5. either Alexandre Desplat for A Prophet or The King's Speech (it really is quite good, and, if less interesting than his other scores, does so much heavy-lifting), Clint Mansell for Black Swan, or Nick Urata for I Love You Phillip Morris, with much to hear still.
Nigel Godrich?? Really? The Nigel Godrich? That would be even more awesome than the nod for Reznor!

I was goin' to mention Byrne as an example of an "outsider" that eventually won the award.

By the way, isn't the Jai Ho case another example of how this branch bend the rules. No matter how I rooted for it to win even before the nominations, I think I read somewhere that it wasn't composed for the film. Instead, It was originally written for the film Yuwraaj but its producer rejected it. The fact that it wasn't even recorded for that film might had something to do with its eventual nod but wasn't this the same case of Moulin Rouge!'s Come What May? Come What May was inelegible cause it was written for Romeo & Juliet (and not used in favor of Radiohead's Exit Music (for a film)). It was ruled out despite not being previously recorded or even used...
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Post by Sabin »

(OscarGuy @ Dec. 21 2010,4:56)
Midnight Express is a fairly forward-thinking original score, but that was back in the 1970s when they also recognized things like Shaft. Maybe they are looking for something more traditional. Or they don't want scores that draw attention to themselves...but if that's the case, then why has John Williams won so many Oscars?

That's not my point. The Music Branch loves scores that draws attention to themselves. John Williams' scores draw attention to themselves in how operatic they are. Outside of Jaws, they're for the most part very emotional and old-fashioned. Scores are nominated all the time for calling attention to themselves, but in a different way than The Social Network because it's chiptune with a NIN darkness almost engulfing it.

Shaft was nominated for Best Original Score, and Issac Hayes lost to Michael Legrand. He would certainly be the surest exception to the rule for a nomination, but, as I peruse the list, similar nominations are few and far between. That was forty years ago. I'd like to think they'd have gotten cooler but their choices are routinely very not. Giorgio Moroder is an amazing artist and, I suppose, an off-beat choice, but I'm not sure it's the same as a win for Nine Inch Nails from the Musical Branch of the Academy. That's all I'm saying. I could totally be wrong.
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Post by OscarGuy »

Midnight Express is a fairly forward-thinking original score, but that was back in the 1970s when they also recognized things like Shaft. Maybe they are looking for something more traditional. Or they don't want scores that draw attention to themselves...but if that's the case, then why has John Williams won so many Oscars?
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Post by Sabin »

(rolotomasi99 @ Dec. 21 2010,3:51)
I have this same conspiracy theory. I swear Michael Nyman's incredible score for THE PIANO was ruled ineligible just so John Williams could win again for SCHINDLER'S LIST. I know Nyman used some folk music as inspiration, but the entire score is some of the best music ever written for a movie.

Wait, Nyman's score was ruled ineligible? I didn't know that. Whammy.

(OscarGuy @ Dec. 21 2010,4:06)
I have the Inception soundtrack and it is so much more than that one sample of "Je ne regrette rien". It's actually quite an amazing achievement for Zimmer. It's inventive, pulsing and entirely fitting. It's my choice for the best of the year so far.

It should eligible. I'm just surprised that it hasn't been ruled ineligible. They removed The Dark Knight from eligibility because there wasn't enough actual original scoring in it, that it was largely a product of post-production. It's just so loud! It's not a bad score but I think I'm just averse to the film as a whole.

Here's where I'm at now:
1. Trent Reznor and Atticus Ross, The Social Network
2. Alexandre Desplat, The Ghost Writer
3. Nibel Godrich, Scott Pilgrim vs. The World
4. The Tindersticks, White Material
5. either Alexandre Desplat for A Prophet or The King's Speech (it really is quite good, and, if less interesting than his other scores, does so much heavy-lifting), Clint Mansell for Black Swan, or Nick Urata for I Love You Phillip Morris, with much to hear still.


(Greg @ Dec. 21 2010,4:15)
Sabin, I fail to see why you assume they will snub Trent Reznor. They gave the award for Best Original Song to Eminem; and, the Song and Score nominations are voted on by the same people.

Because they never nominate amazing scores by outsiders. Because he was in a band, and sometimes scores as relatively unorthodox as these are frowned up. I'm looking at wikipedia's listing of original score nominees and the closest I can find that lines up is David Byrne's co-win for The Last Emperor, and before that Herbie Hancock. I guess it's possible.

I have a friend who is a film composer and he doesn't like the score to The Social Network. He just says, "Yeah, I guess if you think movies should sound like that." And he's young.




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Post by Greg »

Sabin, I fail to see why you assume they will snub Trent Reznor. They gave the award for Best Original Song to Eminem; and, the Song and Score nominations are voted on by the same people.



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Post by OscarGuy »

I have the Inception soundtrack and it is so much more than that one sample of "Je ne regrette rien". It's actually quite an amazing achievement for Zimmer. It's inventive, pulsing and entirely fitting. It's my choice for the best of the year so far.
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Post by rolotomasi99 »

Hollywood Z wrote:
Sonic Youth wrote:FYI: the Santaolalla piece was an original composition, previously performed and recorded, before it was ever utilized for movie scores.

I know, Iguazu. I love the piece and can listen to it any time of the day and get all kinds of dramatic inspiration, but I just hate how the music branch plays stickler on rules for some movies, but not for others.

It's almost as if they were rigging the nominees to make sure that only certain movies were nominated...;-)

I have this same conspiracy theory. I swear Michael Nyman's incredible score for THE PIANO was ruled ineligible just so John Williams could win again for SCHINDLER'S LIST. I know Nyman used some folk music as inspiration, but the entire score is some of the best music ever written for a movie.




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Post by Sabin »

I've seen True Grit and I get the ruling. I don't remember a trace of score in The Fighter. It's predominantly ruled by pop songs. And tired ones at that. The Kids Are All Right gets my vote for the Worst Score of 2010. I keep waiting to hear that The Social Network is being ruled ineligible but I guess it's not going to be. I guess it's just gonna get old school snubbed. Is there any precedent for a contemporary artist like Trent Reznor to get nominated?

To me, Desplat, Rahman, and Zimmer, all globe nominees, look like the best bets. The globes have matched up 2/5, 3/5, 2/5, and 1/5. So roughly two of the nominated scores, no odd-balls. The above three look to me like good bets, but it wouldn't surprise me if one of them falls by the wayside. That'll be either Rahman or Zimmer. I'm actually a little surprised that Zimmer is still in the running, seeing as how Inception was so inspired by La Vie en Rose.

I made a note to remember Jan A.P. Kaczmarek's score for Get Low after seeing it last August. It's not great but it's very Best Score-y. He's a previous winner for Finding Neverland and there is a strong degree of cronyism in the branch. And I have not seen I Am Love, but I have heard that John Adams' score is incredibly operatic and oppresses the film with score. That sounds good.

Gustavo Santaolalla has Biutiful, Danny Elfman has Alice in Wonderland, James Newton Howard has The Tourist and Salt, Elliot Goldenthal has The Tempest, Rachel Portman has Never Let Me Go, and Desplat has The Ghost Writer and Harry Potter 7pt1 (dumbest title of the year)...I think the remaining one or two will be filled by something like this. Something somewhat irrelevant like Defiance, The Kite Runner, The Good German, Pride & Prejudice, or The Village.

Right now, I'm going to say:

John Adams, I Am Love
Alexandre Desplat, The King's Speech
Jan A.P. Kaczmarek, Get Low
A.R. Rahman, 127 Hours (against my better judgment)
Hans Zimmer, Inception
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Post by Hollywood Z »

Sonic Youth wrote:FYI: the Santaolalla piece was an original composition, previously performed and recorded, before it was ever utilized for movie scores.
I know, Iguazu. I love the piece and can listen to it any time of the day and get all kinds of dramatic inspiration, but I just hate how the music branch plays stickler on rules for some movies, but not for others.

It's almost as if they were rigging the nominees to make sure that only certain movies were nominated...;-)
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Post by Sonic Youth »

Hollywood Z wrote:And it's only a matter of time before the music branch considers The Social Network's score "not containing enough percentage of original source material" or "not composed by the artists listed as the composers", yet some hack like Gustavo Santololallo can win his second Oscar in a row and the Academy will actually play a piece he's composed for two other movies for his nomination clip!
FYI: the Santaolalla piece was an original composition, previously performed and recorded, before it was ever utilized for movie scores.

Not that it justifies the Academy using it for the nomination clip.
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