The Eligible Songs

[Penelope]

Brokeback Mountain's score "overbearing"? Um, no. That would be the score for 3:10 to Yuma.

Without Beltrami's score, you don't have '3:10 to Yuma'. It doesn't begin to work. It's a mediocre film aided immeasurably by its score and editing, making it seem far more impacting and impressive than it really is.

Hogwash. The excessive score in 3:10 to Yuma simply added to film's artistic failure.

[Hollywood Z]

I think this has been a pretty wonderful year for film scores: the haunting pulses of The Assassination of Jesse James, the shrieking strings of There Will Be Blood, the clackety-clack piano of Atonement, the lush romanticism of Lust, Caution, the joyous bounce of Ratatouille...and on the song score side the vital contributions to Once and Into the Wild.

Hollywood Z, I think there are two things to consider before you give up hope on '07. First, some of these films are JUST opening. It's certainly possible, I think, that both Atonement and There Will Be Blood could join the memorable score club once they start being heard on award show after award show. Will they be as remembered as the scores to Gone With the Wind, Star Wars, and Psycho? No, but many of '07's scores are just starting to enter popular culture; we're so far from closing the book on this subject.

Second, I think a big factor in the pop culture arena isn't that this year's scores weren't memorable, it's that the FILMS didn't connect with audiences. Forrest Gump, American Beauty, and Brokeback Mountain were all zeitgest hits that quickly became part of cultural discourse long before the Oscars had their say. I can't think of ANY film this year that has hit a cultural nerve like that, so naturally, this year's scores have had much less exposure.

We'll see. I just wish I was able to get out to the movies more this season and see what all the fuss has been about, especially since the first three seasons of the year were such a letdown. And, yes, BJ, the scores that you mentioned may be great, but then there's that zeitgeist factor that you mentioned and that could be where I feel a bit letdown is that for all the pomp and all the grandstanding, none of these great films this year will ever culturally connect with an audience pre awards. Juno would probably be the closest I could forsee, but even that had to rely on buzz for it's connection. Maybe that's what I miss in a movie, larger budgeted films that took more risks in being different and indie films that actually tried to break molds instead of conforming to them. Maybe then I'll hear that memorable score that will just connect with me.

[Sabin]

Brokeback Mountain's score "overbearing"? Um, no. That would be the score for 3:10 to Yuma.

Without Beltrami's score, you don't have '3:10 to Yuma'. It doesn't begin to work. It's a mediocre film aided immeasurably by its score and editing, making it seem far more impacting and impressive than it really is.

[The Original BJ]

The Kite Runner's score defines overbearing.

[Big Magilla]

Brokeback Mountain's score "overbearing"? Um, no. That would be the score for 3:10 to Yuma.

Neither one is overbearing. They are both great scores. The pulsating 3:10 to Yuma score is a huge leap forward for Marco Beltrami who usually writes for horror films.

If anything this year is overbearing it's the score for There Will Be Blood, which some people love, while others hate, inclduing many who love the film.

[Penelope]

Brokeback Mountain's score "overbearing"? Um, no. That would be the score for 3:10 to Yuma.

[Akash]

I haven't seen several others in contention but I'm inclined to say that 2006 wasn't just the year of the Director as Author.

Especially since there have been other recent years where Directors were Authors as well.

[Sabin]

As far as a "lack" year for me is concerned, I'm talking about years when we had memorable themes from movies. Look at 2005, when some of the best scores that year were Brokeback Mountain, Munich, Chronicles of Narnia, King Kong to name a few. Each of them had scores that were able to stand on their own.

I think 2005 is one of the weakest years for memorable scores. I couldn't honestly tell you if I like 'Brokeback Mountain''s score or not, it's so overbearing and catchy. And after listening to John Williams' adaptation and reimagining of several Jewish prayers I knew as a child, I'm inclined to say once again that Steven Spielberg hasn't just brought out the best in Janusz this decade.

If you haven't been to the movies, that you're bad. 2006 has several fantastic scores but it is absolutely dwarfed by the astonishing music composed this year, largely from alternative sources. 'The Assassination of Jesse James' and 'There Will Be Blood' are masterpieces of meshing image to music. So are 'Into the Wild', 'Ratatouille', '3:10 to Yuma', 'Zodiac', 'Lust, Caution', and an underrated piece of work from a forgotten imperfect indiewood flick called 'Rocket Science' which had a lovely score better than the film. I haven't seen several others in contention but I'm inclined to say that 2006 wasn't just the year of the Director as Author.

[The Original BJ]

I think this has been a pretty wonderful year for film scores: the haunting pulses of The Assassination of Jesse James, the shrieking strings of There Will Be Blood, the clackety-clack piano of Atonement, the lush romanticism of Lust, Caution, the joyous bounce of Ratatouille...and on the song score side the vital contributions to Once and Into the Wild.

Hollywood Z, I think there are two things to consider before you give up hope on '07. First, some of these films are JUST opening. It's certainly possible, I think, that both Atonement and There Will Be Blood could join the memorable score club once they start being heard on award show after award show. Will they be as remembered as the scores to Gone With the Wind, Star Wars, and Psycho? No, but many of '07's scores are just starting to enter popular culture; we're so far from closing the book on this subject.

Second, I think a big factor in the pop culture arena isn't that this year's scores weren't memorable, it's that the FILMS didn't connect with audiences. Forrest Gump, American Beauty, and Brokeback Mountain were all zeitgest hits that quickly became part of cultural discourse long before the Oscars had their say. I can't think of ANY film this year that has hit a cultural nerve like that, so naturally, this year's scores have had much less exposure.

[Hollywood Z]

lack of notable/memorable scores? I'm of the opinion that this has been a year of amazing film scores. There Will Be Blood, Atonement, Once and Lust, Caution were all terrific. A lot of people loved the others you mentioned: The Kite Runner, Eastern Promises and one you didn't: Into the Wild (which I didn't like much, but it's a style thing). I think Eastern Promises is good, not on the level of Atonement, et al. I haven't listened to the Kite Runner score yet, though.

But, I'd hardly call this a "lack" year.

Once again, haven't seen Once or for that matter Lust Caution, Atonement or There Will Be Blood. Been a bit of a dry spell for me as far as movie attendance (personal life's expendatures being tighter than normal), though there are quite a few that I have been wanting to see for a long time. I'm sure Into the Wild was probably a great score, but how long has it been since more than one composer has been nominated for a single film. It was The Last Emporer, if I recall correctly and while Into the Wild may be well received, don't forget it's the catagory's board that votes on the nominees and many of them frown on collaboration scores. Which is the only thing keeping me from considering Once among the score nominees. Best Song, however...

As far as a "lack" year for me is concerned, I'm talking about years when we had memorable themes from movies. Look at 2005, when some of the best scores that year were Brokeback Mountain, Munich, Chronicles of Narnia, King Kong to name a few. Each of them had scores that were able to stand on their own. That's what I mean when I say there are film scores that don't stand out. Sure, it's one thing to be able to support the themes and tones of a movie's scenes, but it's another thing completely to transcend that limitation of being background music and become memorable like the Imperial March, Tara's Theme or Psycho's shower killing cues. Sure, it's a tall order to ask, but I just miss a good, bold score from a strong, well produced film. One day. One day. So while the movies you mentioned may have had incredible scores, and yes, for that matter, notable, are they really going to be as memorable as the ones whose scores are played out in everyday culture like American Beauty's was Forrest Gump's? Even Brokeback Mountain's theme became a part of mainstream culture. That's what I'm referring to when I say memorable.

That being said, scores that are overbearing (90% of James Horner's library) leave something to be desired.

[HarryGoldfarb]

For me, "That's How You Know" is the high point of the movie. It's the moment that encapsulates the spirit, the humor and the spontenaety of the film. It would be a worthy inclusion among the nominees.

Indeed, that's true! The more I listen that song the more I fall to it... It's classic Alan Menken, classic old Disney (a mix of the "very old" and that one from the late 80's and early 90's). What is a shame about that wonderful movie is that unless Amy Adams, by some grace, manages to grab the Golden Globe, right now she doesn't have a shot of even getting a nod for the Oscar. I mean, after the SAG's and BAFTA's...

The "True Love Kiss" is a big mistery... perfect song indeed...

[OscarGuy]

lack of notable/memorable scores? I'm of the opinion that this has been a year of amazing film scores. There Will Be Blood, Atonement, Once and Lust, Caution were all terrific. A lot of people loved the others you mentioned: The Kite Runner, Eastern Promises and one you didn't: Into the Wild (which I didn't like much, but it's a style thing). I think Eastern Promises is good, not on the level of Atonement, et al. I haven't listened to the Kite Runner score yet, though.

But, I'd hardly call this a "lack" year.

[Hollywood Z]

Hell, even the Diane Warren song would have been a better choice that year...

*shudder* The thought of Pearl Harbor winning another award is just too horrifying of a thought for me.

Don't forget there were nominees like The Constant Gardener and Kundun. And just because many composers are new to the game, don't think they'll be counted out either. Look at Alberto Iglesias, Gustavo Santololallo and Jan AP Kasczmarek. I think There Will Be Blood has a great shot at a score nomination, if only because there's been such a lack of notable or for that matter memorable scores. So I think the other nominees will be Atonement (sweeping romanitc period score, hell, this will win), Eastern Promises (only if Howard Shore can pull his weight post Lord of the Rings as well as being snubbed for last year's Departed), The Kite Runner, Love in the Time of Cholera (dark horse nominee for me, but the period romance factor helps it immensely in my book) and There Will Be Blood.



Edited By Hollywood Z on 1199539021

[The Original BJ]

The score to There Will Be Blood is amazing. And it will unfortunately not be nominated for an Oscar. While the newcomer aspect is certainly a factor with this branch, an even bigger factor is simply that Jonny Greenwood's score is BIZZAR-O. Let's face it, this score is going to sound like utter cacaphony for the crowd that likes its music melodramatic and schmaltzy -- like the overbearing score to The Kite Runner. I'd love to be wrong, though. But innovative scoring has never been this group's favorite.

Every time I'm reminded that When She Loved Me lost, I relive that moment in horror...

...thank god Randy finally won for If I Didn't Have You, a delightful song and by far the best of the nominees that year.

[FilmFan720]

Aw, I love "If I Couldn't Have You." Not Randy's best, but better than the shlock that is May It Be.