The Eligible Songs
-
OscarGuy
- Site Admin
- Posts: 13668
- Joined: Wed Jan 01, 2003 12:22 am
- Location: Springfield, MO
- Contact:
And had Randy Newman won as he should have for the beautiful "When She Loved Me", we wouldn't have had to be tortured by his next win of "If I Didn't Have You" over the more peaceful and serene "May It Be". Hell, even the Diane Warren song would have been a better choice that year...
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
-
Mister Tee
- Tenured Laureate
- Posts: 8675
- Joined: Wed Jan 01, 2003 2:57 pm
- Location: NYC
- Contact:
I could have got behind either of those two as one of the best best-song winners ever...which is what makes the Phil Collins win even more depressing than, say, Colors of the Wind.Steph2 wrote:Akash wrote:It's too bad PT Anderson couldn't get Aimee Mann to write something for "There Will Be Blood." She could then cover both the potential Best Picture nominee and the cool/edgy votes. God knows she's owed something after losing the Oscar in 1999 to the cartoon monkey song.
I love Aimee Mann too, and the Magnolia soundtrack is beautiful, but the winner that year should have been Randy Newman's "When She Loved Me" from Toy Story 2.
Akash wrote:It's too bad PT Anderson couldn't get Aimee Mann to write something for "There Will Be Blood." She could then cover both the potential Best Picture nominee and the cool/edgy votes. God knows she's owed something after losing the Oscar in 1999 to the cartoon monkey song.
I love Aimee Mann too, and the Magnolia soundtrack is beautiful, but the winner that year should have been Randy Newman's "When She Loved Me" from Toy Story 2.
Yes, Greenwood's been getting a lot of press due in part to the effectiveness of the score itself, and in part due to his minor-celebrity status as a member of Radiohead. Just the kind of press attention I suspect might make the average music branch member envious and perhaps even a little vindicative toward a non-member breaking onto the scene. Perhaps I'm being overly cynical about this, but in the past you could never go wrong predicting the protectionist side of this Academy branch to prevail. The last time anyone was Oscar-nominated for their first film score was 1987, when David Byrne and Cong Su were for THE LAST EMPEROR. And those were co-nominations with an experienced composer, Ryuchi Sakamoto.
Edited By rain Bard on 1199385494
Edited By rain Bard on 1199385494
Just to launch off of Rain bard's thoughts...three of the year's most iconic musical scores involved Johnny Greenwood of 'Radiohead', Nick Cave, and Eddie Vedder. In addition, most people were head over heels over Michael Giacchino's work on 'Ratatouille' (he who was oddly snubbed for 'The Incredibles'), and the Glen Hansard/Marketa Irglova collaboration for 'Once'.
There are probably viewed as the most iconic scores of the year and there is a decent chance not a one will be nominated; instead, look for nominations from former snubbees/already nodded young turks like Alberto Iglesias for 'The Kite Runner' (nominated for 'The Constant Gardener', not 'Bad Education'), Alexander Desplat for 'Lust, Caution' (nominated for 'The Queen', not 'Birth'), or Dario Marianelli for 'Atonement' (nominated for 'Pride & Prejudice', not...okay, you got me. I've only heard his work for 'V for Vendetta' which was indeed far superior, but he's something of a rookie who got lucky with a nomination for 'P&P' and now seems poised for a repeat, if not win).
Last year's best scores were Howard Shore's for 'The Departed', Clint Mansell's for 'The Fountain', and Philip Glass' for 'The Illusionist'. The Oscar went to Gustavo Santoalalla for his nominal original contributions to 'Babel' (which were indeed immeasurably helpful). I expect this year to follow suit.
There are probably viewed as the most iconic scores of the year and there is a decent chance not a one will be nominated; instead, look for nominations from former snubbees/already nodded young turks like Alberto Iglesias for 'The Kite Runner' (nominated for 'The Constant Gardener', not 'Bad Education'), Alexander Desplat for 'Lust, Caution' (nominated for 'The Queen', not 'Birth'), or Dario Marianelli for 'Atonement' (nominated for 'Pride & Prejudice', not...okay, you got me. I've only heard his work for 'V for Vendetta' which was indeed far superior, but he's something of a rookie who got lucky with a nomination for 'P&P' and now seems poised for a repeat, if not win).
Last year's best scores were Howard Shore's for 'The Departed', Clint Mansell's for 'The Fountain', and Philip Glass' for 'The Illusionist'. The Oscar went to Gustavo Santoalalla for his nominal original contributions to 'Babel' (which were indeed immeasurably helpful). I expect this year to follow suit.
"How's the despair?"
"Do You Feel Me" is written by Oscar and Grammy slut Diane Warren so that's definitely in. Check off the two animated films because nothing says music to the academy like "cartoons" -- still living in the perennial nomination days of Disney's Meken/Ashman and Rice, which hmm, probably means Disney love will translate to a nomination for Enchanted, so check that off too -- and that leaves one spot open. Either for a Best Picture nominee to fatten its Oscar tally (Lord of the Rings, Titanic, Chicago, Gangs of New York) or for an expected nominee that fails to get a Best Picture nomination to fatten its Oscar tally so its admirers can point to its multiple nominations as proof that it was "this close" (Dreamgirls, Cold Mountain) or, for that one desperate attempt by the Music branch to seem edgy and cool (Eminem, 3-6 Mafia, Global Warming Dyke rock).
It's too bad PT Anderson couldn't get Aimee Mann to write something for "There Will Be Blood." She could then cover both the potential Best Picture nominee and the cool/edgy votes. God knows she's owed something after losing the Oscar in 1999 to the cartoon monkey song. Oh and incidentally that year, in addition to Mann, there were three songs from animated films (Toy Story 2, Tarzan and South Park) and a Diane Warren medley (Music of My Heart). See what I mean?
Edited By Akash on 1199356061
It's too bad PT Anderson couldn't get Aimee Mann to write something for "There Will Be Blood." She could then cover both the potential Best Picture nominee and the cool/edgy votes. God knows she's owed something after losing the Oscar in 1999 to the cartoon monkey song. Oh and incidentally that year, in addition to Mann, there were three songs from animated films (Toy Story 2, Tarzan and South Park) and a Diane Warren medley (Music of My Heart). See what I mean?
Edited By Akash on 1199356061
So busy lately; I still owe you an e-mail (at least one, that is!)
I don't remember ever being so good at predicting nominees, even for Best Score. And now that I don't make a real effort to see (or at least hear) all of the contenders, I'd be even worse.
I know I've tried my hand at picking the winner in the score category(s) but I think I've been confounded at least as often as I've gotten it right.
This year, I'll make one prediction from this vantage: There Will Be Blood will not be nominated by the composers. Johnny Greenwood is too green a composer, this being his first narrative film score.
I don't remember ever being so good at predicting nominees, even for Best Score. And now that I don't make a real effort to see (or at least hear) all of the contenders, I'd be even worse.
I know I've tried my hand at picking the winner in the score category(s) but I think I've been confounded at least as often as I've gotten it right.
This year, I'll make one prediction from this vantage: There Will Be Blood will not be nominated by the composers. Johnny Greenwood is too green a composer, this being his first narrative film score.
The only song--and I have listened to them all now, apart from the ones I saw on film--that stuck with me( all year) was Way Back Into Love from Music and Lyrics.
This totally charming film might have won best screenplay in 1946 or 1949: pop songwriter suffers block; girl helps him; girl writes lyric to his song; it is performed; love triumphs. The song was the reason for the story, the whole film, just like an old Hollywood musical with June Allyson and Peter Lawford.
Besides, apart from the song from The Mighty Heart, this is the only hummable song, but does that make a difference
nowadays--when was the last time you whistled an Oscar song? It would be llike Cinderella if Way Back Into Love won.
I am waiting patiently for Rain bard to give us his predictions for Best Score. He is always pretty accurate.
Edited By cam on 1199344112
This totally charming film might have won best screenplay in 1946 or 1949: pop songwriter suffers block; girl helps him; girl writes lyric to his song; it is performed; love triumphs. The song was the reason for the story, the whole film, just like an old Hollywood musical with June Allyson and Peter Lawford.
Besides, apart from the song from The Mighty Heart, this is the only hummable song, but does that make a difference
nowadays--when was the last time you whistled an Oscar song? It would be llike Cinderella if Way Back Into Love won.
I am waiting patiently for Rain bard to give us his predictions for Best Score. He is always pretty accurate.
Edited By cam on 1199344112
“Baby Don’t You Cry” from “Waitress”
Just saw this movie tonight (will post more elsewhere) and this is a wonderful song that is used marvelously in the film; really hope it is nominated.
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
-
Hollywood Z
- Temp
- Posts: 431
- Joined: Tue Jan 14, 2003 1:07 am
- Location: Kentucky
- Contact:
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.
Haven't seen Once or Into the Wild yet (not a big Sean Penn fan, but the earlier does interest me), but so far, my picks are:
"Le Festin"; Ratatouille (if you were able to get the lyrics translated, it's such a tender encapsulation of the movie's themes)
"That's How You Know"; Enchanted (see above rationale)
"Way Back Into Love"; Music & Lyrics (a catchy and important song to the film)
And as for the other two, I'll wait until I actually get to see some more from the others.
Haven't seen Once or Into the Wild yet (not a big Sean Penn fan, but the earlier does interest me), but so far, my picks are:
"Le Festin"; Ratatouille (if you were able to get the lyrics translated, it's such a tender encapsulation of the movie's themes)
"That's How You Know"; Enchanted (see above rationale)
"Way Back Into Love"; Music & Lyrics (a catchy and important song to the film)
And as for the other two, I'll wait until I actually get to see some more from the others.
"You are what you love, not what loves you." - Nicholas Cage; Adaptation
-
OscarGuy
- Site Admin
- Posts: 13668
- Joined: Wed Jan 01, 2003 12:22 am
- Location: Springfield, MO
- Contact:
It depends on which part of the clip you saw. It really is infectious within the movie itself. Of course, it's classic Alan Menken, so that may be why some dislike it.
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin