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Oscars 2013: Best Original Score


  

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One hundred and four films are eligible. Edited by Peter T Chattaway

"Sympathy must precede belligerence. First I must understand the other, as it were, from the inside; then I can critique it from the outside. So many people skip right to the latter." -- Steven D. Greydanus
Now blogging at Patheos.com. I can also still be found at Facebook, Twitter and Flickr. See also my film journal.

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Moonrise Kingdom isn't one of them, since it's not original enough.

The academy's rules:

The original score must be a substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer. Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible.
Edited by Tyler

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  • 5 weeks later...

Several really good choices this year. Some of my favorites, in no particular order:

Danny Elfman for Frankenweenie (great monster themes and brilliant merging between source music (music the characters hear as well as the viewers) and underscoring)

Jonny Greenwood for The Master (created the dark, isolated atmosphere that Freddie inhabits really well)

Thomas Newman for Skyfall (great job utilizing old themes and merging them with his own new themes)

Howard Shorefor The Hobbit: An Unexpected Journey (the Dwarves' song has a great chant-like theme and it transitions excellently to underscoring while fitting in with the themes from The Lord of the Rings. I also really like nearly all of Howard Shore's scores.)

Dario Marianelli for Anna Karenina (perfectly matches the time and place setting)

Patrick Doyle for Brave (perfectly matches the time and place setting)

Hans Zimmer for The Dark Knight Rises (the Batman theme and Bane's theme play off one another perfectly)

And if memory serves, Dan Romer and Benh Zeitlin for Beasts of the Southern Wild (I think the score captured the rawness and fantasy aspects of the film really well, but I would need to see it again to confirm this opinion)

"Anyway, in general I love tragic artists, especially classical ones."

"Even the forms for expressing truth can be multiform, and this is indeed necessary for the transmission of the Gospel in its timeless meaning."

- Pope Francis, August 2013 interview with Antonio Spadaro

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Found myself picking up on, and admiring, the score to The Impossible as I watched that film again last night. I see it's one of the eligible scores Peter linked to.

"What matters are movies, not awards; experiences, not celebrations; the subjective power of individual critical points of view, not the declamatory compromises of consensus." - Richard Brody, "Godard's Surprise Win Is a Victory for Independent Cinema," The New Yorker

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Vote!

"Sympathy must precede belligerence. First I must understand the other, as it were, from the inside; then I can critique it from the outside. So many people skip right to the latter." -- Steven D. Greydanus
Now blogging at Patheos.com. I can also still be found at Facebook, Twitter and Flickr. See also my film journal.

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I'm not really surprised at the absence of Zimmer or Shore, although I imagine others probably are.

I am surprised, however, that neither Brave or Cloud Atlas made the cut.

Although, Jonny Greenwood's score was the best of the year by a mile and it didn't make the cut, so I guess I don't really care that much anymore. ;)

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The absence of Jonny Greenwood in this category is unforgivable.

It was even more unforgivable when he was not nominated in 2007 for There Will Be Blood.

"Anyway, in general I love tragic artists, especially classical ones."

"Even the forms for expressing truth can be multiform, and this is indeed necessary for the transmission of the Gospel in its timeless meaning."

- Pope Francis, August 2013 interview with Antonio Spadaro

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Tyler wrote:

: My guess is it ran into the same problem as Moonrise Kingdom (and others), since the soundtrack has a few pre-existing songs on it.

Not the same problem, no; the list of 104 eligible films linked above does not include Moonrise Kingdom but *does* include The Master, which means The Master was eligible.

The studio, in this case, posted the entire score to their awards-season website, and there are no songs in it.

"Sympathy must precede belligerence. First I must understand the other, as it were, from the inside; then I can critique it from the outside. So many people skip right to the latter." -- Steven D. Greydanus
Now blogging at Patheos.com. I can also still be found at Facebook, Twitter and Flickr. See also my film journal.

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Tyler wrote:

: Hmm. I listened to the soundtrack album this morning, which does have songs on it (that are also used in the film). Is that different from what would be submitted for the Oscar?

Yes. The Academy is voting on the *score*, not on any particular packaging of that score.

"Sympathy must precede belligerence. First I must understand the other, as it were, from the inside; then I can critique it from the outside. So many people skip right to the latter." -- Steven D. Greydanus
Now blogging at Patheos.com. I can also still be found at Facebook, Twitter and Flickr. See also my film journal.

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