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2013 Academy Awards (Oscars) Discussion (2012 movies)


Jay

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I already told him he didn't understand but I guess annual means collective career of every composer alive or dead.

At least if it concerns this cornerstone of culture western civilization has brought forth that is THE BOND MOVIES .

A belated 13-Oscar package for John Barry's efforts now or a holy war will break loose.

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practically relies only on the Bond theme. Not to mention the cue they snagged from Casino Royale.

What a disgrace that the closest Arnold comes to a nomination is being re-recorded for a Snoozeman score.

BS. Newman's score is much more than this.

Pffffff ... what is it then?

This film and the music will be remembered unlike the dated older ones.

Oh I'll remember it alright.

I already told him he didn't understand but I guess annual means collective career of every composer alive or dead.

And I already said: the Oscars aren't about the best scores of each year, and if they were, Newman wouldn't be there.

Like it or not, by putting Skyfall there, and assuming the Academy didn't significantly change their standards in its history, they say Skyfall has something over Goldfinger, The Living Daylights or Moonraker. But they are dead wrong.

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No they're saying Skyfall has something over the other scores composed this year and that better music was composed during Barry's years. Something you'd probably agree with. You don't see me throwing a hissy fit cause Zimmer wasn't nominated do you? Well that's because I don't think he deserves to be but the point is you're a raging fanboy.

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And I already said: the Oscars aren't about the best scores of each year, and if they were, Newman wouldn't be there.

Agreed to an extend. I would go even further: film score Oscars are not really about music. What matters here is presentation and how it all relates to the film. Not so much how complex and thoughtful it is, but how on a visceral level it interacts with the audience. And that's where certain (you might add: less accomplished musically) works exceed. You see, that's why things like Babel, Brokeback Mountain, The Social Network , Finding Neverland win. You can hear them in the film and people generally remember that from them. Good mixing is key here. People can hear them and as such the score makes a statement in the film. It's like Bernard Herrmann once said, there is no relation between the quality of the music and its effectiveness in the film.

The orchestral music, as complex and detailed it might be, rarely makes a splash in films these days. Sadly. And Howard Shore's works on the Tolkien trilogy is a rare exception. It's as if the old craft lost its purpose.

Karol

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Actually, there were quite a few orchestral scores this year...not necessarily in the best picture material, though. Even SKYFALL. And i say it again, SOCIAL NETWORK's score has some neat musical ideas and that nobody picks up on them and cites this score as if it were some Faltermeyer trash is plain ignorant.

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But how a score works in the film is what it's all about. They're judging them properly. A good mix is certainly part of that.

Another recurring aspect of discussion here is that a lot of you want something good to listen to at home.

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No they're saying Skyfall has something over the other scores composed this year and that better music was composed during Barry's years. Something you'd probably agree with.

Shockingly predictable, I do not.

Maybe a couple of times, but not always.

You don't see me throwing a hissy fit cause Zimmer wasn't nominated do you? Well that's because I don't think he deserves to be but the point is you're a raging fanboy.

Well, that's easy because 1) there was no chance in hell he was going to be nominated with this score, and 2) he said he didn't want to be nominated in the first place so you know you're d'accord with the composer's own mindset.

And I don't think being miffed that someone was nominated is the same as being miffed that someone wasn't.

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It's a shame that John Barry never got a nomination for any of his classic Bond scores, but he didn't go home empty handed as far as Oscars go. He won his share. I won't criticize Newman for his nomination.

Horner's Spiderman did not deserve a nomination, especially since Elfman, who was more deserving, never received one for his more original take on Spiderman. Plus Horner's score features some obvious influences from Elfman's.

Thought there was a slight chance The Hobbit might sneek in with a Best Song and Score nomination, but I'm not shocked it didn't.

Doyle's Brave wasn't a real strong score but could have easily replaced any of the other scores, except for Lincoln, which is more deserving than Tintin was last year.

Unfortunately one of the best scores this year wasn't even nominated because the movie bombed badly.

As far as the rest of the categories, here's hoping Lincoln takes most of them.

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And I don't think being miffed that someone was nominated is the same as being miffed that someone wasn't.

The outcome is about the same: impotent fanboy rage.

As far as the rest of the categories, here's hoping Lincoln takes most of them.

Undeservedly, of course.

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I dunno. I want to see it but I can't stand musicals.

Life of Pi was beautiful to look at but pretentious. I think Lincoln has a better chance than that as an overall package

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Am I the only one who thinks Les Miserables has a strong chance with Best Picture?

Well, reviews weren't so great and I think the lack of a directing nomination hurt its chances a lot. The box-office is nice, but it's not the only big moneymaker that got nominated. It obviously has its fans and on paper, it looks pretty good as a winner, but I don't think it's anything like a frontrunner at this point. And with both Lincoln and Life of Pi tallying up 10+ nominations apiece, it can't even really be called the big, flashy movie of the season.

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I didn't think Les Miserables was perfect, and I'm certainly not saying its the best film of the year, but both Les Miserables and Life of Pi fit that bill of "the feel-good, must-see film of the year" that the the Best Picture image likes to maintain with the Academy.

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Doyle's Brave wasn't a real strong score but could have easily replaced any of the other scores,

It's a lovely score. I wouldn't have minded seeing it nominated. Nice songs, too.

except for Lincoln, which is more deserving than Tintin was last year.

Tintin was first rate Williams, as was War Horse. I'm not that excited by Lincoln, but with the current state of film music, I think Williams deserves an Oscar for whatever he writes.

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We should go year by year and debate which scores deserved to be nominated to set things right. It would make for one hell of a project...and fight. :peepwall:

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Unfortunately predictable nominations. The only big surprise to me is to see Amour in the Best Picture category, as it is a foreign art-house film.

Looper and The Master were snubbed big time for Original Screenplay and Best Cinematography, respectively. Also sad that The Dark Knight Rises didn't get anything.

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Unfortunately one of the best scores this year wasn't even nominated because the movie bombed badly.

John Carter, I presume?

I don't think box office has much influence on the Academy as you imply. Beltrami's 3:10 To Yuma was nominated in 2007, which I thought was spot on and very deserving.

I'm calling it right now that Life Of Pi will take the cinematography award, leaving Roger Deakins robbed once again. Skyfall was revelatory man, it had been awhile since I experienced Deakins in the cinema. No one comes close to his genius.

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I didn't feel TDKR really deserved anything.

And although I don't care for its nomination with the Oscars, I'm surprised by the many people putting Argo in their top 10 score lists. It's nothing special to my ears at least.

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The Dark Knight Rises was more or less a continuation from the previous film. In terms of technical achievement like editing and cinematography, it was on par, but this time around got nothing. Not even Pfister! He's been nominated for every Nolan film he's done.

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Good point actually. I expected to see some nominations on cinematography, editing and sound mixing and such. But this year seems to have more "Oscar" films in play, so I suppose TDKR got shafted.

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I didn't think Les Miserables was perfect, and I'm certainly not saying its the best film of the year, but both Les Miserables and Life of Pi fit that bill of "the feel-good, must-see film of the year" that the the Best Picture image likes to maintain with the Academy.

Yeah, but the Academy's also moved away from that often enough, with movies like Million Dollar Baby, The Departed, No Country for Old Men, and The Hurt Locker taking the big prize, recently. Your description is the common stereotype (and for good reason), but they're not against awarding movies of a different color when they happen to get more attention.

As I said before, I think that Silver Linings Playbook is the more likely option if they're going to go for a "feel-good" winner. Not to mention it's from Harvey Weinstein's movie studio, and he's been pretty good at the Oscar thing lately...

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Good point actually. I expected to see some nominations on cinematography, editing and sound mixing and such. But this year seems to have more "Oscar" films in play, so I suppose TDKR got shafted.

It's not the type of movie to usually get nominations, but I figured it would get some technical attention. And it would be deserved.

I also think Nolan is long overdue for a Best Director nomination but if he keeps working the way he has been he's bound to get one. Unless the Academy just has something against him.

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I didn't think Les Miserables was perfect, and I'm certainly not saying its the best film of the year, but both Les Miserables and Life of Pi fit that bill of "the feel-good, must-see film of the year" that the the Best Picture image likes to maintain with the Academy.

I haven't seen or read Life of Pi, but I wouldn't call Les Mis a "feel-good" film!

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I'm calling it right now that Life Of Pi will take the cinematography award, leaving Roger Deakins robbed once again. Skyfall was revelatory man, it had been awhile since I experienced Deakins in the cinema. No one comes close to his genius.

I agree 100%, Skyfall's cinematography was excellent. There where times I wanted several of the establishing shots to carry on a bit longer.

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I didn't think Les Miserables was perfect, and I'm certainly not saying its the best film of the year, but both Les Miserables and Life of Pi fit that bill of "the feel-good, must-see film of the year" that the the Best Picture image likes to maintain with the Academy.

I haven't seen or read Life of Pi, but I wouldn't call Les Mis a "feel-good" film!

The finale is most certainly a "feel-good" one. Its the kind of film you come of the theater emotionally fulfilled, and with a smile on your face (not tears of sorrow). It has the kind of emotional pulls that a lot of the more typical Oscar Best Pictures share.

Of course this isn't always the case, but having seen it happen a lot recently (Slumdog Millioniare, The King's Speech, The Artist), I just thought Les Miserables was ripe for the taking.

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This is the cue that accompanies the first transition scene in the film. Really sublime scoring and filmmaking; quite a set piece.

http://www.youtube.com/watch?v=95op-nHxWGc

As I told indy4 before, and of which he mentioned again here, the scene incorporates musicians performing the cue. I tried to see if it was on YouTube but I guess since the film is still in theaters/just out of theaters it won't be up for awhile.

Marianelli took the gold for Atonement, same crew on this one.

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This is the cue that accompanies the first transition scene in the film. Really sublime scoring and filmmaking; quite a set piece.

http://www.youtube.com/watch?v=95op-nHxWGc

As I told indy4 before, and of which he mentioned again here, the scene incorporates musicians performing the cue. I tried to see if it was on YouTube but I guess since the film is still in theaters/just out of theaters it won't be up for awhile.

Marianelli took the gold for Atonement, same crew on this one.

Yep, this is exactly the kind of stuff the Academy seems to love...

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I'm calling it right now that Life Of Pi will take the cinematography award, leaving Roger Deakins robbed once again. Skyfall was revelatory man, it had been awhile since I experienced Deakins in the cinema. No one comes close to his genius.

While Deakins is master, i don't think he should mind PI getting it. As for BEST PICTURE, i have not seen the Bigelow, Les Misérables (god forbid) or Silver Linings Playbook, but the whole line-up looks surprisingly potent. I wouldn't mind BEASTS, DJANGO or PI getting it. ARGO was a very well made film that felt a bit slight and LINCOLN suffers from a leaden worthiness typical for such self-important fare, but in the end both are rather good movies. There were much more depressing years in terms of big categories, that's for sure.

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And Desplat won last year I think.

No. You forgot Ludovic Bource?

So did the rest of the world.

I had actually completely forgotten that for real.

Actually so had I! :lol: I had to look it up...

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hey that's my line.

I think this year has a good list because it's got films people actually see. Obscure art house films are nice I suppose but movies are meant to be seen and if they are not what's the point?

I read an interesting story today about the young black girl that got a best Actress nod and how that has really pissed off a lot of people, especially considering there were a fair amount of great performances by a leading actress this year. I haven't seen the movie, doesn't really appeal to me on any level but I won't criticize her performance until I see it but I do understand that actors and actress' strive for years to get that role of a life time.

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I think this year has a good list because it's got films people actually see. Obscure art house films are nice I suppose but movies are meant to be seen and if they are not what's the point?

Maybe people should get their asses to see them?

Chaac- who might see The Master tonight because he heard it's awesome.

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I think this year has a good list because it's got films people actually see. Obscure art house films are nice I suppose but movies are meant to be seen and if they are not what's the point?

Maybe people should get their asses to see them?

Chaac- who might see The Master tonight because he heard it's awesome.

easier said than done.
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Chaac- who might see The Master tonight because he heard it's awesome.

One of the best film of the year, sure. Very heavy going, though. Don't expect brisk pace, entertainment of any sort. Or even a clear plot.

Surprised that the score didn't get a nomination. It's very striking in the film. And more subtle than TWBB.

Karol

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I wanted to see the Master so badly, but I missed its limited release there.

Can't wait to see it as son as I can though.

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