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2013 Academy Awards (Oscars) Discussion (2012 movies)


Jay

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I am not content with Skyfall getting a score nomination. Firstly, there are far too many scores this year that are simply better. Secondly, this doesn't deserve to be the only Bond score to earn a nomination.

Marvin Hamlisch was nominated in 1977 for his score to "The Spy Who Loved Me."

I've never been a big Bond fan, but I suppose I'll have to see "Skyfall" to hear the score ... and to see that sexually ambiguous scene between Javier Bardem and Daniel Craig.

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I thought I remembered at least one of them getting a nod in the past. (Amazing, though, that it was that one—not the best in the group—while all of Barry's, including some of the best the series ever saw, were perennially overlooked.)

- Uni

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I am not content with Skyfall getting a score nomination. Firstly, there are far too many scores this year that are simply better. Secondly, this doesn't deserve to be the only Bond score to earn a nomination.

Marvin Hamlisch was nominated in 1977 for his score to "The Spy Who Loved Me."

I've never been a big Bond fan, but I suppose I'll have to see "Skyfall" to hear the score ... and to see that sexually ambiguous scene between Javier Bardem and Daniel Craig.

Jeff, I love that score, it's one of my all time favorites. It was worthy of a win if this thing called Star Wars and Close Encounters of the Third Kind hadn't have happened.
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Anyone disappointed that Song Of The Lonely Mountain wasn't nominated for Best Original Song? That's a fucking travesty!

ROTFLMAO

A good one BloobBoal. You've still got it!

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I am not content with Skyfall getting a score nomination. Firstly, there are far too many scores this year that are simply better. Secondly, this doesn't deserve to be the only Bond score to earn a nomination.

Marvin Hamlisch was nominated in 1977 for his score to "The Spy Who Loved Me."

I've never been a big Bond fan, but I suppose I'll have to see "Skyfall" to hear the score ... and to see that sexually ambiguous scene between Javier Bardem and Daniel Craig.

Thanks for that correction. Still can't believe Skyfall got nominated when none of Barry's scores did. Hell, I can't believe Skyfall got nominated when Rise of the Guardians, The Impossible or The Amazing Spider-man didn't.

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A lot of you seem to judge the Oscars for being "rigged" yet complain that Skyfall is getting a nom when Barry never did. How is that relevant at all to the year 2012? If you were all voters you'd be the rigged ones nominating composers for their careers instead of how they stack up against the competition.

Desplat should have gotten the nom for Zero Dark Thirty.

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It's a shame The Hobbit didn't get nominated. Is it because they burned the tracks on the disc backwards again?

when asked about the Hobbit not getting nominated Martha Steward commented
that's a Good Thing

.

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when asked about the Hobbit not getting nominated Martha Steward commented

that's a Good Thing

.

Good to know, because when I want incisive commentary about movies and their music, I always look to Martha Steward (of Gondor?).

- Uni

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Who the hell is Martha Steward?

Sorry for the language, but these idiots nominated fucking SKYFALL for best score?

Holy mother! WTF?

Somewhere in Sweden, a Coolman fan is cursing at you!

It's not that Newman doesn't deserve an Oscar (after Social Network, Newman can't possibly be boring enough to beat that) but considering the academy snubbed Barry's scores as well as Arnold's, and now that empty bore Skyfall gets the nomination?Bullshit.

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A lot of you seem to judge the Oscars for being "rigged" yet complain that Skyfall is getting a nom when Barry never did. How is that relevant at all to the year 2012? If you were all voters you'd be the rigged ones nominating composers for their careers instead of how they stack up against the competition.

Not at all (at least not in my case). I lamented the fact that Hamlisch's lesser Bond work got a nod over several superior Barry efforts back in the day. My comment on the bizarre nature of Newman's nomination applies strictly to this year's conteders, and the other, more worthy scores that were left off the list in order to make room for a thoroughly mediocre work.

- Uni

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Can't see what's so special about Argo score. Can't even remember it. All the other are deserved.

gkgyver, Skyfall has a big impact on film they made (which you didn't like), it gets a lot of love from the sound mixers. And Newman is Academy's darling. None of which his the case with David Arnold's scores. The nomination is not surprising.

Surprised to see Joaquin Phoenix among nominees. After his rant about Oscars.

Karol

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It isn't. RUST AND BONE is certainly the most deserving Desplat score in 2012 (RENOIR i haven't heard).

As for SKYFALL, there seems to have been great lobbying to get it through and the vague sense that Newman is a more accomplished composer than someone like Arnold might have helped pushing it.

Now that we are talking about 'deserved' Oscars (forgetting about the absurdness of such claim for a moment), i'm not sure if John Williams should win for LINCOLN - a short score which was neither very critical for the success of the movie nor very original to begin with. Why not give him some Lifetime Achievement Award and be done with it?

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He's not getting Lifetime award, because he's already got 5 statues.

And The Hobbit wouldn't be nominated anyway. Not if you judge it by what's in the film (the LOTR material)

Karol

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Again what does that have to do with 2012? I don't think you understand how annual awards ceremonies work. This isn't the best Bond score ever category.

That may be so, but by nominating Skyfall, they automatically and consciously put it above all the Barry scores, who were not even nominated.

I don't think you get how award ceremonies work. Like those lists had anything to do with nominating the best of anything.

And if that was truly the case, Skyfall wouldn't belong in the top 5 anyway.

gkgyver, Skyfall has a big impact on film they made (which you didn't like), it gets a lot of love from the sound mixers. And Newman is Academy's darling. None of which his the case with David Arnold's scores. The nomination is not surprising.

When did the score have severe impact on the film?

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What? You can't award a legend like Williams an academy prize because he already got some topical statues back in the day? Absurd, i say.

The director nominees are much more mysterious. Why neither Affleck nor Bigelow made the cut but Haneke (who did a remarkable film with AMOUR, but it's not typical american award stuff, that's for sure) and Lee did remains a headscratcher. Especially because i find both very deserving.

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Again what does that have to do with 2012? I don't think you understand how annual awards ceremonies work. This isn't the best Bond score ever category.

That may be so, but by nominating Skyfall, they automatically and consciously put it above all the Barry scores, who were not even nominated.

No, that is not at all what they're doing. They're putting it above the non-nominated eligible scores of 2012. That is literally the only statement they are making in nominating it.

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Again what does that have to do with 2012? I don't think you understand how annual awards ceremonies work. This isn't the best Bond score ever category.

That may be so, but by nominating Skyfall, they automatically and consciously put it above all the Barry scores, who were not even nominated.

I don't think you get how award ceremonies work. Like those lists had anything to do with nominating the best of anything.

And if that was truly the case, Skyfall wouldn't belong in the top 5 anyway.

Skyfall wouldn't be in my top 10 Bond scores, but I'm fine with the fact it was nominated.

It was clearly nominated to try to give Skyfall a big nomination and since Newman was the composer many took this as the opportunity to do so. You can't say that well, since he's nominated and Barry wasn't, his is somehow better. You're thinking far too much as a fan of Barry and not realizing that its only a token nomination that won't win but rather will be simply exposing the film. The fact that Barry never got a Bond nomination shouldn't mean no one else can ever get nominated for a Bond score.

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When did the score have severe impact on the film?

It's not about the quality of music as such. But this synth-driven, almost bare-bones approach did make a lot of difference. Paired with Deakin's gorgeous photography it create a feel you're watching more than just a Bond film (which is not exactly true). And judging by soundtrack sales, box office results and critical response - I'm not the only person who thinks that. And, again, it has nothing to do with music as written. It's about the music in the film. And mixing itself makes a hige difference. You can actually hear Newman's score in the film.

But let me turn around the table here... Ask yourself: what did David Arnold's music ever contribute to Bond films? It honours Barry, true. Very well written, sure. But, as a whole, it's just an action score with a famous theme. Not so much different in its approach to something like Superman Returns. It's not even terribly prominent in the film, to be honest. We just like him, because he's a fan much like us.

Karol

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Again what does that have to do with 2012? I don't think you understand how annual awards ceremonies work. This isn't the best Bond score ever category.

That may be so, but by nominating Skyfall, they automatically and consciously put it above all the Barry scores, who were not even nominated.

No, that is not at all what they're doing. They're putting it above the non-nominated eligible scores of 2012. That is literally the only statement they are making in nominating it.

You know that's not entirely true! You can't nominate a score in this long running series without implications.

And I suppose they scrapped the whole "not eligible if it uses existing music" rule because Skyfall 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.

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wow I didn;t even know Barry never got a nom for a Bond score. Not even classics like Goldfinger and You Only Live Twice

I also think the Newman score was better than the recent Arnold ones

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In terms of Best Picture, I think y'all are counting out Silver Linings Playbook. A truly lovely movie, and I'm amazed by the 8 nominations it received, showing up not just in Director, Screenplay, and Film Editing, but also in ALL FOUR acting categories, which is extremely rare. They clearly love this movie. Lincoln is the odds-on favorite here as the nomination leader, but Silver Linings Playbook is the obvious runner-up. I wouldn't be surprised at all if it ended up winning.

I don't even know what to think about score, but it kind of looks like it's JW's to lose. Fingers crossed and all.

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But let me turn around the table here... Ask yourself: what did David Arnold's music ever contribute to Bond films? It honours Barry, true. Very well written, sure. But, as a whole, it's just an action score with a famous theme. Not so much different in its approach to something like Superman Returns. It's not even terribly prominent in the film, to be honest. We just like him, because he's a fan much like us.

Are you freaking joking? David Arnold recreated the James Bond sound for the 20th century, of course with the James Bond theme! And he even dared to write main themes, imagine!

All Newman did was ignore themes, take some of his trademarks, take some Bourne, and slapped the Bond theme on it for good measure.

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What? You can't award a legend like Williams an academy prize because he already got some topical statues back in the day? Absurd, i say.

Well, they always give that award to someone who never won, don't they? Like Alex North. Or Morricone.

Karol

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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.

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

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But let me turn around the table here... Ask yourself: what did David Arnold's music ever contribute to Bond films? It honours Barry, true. Very well written, sure. But, as a whole, it's just an action score with a famous theme. Not so much different in its approach to something like Superman Returns. It's not even terribly prominent in the film, to be honest. We just like him, because he's a fan much like us.

Are you freaking joking? David Arnold recreated the James Bond sound for the 20th century, of course with the James Bond theme! And he even dared to write main themes, imagine!

Recreated is a big word here. Don't get me wrong, I really like those scores. But they're really far from what I'd consider great. Especially as heard in films.

Karol

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I hope we are not really lamenting the fact that David Arnold-music for mostly atrocious Bond movies was not Oscar-nominated. Coming up next: hellenic mourning chorus for POTC not getting in the ballot box.

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That may be so, but by nominating Skyfall, they automatically and consciously put it above all the Barry scores, who were not even nominated.

Whhhhooaaaaaaaaaaa hold on there cowboy. What kind of silly logic is that? The 2013 Oscars nominations and winners have no relationship to the 1964 oscars or any other year.

This is why they are annual awards.

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Again what does that have to do with 2012? I don't think you understand how annual awards ceremonies work. This isn't the best Bond score ever category.

That may be so, but by nominating Skyfall, they automatically and consciously put it above all the Barry scores, who were not even nominated.

No, that is not at all what they're doing. They're putting it above the non-nominated eligible scores of 2012. That is literally the only statement they are making in nominating it.

You know that's not entirely true! You can't nominate a score in this long running series without implications.

We can argue about the way society perceives Skyfall being one of the only nominated Bond scores. The point is, if you're a member of the Academy, and you are given a work that you feel is better than most of the eligible works written that year, are you really going to refuse to vote for it because previous works in the series were better? That's incredibly unfair to the composer, and not at all representative of the title "Best Score of 2012."

Anyways, I think the best score Oscar this year may be a slightly tougher battle than I initally thought...yes Lincoln got 12 noms, but Life of Pi got 11. It's not like there's really a clear, uncontested favorite between the two films.

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