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#1 Erik Woods

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Posted 09 February 2012 - 05:29 PM

IFMCA Award Nominations 2011
http://filmmusiccrit...minations-2011/

JOHN WILLIAMS RECEIVES 7 INTERNATIONAL FILM MUSIC CRITICS AWARD NOMINATIONS, INCLUDING TWO FOR FILM SCORE OF THE YEAR


The International Film Music Critics Association announces its list of nominees for excellence in musical scoring in 2011 with veteran composer John Williams leading the field with 7 nods including WAR HORSE (3 nominations) and THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN (3 nominations) for Film Score of the Year. Also nominated in this category are Ludovic Bource’s THE ARTIST (3 nominations), Mark McKenzie’s score to THE GREATEST MIRACLE (2 nominations) and Howard Shore’s HUGO (2 nominations).

Williams is short-listed for Film Composer of the Year along with Bource; last year’s winner, Alexandre Desplat (whose many scores include HARRY POTTER AND THE DEATHLY HALLOWS PART 2, THE TREE OF LIFE, EXTREMELY LOUD AND INCREDIBLY CLOSE, THE IDES OF MARCH and A BETTER LIFE); Michael Giacchino (SUPER 8, MISSION IMPOSSIBLE: GHOST PROTOCOL, 50/50, MONTE CARLO, CARS 2) and Alberto Iglesias (TINKER TAILOR SOLDIER SPY, LA PIEL QUE HABITO (THE SKIN I LIVE IN), TAMBIÉN LA LLUVIA, LE MOINE).

French composer Ludovic Bource has the rare distinction of also being nominated for Breakout Composer of the Year for Michel Hazanavicius’ silent film, THE ARTIST. The category has an international flair with nominations for Ireland’s Brian Byrne, recognized for his score to ALBERT NOBBS; the British electronic duo of Tom Rowlands and Ed Simons aka The Chemical Brothers for HANNA; British composer Michael Richard Plowman for A LONELY PLACE TO DIE, AGE OF HEROES and TREASURE GUARDS and Spanish composer Lucas Vidal for MIENTRAS DUERMES.

The British dominate the TV Score category with the popular ITV/PBS series DOWNTON ABBEY (John Lunn) nominated alongside DOCTOR WHO (Murray Gold) and SHERLOCK (David Arnold and Michael Price). Rounding out the category are the Spanish series ERMESSENDA (Arnau Bataller) and the American HBO series GAME OF THRONES (Ramin Djawadi).

The International Film Music Critics will announce the winners of its Eighth Annual Awards on February 23, 2012.

2011 Film Categories

FILM SCORE OF THE YEAR

• THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN, music by John Williams
• THE ARTIST, music by Ludovic Bource
• THE GREATEST MIRACLE, music by Mark McKenzie
• HUGO, music by Howard Shore
• WAR HORSE, music by John Williams

FILM COMPOSER OF THE YEAR

• LUDOVIC BOURCE
• ALEXANDRE DESPLAT
• MICHAEL GIACCHINO
• ALBERTO IGLESIAS
• JOHN WILLIAMS

BREAKOUT COMPOSER OF THE YEAR

• LUDOVIC BOURCE
• BRIAN BYRNE
• THE CHEMICAL BROTHERS
• MICHAEL RICHARD PLOWMAN
• LUCAS VIDAL

BEST ORIGINAL SCORE FOR A DRAMA FILM

• THE ARTIST, music by Ludovic Bource
• JANE EYRE, music by Dario Marianelli
• SOUL SURFER, music by Marco Beltrami
• W.E., music by Abel Korzeniowski
• WAR HORSE, music by John Williams

BEST ORIGINAL SCORE FOR A COMEDY FILM

• PAUL, music by David Arnold
• THE RUM DIARY, music by Christopher Young
• TORRENTE 4: LETHAL CRISIS, music by Roque Baños
• A VERY HAROLD AND KUMAR 3D CHRISTMAS, music by William Ross
• YOUR HIGHNESS, music by Steve Jablonsky

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM

• CAPTAIN AMERICA: THE FIRST AVENGER, music by Alan Silvestri
• DRIVE, music by Cliff Martinez
• MISSION IMPOSSIBLE – GHOST PROTOCOL, music by Michael Giacchino
• REAL STEEL, music by Danny Elfman
• RISE OF THE PLANET OF THE APES, music by Patrick Doyle

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM

• DON’T BE AFRAID OF THE DARK, music by Marco Beltrami and Buck Sanders
• HARRY POTTER AND THE DEATHLY HALLOWS PART 2, music by Alexandre Desplat
• HUGO, music by Howard Shore
• PRIEST, music by Christopher Young
• SUPER 8, music by Michael Giacchino

BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE

• THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN, music by John Williams
• THE GREATEST MIRACLE, music by Mark McKenzie
• KUNG FU PANDA 2, music by John Powell and Hans Zimmer
• PUSS IN BOOTS, music by Henry Jackman
• RANGO, music by Hans Zimmer

BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE

• FROZEN PLANET, music by George Fenton
• HOLD AT ALL COSTS: THE STORY OF THE BATTLE OF OUTPOST HARRY, music by Larry Groupé
• JIG, music by Patrick Doyle
• RUSSLAND – IM REICH DER TIGER, BÄREN UND VULKANE, music by Kolja Erdmann
• THE WIND GODS, music by Pinar Toprak

FILM MUSIC COMPOSITION OF THE YEAR

• “The Adventure Continues” from THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN, music by John Williams
• “George Valentin” from THE ARTIST, music by Ludovic Bource
• “Captain America March” from CAPTAIN AMERICA: THE FIRST AVENGER, music by Alan Silvestri
• “Final Round” from REAL STEEL, music by Danny Elfman
• “The Homecoming” from WAR HORSE, music by John Williams

Other 2011 Categories

BEST ORIGINAL SCORE FOR A TELEVISION SERIES

• DOCTOR WHO, music by Murray Gold
• DOWNTON ABBEY, music by John Lunn
• ERMESSENDA, music by Arnau Bataller
• GAME OF THRONES, music by Ramin Djawadi
• SHERLOCK, music by David Arnold and Michael Price

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

• CALL OF DUTY: MODERN WARFARE 3, music by Brian Tyler
• THE ELDER SCROLLS V: SKYRIM, music by Jeremy Soule
• L.A. NOIRE, music by Andrew Hale and Simon Hale
• NI NO KUNI: WRATH OF THE WHITE WITCH, music by Joe Hisaishi
• SOCOM 4: U.S. NAVY SEALS, music by Bear McCreary

BEST ARCHIVAL RELEASE OF AN EXISTING SCORE

• THE BLACK HOLE, music by John Barry; album produced by Randy Thornton and Douglass Fake, liner notes by Jeff Bond; album art direction by Steve Sterling (Disney / Intrada)
• THE DANNY ELFMAN & TIM BURTON 25TH ANNIVERSARY MUSIC BOX, music by Danny Elfman; album produced by Danny Elfman and Tim Burton; liner notes by Jeff Bond and Danny Elfman; album art direction by Matt Taylor (Warner Bros Records)
• DAYS OF HEAVEN, music by Ennio Morricone; album produced by Lukas Kendall and Craig Spaulding; liner notes by Lukas Kendall and Jeff Bond; album art direction by Joe Sikoryak (Film Score Monthly)
• GREMLINS, music by Jerry Goldsmith; album produced by Mike Matessino and Bruce Botnick; liner notes by Jeff Bond and Mike Matessino; album art direction by Joe Sikoryak (Film Score Monthly)
• MASADA, music by Jerry Goldsmith and Morton Stevens; album produced by Douglass Fake and Roger Feigelson; liner notes by Jon Burlingame; album art direction by Joe Sikoryak (Intrada)

BEST ARCHIVAL RE-RECORDING OF AN EXISTING SCORE

• THE BATTLE OF NERETVA/THE NAKED AND THE DEAD, music by Bernard Herrmann; conducted by William Stromberg; album produced by William Stromberg, John Morgan and Anna Bonn; liner notes by Jim Doherty and Kevin Scott; album art direction by Jim Titus (Tribute Film Classics)
• CONAN THE DESTROYER, music by Basil Poledouris; conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. DeWald; album art direction by GINKO DIGI (Prometheus)
• THE FALL OF THE ROMAN EMPIRE, music by Dimitri Tiomkin; conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. DeWald; album art direction by James Fitzpatrick, Damien Doherty and GINKO DIGI (Tadlow Music)
• THE LORD OF THE RINGS SYMPHONY, music by Howard Shore; conducted by Ludwig Wicki; album produced by Jonathan Schultz and Howard Shore; liner notes by Howard Shore and Ludwig Wicki; album art direction by Alan Frey (HOWE Records)
• TARAS BULBA, music by Franz Waxman; conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. DeWald; album art direction by Damien Doherty (Tadlow Music)

FILM MUSIC RECORD LABEL OF THE YEAR

• FILM SCORE MONTHLY
• INTRADA
• LA-LA LAND
• MOVIESCORE MEDIA
• VARÈSE SARABANDE



The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing about original film and television music.

The IFMCA was originally formed in the late 1990s as the now-defunct “Film Music Critics Jury” by editor and journalist Mikael Carlsson, a former contributor to filmmusicradio.com and filmmusicmag.com, and currently the owner of the Swedish independent film music label MovieScore Media.

Since its inception, the IFMCA has grown to comprise over 50 members from countries as diverse as Belgium, Canada, Cyprus, France, Germany, Greece, Ireland, Italy, the Netherlands, Poland, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.

Previous IFMCA Score of the Year Awards have been awarded to John Powell’s HOW TO TRAIN YOUR DRAGON in 2010, Michael Giacchino’s UP in 2009, Alexandre Desplat’s THE CURIOUS CASE OF BENJAMIN BUTTON in 2008, Dario Marianelli’s ATONEMENT in 2007, James Newton Howard’s LADY IN THE WATER in 2006, John Williams’ MEMOIRS OF A GEISHA in 2005 and Michael Giacchino’s THE INCREDIBLES in 2004.

For more information about the International Film Music Critics Association, its members and the list of past awards, please visit http://www.filmmusiccritics.org or contact ress@filmmusiccritics.org">press@filmmusiccritics.org.

-Erik Woods-
host and producer of CINEMATIC SOUND
http://www.cinematicsound.net

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#2 Jay

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Posted 09 February 2012 - 05:34 PM

BEST ORIGINAL SCORE FOR A TELEVISION SERIES

• DOCTOR WHO, music by Murray Gold
• DOWNTON ABBEY, music by John Lunn
• ERMESSENDA, music by Arnau Bataller
• GAME OF THRONES, music by Ramin Djawadi
• SHERLOCK, music by David Arnold and Michael Price


Hmmm, which season would that be for? Season 1 aired in 2010 and Season 2 aired in 2012...

#3 indy4

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Posted 09 February 2012 - 05:52 PM

Wow, congrats to John Williams! That's a nice birthday present.
For updates on a new CD/short film featuring brand new concert works by John Williams, Michael Giacchino, Alexandre Desplat, Randy Newman, Don Davis and Bruce Broughton, "like" this facebook page! https://www.facebook.com/MontageFilmComposers

#4 Jay

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Posted 09 February 2012 - 06:26 PM

Indeed! All the categories are filled with good scores, its a nice list!

#5 Incanus

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Posted 09 February 2012 - 06:35 PM

Good line-up here. Congrats to Mr. Williams for all nominations. :)

Ars superior est vita hominum.

 

"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-

 

I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-


#6 astonexperience

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Posted 10 February 2012 - 12:54 PM

This should be interesting.

Do many academy voters make there mark here? When does voting for the academy awards close - I really am holding out for JW's 6th Oscar :sigh:

#7 TheUlyssesian

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Posted 10 February 2012 - 02:20 PM

This should be interesting.

Do many academy voters make there mark here? When does voting for the academy awards close - I really am holding out for JW's 6th Oscar :sigh:

No way is it happening, The Artist has as good as already won. IFCMA have much better taste than the Academy, in recent years scores like Social Network, Babel, Slumdog, Brokeback Mountain have won the Academy Award. :banghead:

But I really think that Tintin should and win will here. Williams has a chance to upset at the Oscars but it would be War Horse that would upset at the Oscars (if at all) and not Tintin.

#8 TownerFan

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Posted 23 February 2012 - 06:07 PM

Here's the 2011 winners:

http://filmmusiccrit...a-winners-2011/

JOHN WILLIAMS WINS FIVE AWARDS FROM THE INTERNATIONAL FILM MUSIC CRITICS INCLUDING SCORE OF THE YEAR FOR “WAR HORSE”

FEBRUARY 23, 2012 – The International Film Music Critics Association announces the winners of its eighth annual awards for excellence in musical scoring in 2011 with John Williams’ score for Steven Spielberg’s WAR HORSE topping the list, winning Film Score of the Year, Best Score for a Drama Film and Individual Cue for “The Homecoming.” Williams also wins Composer of the Year and Best Score for an Animated Film for THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN.



#9 Luke Skywalker

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Posted 23 February 2012 - 06:19 PM

good :)


now on to the oscars! :P

I hope Episode III is Called 'Revenge of the Sith'

#10 indy4

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Posted 23 February 2012 - 08:41 PM

Woo! Go Johnny!
For updates on a new CD/short film featuring brand new concert works by John Williams, Michael Giacchino, Alexandre Desplat, Randy Newman, Don Davis and Bruce Broughton, "like" this facebook page! https://www.facebook.com/MontageFilmComposers

#11 Jay

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Posted 23 February 2012 - 09:03 PM

Congrats to La-La Land for winning label of the year!

#12 astonexperience

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Posted 24 February 2012 - 12:39 PM

I know I am pissing in the wind (there is no smiley icon for that LOL) but I am still daring to hope War Horse takes the Oscar for best score. I promise you all I have tried sooo hard with The Artist and believe it to be a great score but (and I'm sorry) it is not in the same league as War Horse.

I have just been sent the 'For Your Consideration' CD for War Horse and hearing the end credits presented as they were in the film just makes me want that Oscar on Johnny's shelf even more.

Thank guys, Ad

Just to add, I move in a lot of UK music critic circles, some are BAFTA music voters and the word within those groups is War Horse is JW's best score since Schindler's List, I would love to see the BAFTA score award individual votes because I bet it was closer than we realise :blush:

#13 Incanus

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Posted 24 February 2012 - 12:43 PM

Woo! Go Johnny!

:beerchug:

Congrats Maestro. Well deserved wins in every category.

Ars superior est vita hominum.

 

"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-

 

I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-


#14 Jay

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Posted 24 February 2012 - 12:49 PM

I know I am pissing in the wind (there is no smiley icon for that LOL) but I am still daring to hope War Horse takes the Oscar for best score. I promise you all I have tried sooo hard with The Artist and believe it to be a great score but (and I'm sorry) it is not in the same league as War Horse.

I have just been sent the 'For Your Consideration' CD for War Horse and hearing the end credits presented as they were in the film just makes me want that Oscar on Johnny's shelf even more.

Thank guys, Ad

Just to add, I move in a lot of UK music critic circles, some are BAFTA music voters and the word within those groups is War Horse is JW's best score since Schindler's List, I would love to see the BAFTA score award individual votes because I bet it was closer than we realise :blush:


The End Credits as heard in the film are just the music editor's mashup of material from The Homecoming, Dartmoor 1912, The Reunion, and Plowing.

I broke it down here:

http://www.jwfan.com...ndpost&p=780350

#15 Incanus

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Posted 24 February 2012 - 12:51 PM


I know I am pissing in the wind (there is no smiley icon for that LOL) but I am still daring to hope War Horse takes the Oscar for best score. I promise you all I have tried sooo hard with The Artist and believe it to be a great score but (and I'm sorry) it is not in the same league as War Horse.

I have just been sent the 'For Your Consideration' CD for War Horse and hearing the end credits presented as they were in the film just makes me want that Oscar on Johnny's shelf even more.

Thank guys, Ad

Just to add, I move in a lot of UK music critic circles, some are BAFTA music voters and the word within those groups is War Horse is JW's best score since Schindler's List, I would love to see the BAFTA score award individual votes because I bet it was closer than we realise :blush:


The End Credits as heard in the film are just the music editor's mashup of material from The Homecoming, Dartmoor 1912, The Reunion, and Plowing.

I broke it down here:

http://www.jwfan.com...ndpost&p=780350

Yup. And it certainly sounds clunky when you know the pieces it is made up from.

Ars superior est vita hominum.

 

"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-

 

I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-


#16 Richard Penna

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Posted 24 February 2012 - 01:27 PM

And doesn't contain IMO some of the best parts of The Homecoming, e.g. the theme on woodwinds near the end (don't remember the name of the theme).

But nothing at this stage will convince me that The Artist will lose. It's got winner written all over it.




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