Trumpeteer

I created a thread for this question, but found no answer. Gonna try for an answer here: I just finished watching "Fantastic Mr. Fox" for the fourth time. Such a fun film, and I've never really been a fan of Wes Anderson. One part of the score that I cannot find anywhere on iTunes is the cue played when they are rescuing Kristofferson from the Bean Annex. It's a fun percussion theme that plays for about four minutes. Does anyone know where this cue can be found?

I wonder if there is a message board for cinematography fans bemoaning Roger Deakins' ninth loss, and if they are saying Wally Pfister is a hack who didn't really do much for "Inception" other than know how to work his light meter. I have seen fan pages for the Coen brothers, and I am sure those are on fire now. I was surprised by the score win, because I thought Desplat would win in an awards sweep for "The King's Speech." But that sweep didn't happen. I do agree that film music has not been the same in the past five years. Such scores as "Up" and "Atonement" aside, the Academy has not had much to work with in choosing five viable nominees. I am glad the Academy made the score to "Black Swan" ineligible, because I fear the Academy would have voted for it, in the same way they voted for "Babel." What needs to be done to get back to the glory years of the 1980s and 1990s? I have no clue. The living composers we all seem to agree on as the best aren't doing much work these days, leaving the newbies (and Desplat) to fill in the gaps with Media Ventures-inspired stuff.

I agree with what's been said so far. I've dissected the opening music to Return of the Jedi, and I believe its unique sound details Luke's solo mission to bring down the Sith. Please correct me if I'm wrong, but isn't that only one trumpet playing most of Luke's theme? A solo trumpet, for the lone Jedi, the one person who can take down the Emperor. The opening of The Empire Strikes Back is very militaristic, more like a march than the original Star Wars theme, which is just a full-on orchestral orgasm of the highest magnitude. I wonder if John Williams and his orchestrating team had these ideas in mind when figuring out how to present the opening titles in the original three films. As for using the Imperial March before the Imperial officer says "Inform the commander that Lord Vader's shuttle has arrived," it cheats us out of the surprise of who is arriving, and that line has very little significance. Yes, it could be argued that it is "The Imperial March," but it really only applies to Vader. It's the only quibble I have with the opening. It could have delayed the suspense a little bit longer. It's awesome to see a reprise of a Star Destroyer flying over the screen. And the music playing as the commander walks to the shuttle is truly bone-chilling. I always get goosebumps. What is that "new big theme of the movie?" There are only three new themes in Jedi (Emperor, Ewoks, Luke & Leia), and I don't hear them in the beginning of the film.

I cannot believe I forgot his birthday. I feel terrible. I'm usually on top of this, as I prepare for the annual John Williams Film Fest. My vacation this year really threw a lot of things off track. Happy birthday, Mr. Williams! Hope to meet you in person this summer!

Marvin Hamlisch won Original Dramatic Score ("The Way We Were") and Score Adaptation ("The Sting") in the same year. He also was co-writer of the Original Song winner "The Way We Were." 3 Oscars on the same night?! That must be some kind of record. The only other person I know of to have done that is Jimmy C. Walt Disney won four in a year, winning both documentary awards and both short subject awards in 1954. Billy Wilder (The Apartment), Marvin Hamlisch (see above), Francis Ford Coppola (The Godfather Part II), James L. Brooks (Terms of Endearment), James Cameron (Titanic), Peter Jackson and Fran Walsh (Return of the King) and the Coen brothers (No Country for Old Men) have all won three Oscars in one year.

Marvin Hamlisch won Original Dramatic Score ("The Way We Were") and Score Adaptation ("The Sting") in the same year. He also was co-writer of the Original Song winner "The Way We Were." I thought the same thing, since I had not seen "The Red Violin" before the Oscars. But I think John Corigliano composed a beautiful score that works wonderfully in the film, writing a theme for the violin that connects all the stories. And to compose a score using only string instruments is a very cool achievement. As for "Angela's Ashes," it's an OK score to a sappy movie. I thought "American Beauty" would win since it's attached to a Best Picture nominee (and eventual winner).

That is why I put in the "other" option. BTW, I've heard the score to "Limelight" (and seen the film). It's actually quite good. Images is just too weird for most Academy members.

Shakespeare in Love won the Original Musical or Comedy Score Oscar at the 1999 ceremony. Life is Beautiful won the Original Dramatic Score Oscar at the 1999 ceremony. It was the last year the music category was split. oh ok, I didn't realize there were two categories that year. They should still do that when there are films using that type of score. SPR didn't deserve to win any score award. I am mostly upset that Life is Beautiful was included in the dramatic score category. About 90 percent of the movie was comedic. If any of the other scores had won, I wouldn't have been screaming at Geena Davis on the TV screen.

Shakespeare in Love won the Original Musical or Comedy Score Oscar at the 1999 ceremony. Life is Beautiful won the Original Dramatic Score Oscar at the 1999 ceremony. It was the last year the music category was split.

I think I did a poll like this a few years ago, but thought I'd resurrect it. Which of the choices was the worst pick for Best Original Score at the Oscars? The films listed in parentheses are the losing films. Personally, I will never get over the fact that Emma won Original Musical or Comedy Score over The Hunchback of Notre Dame.

Be patient. We will be rewarded for surviving these dark times in a few months. Jeff, do you mean few as in 10 months, or something less? Yes, I meant 10 months. I wasn't sure of the exact release dates.

Could we possibly get previews of War Horse and Tintin at this concert?

Be patient. We will be rewarded for surviving these dark times in a few months.

Congrats to Maurizio for correctly predicting all five score nominees! As for the songs, I'm not shocked only four were nominated. I would have taken out the "Country Strong" song. I am not a fan of "If I Rise."

The list will be revealed in about 16 hours. Here's what I think will be named in the music categories: Original Score 127 Hours Inception The King's Speech The Social Network Toy Story 3 Original Song Despicable Me I See the Light Rise We Belong Together You Haven't Seen the Last of Me UPDATE: The actual nominees are: Music (Original Score) * “How to Train Your Dragon” John Powell * “Inception” Hans Zimmer * “The King's Speech” Alexandre Desplat * “127 Hours” A.R. Rahman * “The Social Network” Trent Reznor and Atticus Ross Music (Original Song) * “Coming Home” from “Country Strong” Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey * “I See the Light” from “Tangled” Music by Alan Menken Lyric by Glenn Slater * “If I Rise” from “127 Hours” Music by A.R. Rahman Lyric by Dido and Rollo Armstrong * “We Belong Together” from “Toy Story 3" Music and Lyric by Randy Newman Full list here

Starting at 9:28, I love the 12-second build to the cymbal crash. This is haunting. Gave me goosebumps. I listened to 30 minutes, paused it as I walked away from my computer, then listened to the rest.

I can understand the beef with the non-original music that was used, but there was also ORIGINAL music and as a whole it was certainly one of the best uses of APPLIED MUSIC that year, regardless of where the music came from. Fantastic score for a beautiful film. That's like saying the person who picked out the music to use in "2001" should be in the same award category as the person who spent months writing his own music for a film. Before 1984, they used to have music categories for original score and score adaptation. I wouldn't mind if they went back to that, but I'm not sure there are enough score adaptations these days to justify the category. I am fine with "The Social Network" winning Original Score this year. It was done well in the film. No other score stands out for me this year. Just wait until next year...

I think this is an interesting challenge. I would have dared to do this, but there are two circumstances in my life that will force me out of the competition. First, I do a four-hour round-trip commute each weekend, and without my iPod, I would fall asleep from boredom after 30 minutes each way. Second, I'm flying to Asia in a couple of weeks. I will need music to keep me sane when I've run out of free movies to watch on the plane. Good luck to everyone who makes it.

In most years, there is at least one song that stands out and everyone knows it will win the Oscar. Last year it was "The Weary Kind." Two years ago it was "Falling Slowly." This year, nothing stands out. I think Alan Menken will win because his song is beautiful and takes place in the actual film. I'm anxious to see what the actual nominees are. If Justin Beiber's song from "The Karate Kid" is nominated, I will NEVER WATCH THE OSCARS AGAIN! I'm kidding, but that will truly be a sign of the apocalypse. Plus, it's a dull song.

Because I do not have the score in front of me for perusal, is this the moment in the film when the stormtroopers set up the big gun to shoot at the Millenium Falcon before it escapes Hoth? It's the music that starts right when Han says "This baby's got a few surprises left in her, sweetheart." Yes, I do know the movie quite well. That rendition of the Imperial March always seemed off to me, since the two renditions just before it were pretty standard. But I don't think it was awkward. No visions of disco dancing stormtroopers for me.

I can't wait for 2011 and two original scores by John Williams that are sure to be better than anything composed this year.

I just finished watching "Fantastic Mr. Fox" for the fourth time. Such a fun film, and I've never really been a fan of Wes Anderson. One part of the score that I cannot find anywhere on iTunes is the cue played when they are rescuing Kristofferson from the Bean Annex. It's aa fun percussion theme that plays for about four minutes. Does anyone know where this cue can be found?

Me, too. Me, too. That said, I've been very much looking forward to this movie. I know JW won't let us down with a very memorable theme for another American president.

The movie as a whole was good. As for the score ...meh. I would have very much appreciated some kind of musical coherence through the film. Desplat missed out on a great opportunity to create a theme for the horcrux they spent most of the movie carrying around. It could have been low and brooding for a few scenes, then full-out when it was going to be destroyed. I really wanted a memorable musical moment from the film, but I don't remember one. I think Desplat was trying to be the anti-Williams when scoring, but he would have had an amazing opportunity with this film, and he pretty much wasted it.

I didn't read any of the posts, for fear of inspiration. Here are the five tracks I would bring: "Star Wars" main title (Episode IV version) Escape/Chase/Saying Goodbye from "ET" Auschwitz/Birkenau from "Schindler's List" A Prayer for Peace from "Munich" The Clash of Lightsabers from "The Empire Strikes Back" These tracks would be picked on the assumption that the person asking me to pick the cues has never heard of John Williams before. If that is not the case (i.e. he knows of Williams' popular scores), I would replace only the "Star Wars" main title with Confluence from "Memoirs of a Geisha."