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Social Network gets the Globe for Best Score!


DigitalfreakNYC

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My personal favorite for 2010! Love the Blu-ray soundtrack!

Indeed. It wasn't the TOP favourite of 2010 (that would be TRON), but it was near the top!

Great film, great score, great choice!

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I think the did a very good job with Fincher's directions. Unfortunately, like much of the film, the score suffers from the filmmakers' delusions about the film. Well executed but ill-conceived.

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I wonder if this singling in a new era of film scoring, where the music becomes more effects and less music.

Granted, there have been movies in the past that have used music outside the norm, and that's not a bad idea.

However it seems I'm seeing more films and hearing more reviews that feature the music and more sound than music, if that makes sense.

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As long as it works, I don't mind.

It makes sense. 60 years ago you needed Alfred Newman to tell you when to be scared or happy. These days, sometimes all you need is suggestion.

I blame John Williams for his game changing Jaws Theme for this trend towards "suggestion"

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Nah. It's all fashion dahling. Comes and goes.

Another way of looking at it is back in the days of Star Wars there was like 100 movies made in a year. 2011, if most of productions stay on schedule will clear 650.

There's just a lot more diversity out there now.

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The biggest surprise for me was that Alice in Wonderland was nominated for "Best Picture (Comedy/Musical)." I thought everybody hated that movie!

I liked it, but thought it was a disappointment.

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Disappointing win. I don't hate the score, in fact it fits the movie pretty well, but there were much better scores last year. Hopefully this doesn't carry over to the Oscars.

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Of course the bright spot is that I save quite a bit of money on film scores these days.

I thought I would too but I have recently discovered Stravinsky and have been buying a bunch of his works on CD as well as conductor's scores to study.

As far as different score styles are concerned, well, my only gripe with refugees from the popular music world entering film scoring is that I haven't heard a lot of compelling evidence that they understand the medium too well. If providing a sound bed under a scene qualifies as effective scoring, then any 15 year old with Garageband could do it. I thought there was some forethought and connectivity associated with effective film scoring as a craft and discipline. this is what I try to bring to the table when I score something. How does the cue relate to what I've written before? Can I bring in something familiar but also new to keep the scene interesting yet connected to the rest of the film? I don't hear a lot of this same ideology, even in the hands of composers who purport to be "orchestral composers". I don't think one needs to be an orchestral guy to write good film music. But I would say that orchestral composers have had a lot of grounding in large music forms, so that their thought process automatically looks at their music as the sum of its parts and not just incidental music cues.

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Was anyone, who bothered to watch the Golden Globes, offended by Ricky Gervais' hosting?

It appears quite a few were. :lol:

Since this was his second year, I'm reminded of the line from Airplane!

"They bought their tickets. They knew what they were getting into. I say, let 'em crash!"

Personally I think it's refreshing to see someone step out of the typical Hollywood ass kissing.

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Was anyone, who bothered to watch the Golden Globes, offended by Ricky Gervais' hosting?

It appears quite a few were. :lol:

Since this was his second year, I'm reminded of the line from Airplane!

"They bought their tickets. They knew what they were getting into. I say, let 'em crash!"

Personally I think it's refreshing to see someone step out of the typical Hollywood ass kissing.

Ricky was PHENOMENAL. I haven't laughed that hard at an awards show in a very, very long time. I can't imagine that the stars couldn't take it. Anyone who wasn't able to needs a bit of an ego check.

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I think he crossed the line, and while I normally don't care if people go too far with jokes, I feel like it was just too evident here. All my friends were pointing it out and then there was Robert Downey Jr. mentioning it. I feel like he should have tried subtlety as opposed to overwhelming cruelty.

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I would mind it if it were a dignified event. But at last, people treated the Golden Globes with precisely the amount of respect and gravitas they deserve. I also liked Deniro's speech, despite the fact that he had troulbe reading it and that too-strange-too-be-controversial deportation comment.

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I feel like he should have tried subtlety as opposed to overwhelming cruelty.

'Overwhelming cruelty' is that only thing Ricky Gervais can convincingly do.

Exactly. From what I've seen of the show, I think he's excellent. Not LOL-type funny, but with a strong satiric kick against the inflated Hollywood egos!

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The problem with Gervais is that he's not very charismatic.

There's people that can be assholes, and you like them for it. Gervais just has the face of a jackass (his eyes really).

I wasn't offended by him, I found him funny.

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I watched parts of Gervais' performance; didn't see his mysterious (and since explained) absence.

As Mark said, it's really refreshing to see a lack of ass kissing (the standard "please welcome the beautiful and talented <name>" oscar fare makes me cringe), although he could've done it more subtly. Very funny for industry outsiders though.

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meh

More than meh... "blegh" is more like it. It works just fine in the movie, but it doesn't deserve any awards at all. Much more undeserving than the Gustavo Santaolla scores.

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Bah, this score won? I swear any one of us could have wrote it. Granted it worked for the film, but it's simplicity is such that... virtually anyone has the talent and skill to have wrote it. :P

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To be fair, it works perfectly in the film, and it does have a theme - piano motif used in a few tracks.

But it doesn't rise out of the film for me, and this is where my brother and I heavily disagree - he thinks the best score is the one that works best in the film, but I think the art goes beyond that, and that complex thematic development and intelligent (not necessarily complex) orchestration should be rewarded.

And I don't like the precedence this sets. it seems all you need is a critically praised film, slap any music you want, and it'll be nominated.

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To me, most of you guys don't realize how different this score is. It's noise, anybody can do it, etc. etc. Yet, no one has really done it, and like many have said, it's crucial for the film's effect. It makes people talking in rooms feel like an action thriller.

A good example of how film score is crucial to the filmmaking process.

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Babel was nominated and won against Academy rules, I don't think you can get anymore undeserving than that. But hell, it's like that every year. ;)

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.

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I think you have to judge a score as how effective it is with the film - it's like judging the performance of an F1 car on the open road. It may function great on that road, it may drive really badly, but what matters is how it works on the racetrack. All other concerns are secondary, regardless of the consumer's choice of how to consume and judge the product.

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Babel was nominated and won against Academy rules, I don't think you can get anymore undeserving than that. But hell, it's like that every year. ;)

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.

It'd be awesome if JW was in direct competition with himself again.

Just wait until next year...

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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.

Not really, because 2001 had no original score whatsoever. But that certainly deserved an award in the area of musical "application" too, had one existed. Pure genius.

I can understand the reluctance to include such scores with those that are 100% original, but I think "applied film music" is really underrated as an artform too. Cue Tarantino.

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