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2011 BAFTA Nominations


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The list is in - you can do a google if you want to know the whole damn lot but I'm just interested in the score stuff for here....

Nominations are:-

127 Hours - AR Rahman

Alice in Wonderland - Danny Elfman

How To Train Your Dragon - John Powell

Inception - Hans Zimmer

The King's Speech - Alexandre Desplat

Rahman obviously a favourite after Slumdog.....and I actually think the 127 Hours score to be superior in many ways....Alice - well - not for me, but nice to see Elfman getting a tip of the hat.....HTTYD - nice to see Powell get a nod too, but he's written better scores that didn't even get a look-in, so we will see....Inception - don't....just.....don't.....The King's Speech - it seems Desplat can do no wrong at the moment, and it's clear that The King's Speech is a big favourite in many categories so I wouldn't be at all surprised to see him walk off with this one,,,,whether it is any good or not I have no idea - I'm ashamed - as a Desplat fan - to say that I have yet to hear a note of it.

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I think we've got a 3-way possibility between Rahman, Desplat and Zimmer.

Powell's a Brit, which probably helped, but I don't think he's got a chance compared to the above. Ask anyone over here which score they actually remembered (due to volume and appeal to non-score lovers), and I guarantee they'll say Inception.

But yeah, I prefer this list to the globes.

Need to listen to 127 Hours, as I have no idea at all what it sounds like (admittedly, a 'western' flavoured score from Rahman is something I'm curious about).

Edit: first impression - first track is good, but it tails off quite quickly. Nothing particularly special really.

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Sorry to see no mention of Cave/Ellis' THE ROAD, Reznor/Ross' SOCIAL NETWORK, Daft Punk's TRON or Mansell's BLACK SWAN. Powell's DRAGON was OK, but a bit too conventional, IMO. INCEPTION and ALICE are great scores, while I seriously need to hear Rahman's 127 HOURS, being such a fan of his. As usual, I'm indifferent to the Desplat.

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It's good music but nothing groundbreaking.

And half the album comprises of Alice's Theme in some orchestration or another.

It's a lame show anyway, and many US nominees don't bother turning up. And it's not live, with most smaller categories in a 'earlier this evening...' segment.

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This is a much more satisfying list than the Globes. With The Social Network out of the way, I could see a score win for Inception. It's really the best up there. Powell is meh, and even though I prefer Desplat to Zimmer, The King's Speech is pretty boring. I'd prefer The Ghost Writer as a nominee from him.

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I agree this year for film scores was boring ... bring back 1993! That was an awesome year for films and film music, and for me, the last great, great year for both categories.

What about 1997??? LA Confidential, TITANIC.....

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Yeah I look at the quality of nominated scores in the mid to late 90s - it was amazing.

The noughties for me were mostly ruined by blatant linking of best picture to best score, and the academy changing their own rules from year to year. When The Two Towers is disqualified because it quotes some themes, but Babel is nominated and wins (!////%$??!!!) when entire tracks are from a previous work, these people have no business declaring the best score of the year.

It's not the 'wins' that annoy me, but the fact that the masses get the impression that outstanding work is being rewarded.

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Surprised at Alice, I haven't heard it but I thought everyone said it was Elfman on autopilot?

It is.

Burton's on autopilot. It's just familiar territory for Elfman. It's music Elfman does best. He still tries to be different from his other Burton/ fantasy scores.

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As funny as that video was I hated how lazy thay made Elfman seem at his job. This and that SW Family Guy ep. give Elfman a bad rep. That just fuels his haters and what some people think about him and his music. Elfman has a lot more range than that.

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I used to think Elfman wasn't very varied, but then I listened to his non-Burton works and realized he can do a lot more. Milk and Mission Impossible are two examples of a very non-Burtonesque score. And even when considering the Burton scores, there's no two of them that sound the same. Yes, they all have that surreal feel to them, but within that very broad category they branch out quite a bit. Compare Big Fish to Nightmare Before Christmas to Batman to Corpse Bride to Pee-Wee. All very different.

That said, I don't get the same vibe from the video. It seems like the only person being insulted is Burton - the rest of the people are annoyed at being forced to stay within his comfort zone (for the record, I don't think Burton is as unversatile as the video suggests, but it is fun to poke fun at the elements that he seems to be especially attracted to). Elfman is portrayed as bored and uninspired.

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Not really.

His writing is much more muscular these days. Even Alice sounds more massive than his music from Tim Burton's films of the early 90's. And there is much more to him than that. Sommersby is almost like John Barry, Standard Operating Procedure is him doing Glass (but better), Mission: Impossible is terrific, the first Batman, Spider-Man, Hulk, Wanted, Milk, Terminator Salvation. And then there things like The Kingdom or A Civil Action, which are completely different world altogether. All of them much different from his trademark fare. But, at the same time, they seem not to generate this kind of excitement. Which is a great pity...

Heck, even The Wolfman sounds more like typical gothic horror (and not only Kilar's Dracula) score than Elfman gothic horror score (Sleepy Hollow).

But then again general public thinks John Williams is only doing Star Wars and stuff like that. When the truth the majority of his work shows much more range and I just love to prove these people wrong by playing examples. Their face expression is priceless. ;)

Having said all that, I couldn't care less who's taking the award home. Nor do I follow Oscars anymore. Boring stuff.

Karol

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Elfman has range, it's apparent in his works.

If some musically challenged idiot like me can hear it then I'm sure everyone else can.

I don't know why everyone is making a big deal out of the Family Guy skit. The fact that two major composers were incorporated into a joke should be a plus.

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Well I just saw 127 Hours and the score works wonders in the film. Problem is, it's another case of lots of songs being used, so while Rahman's contribution is effective, it's not the only factor. And the most noticeable piece of music during the ending montage wasn't by him either.

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  • 4 weeks later...

It's just "we want to give your movie loads of praise, but this other movie deserves something too...".

Same as the technical categories being consolation prizes.

My viewing of the oscars in 2 weeks (yes, I'll be one of the crazy Europeans who stays up till 4am) will have nothing to do with who actually wins.

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King's Speech got best pic but not best director?

Whenever that happens it just highlights how bloody useless and pointless these awards ceremonies are.

Ooo well we loved your movie the most, but we liked how Fincher made his movie, more. Sorry.

:lol:(Y)

It's just "we want to give your movie loads of praise, but this other movie deserves something too...".

Same as the technical categories being consolation prizes.

What constitutes "technical categories?" Are those awards like special effects, makeup, etc? If so I definitely disagree...there are some horrible films with technical elements far superior to other films that deserve praise.

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It's just "we want to give your movie loads of praise, but this other movie deserves something too...".

Same as the technical categories being consolation prizes.

My viewing of the oscars in 2 weeks (yes, I'll be one of the crazy Europeans who stays up till 4am) will have nothing to do with who actually wins.

I'm not even going to watch them at all.

I'll comeback when talent starts appearing at the Oscars.

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