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JW's Oscar prospects


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JW's Lincoln Oscar prospects  

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  1. 1. JW's Lincoln Oscar prospects

    • He will be nominated for Lincoln, but won't win.
    • He will win for Lincoln.
    • He won't be nominated for Lincoln.


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Last time JW wasn't nominated for a dramatic film was Stepmom in 1998 (and that year he still got a nomination for SPR). I think he will definitely be nominated. I cautiously predict he'll win. His chances seem to be better than last year. As far as I know there are no films that feature music really prominently that would provide big competition (of course I didn't know about the Artist until later in the year). Lincoln has the restraint that War Horse didn't (and that seemed to be the main complaint with War Horse's score). The Hobbit may not be eligible, given the music from LotR and Plan 9's involvement. And there's no second JW score to split the vote (like Tintin).

As a reminder for our predictions last year...

In late September, 63% of us thought Williams would win for War Horse.

But by late January, only 17% of us thought he would win.

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For me, "Anna Karenina" has the most chances of winning this year..

(that is, if the academy is sane, and doesn't give the Oscar to some random score coming from nowhere just because the film was nominated in other major categories)

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Reasoning by the Academy's logic, I think this year JW has the best chance to win the statuette since Schindler's List and Saving Private Ryan. The movie appears to be one of the real major contender and this increases a lot the opportunity to see the work recognized (remember that even the Best Score award is substantially a prize to the movie first and foremost).

It's probably too early to make predictions, but I guess this could be a likely forecast for the Best Score category frontrunners:

Anna Karenina (Dario MarianellI)

The Hobbit: An Unexpected Journey (Howard Shore)

Life of Pi (Mychael Danna)

Lincoln (John Williams)

Rise of the Guardians (Alexandre Desplat)

Other strong contenders are:

Argo (Alexandre Desplat--could be ineligible due to extensive use of pre-existing tracked cues)

Hitchcock (Danny Elfman)

The Impossible (Fernando Velazquez)

The Master (Jonny Greenwood)

Moonrise Kingdom (Desplat)

Zero Dark Thirty (Desplat)

It could very well be that Desplat will end up with two noms, maybe in lieu of Marianelli's Anna Karenina or Danna's Life of Pi.

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I'd keep Life of Pi and maybe replace Rise of the Guardians with The Impossible.

To be honest, I think Williams' chances for the Oscar are pretty good this year.

The competition is Williams Lincoln and Velazquez's The Impossible (which has a very strong chance of winning).

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The nominations will probably look like this, knowing the Academy tendencies:

Lincoln- John Williams

Argo - Alexandre Desplat (this will be his nomination this year)

Anna Karenina - Dario Marianelli

The Master - Johnny Greenwood

I'm not so sure about the 5th spot. I still think Greenwood will win. It's the sort of throway prize the Academy often gives to nominated movies that win little else

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it does, but Greenwood never got nominated for There Will Be Blood, so I don't think he's a shoe-in.

There Will Be Blood was declared ineligible due to the usage of pre-existing tracks over the course of the film.

While The Master looks like it has more chances to be nominated, I can see the more conservative members of the Music Branch being not too much impressed by the aloof, detached nature of this score.

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I'm surprised nobody has mentioned Beasts of the Southern Wild. It's one of the Oscar frontrunners, and the score is very unique, for good or bad. Considering how noticeable it is in the film, I wouldn't be surprised if it won. The way I read critics mention it reminded me a lot of how The Social Network's score was talked about.

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It's sad that nowadays the word "unique" in film music (and I'm not referring to you Taikomochi but the general notion that prevails), means "unique in orchestration".

because there's nothing unique about harmony and melody which are the 2 most important attributes of music.

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Last time JW wasn't nominated for a dramatic film was Stepmom in 1998 (and that year he still got a nomination for SPR). I think he will definitely be nominated. I cautiously predict he'll win. His chances seem to be better than last year. As far as I know there are no films that feature music really prominently that would provide big competition

Since when in the past years does the Academy dig scores that are featured prominently in the film?

It's the same thing every year Williams composed scores. Someone asks if JW will win, many are optimistic, the day before the ceremony many are already jubilant, then some strange dude wins, and everyone goes "Who the fuck is that?"

No Oscar for Johnny.

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Last time JW wasn't nominated for a dramatic film was Stepmom in 1998 (and that year he still got a nomination for SPR). I think he will definitely be nominated. I cautiously predict he'll win. His chances seem to be better than last year. As far as I know there are no films that feature music really prominently that would provide big competition

Since when in the past years does the Academy dig scores that are featured prominently in the film?

The Artist.

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Last time JW wasn't nominated for a dramatic film was Stepmom in 1998 (and that year he still got a nomination for SPR). I think he will definitely be nominated. I cautiously predict he'll win. His chances seem to be better than last year. As far as I know there are no films that feature music really prominently that would provide big competition

Since when in the past years does the Academy dig scores that are featured prominently in the film?

The Artist.

The Artist was an exception because it's the concept of the film that made the score. It was like "Hey, what a lovely retro concept!"

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It's sad that nowadays the word "unique" in film music (and I'm not referring to you Taikomochi but the general notion that prevails), means "unique in orchestration".

because there's nothing unique about harmony and melody which are the 2 most important attributes of music.

Well, I don't really think it's unique, but it seems it has been taken that way critically. The Social Network or Babel or Slumdog Millionaire, etc., capitalized on previously existing styles but, for some reason, the academy took them as "fresh" and "new".

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Here's a prediction:

1. Mychael Danna, Life of Pi

2. John Williams, Lincoln

3. Dario Marianelli, Anna Karenina

4. Alexandre Desplat, Moonrise Kingdom

5. Dan Romer & Benh Zeitlin, Beasts of the Southern Wild

http://www.indiewire.com/article/television/2013-oscar-predictions-best-original-score#

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Here's a prediction:

1. Mychael Danna, Life of Pi

2. John Williams, Lincoln

3. Dario Marianelli, Anna Karenina

4. Alexandre Desplat, Moonrise Kingdom

5. Dan Romer & Benh Zeitlin, Beasts of the Southern Wild

http://www.indiewire...original-score#

Switch up the last one with The Impossible and I think that's a pretty likely list.

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I'd like to see Michael Giacchino's John Carter be nominated, but given the film's reception, I doubt that'll happen. I still think it's an excellent score.

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He'll definitely be nominated. The movie is bound to get nominated for Best Picture and he's never missed a nomination for scoring a Best Picture nominee.

Whether or not he can win, I think it's certainly his best shot in years. It kind of depends on how many other scores for Best Picture nominees end up in the category, since that's where the winners have been going lately.

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Lincoln will be nominated for everything major, I'm sure. JW is a lock-in.

Definitely his best chance of winning in years, but I don't consider it the best score of the year. I enjoyed Brave much more actually, but that's not going to get a look-in as the film didn't much of a splash.

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"Experts"? Who the fuck are they? I'd like to know.

I'd like to see Michael Giacchino's John Carter be nominated, but given the film's reception, I doubt that'll happen. I still think it's an excellent score.

+1.

I wouldn't give it an Oscar, but the score is very enjoyable indeed and among the very best of 2012. In fact I still think it is Giacchino's best feature film work.

Karol - who can actually see Lincoln winning (and that has nothing to do with it being good or not)

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I prefer War Horse, but both are good scores and I would be incredibly happy if JW won. I also think this is his best chance since CMIYC in 2003.

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Or maybe it would give JW a sense of closure in his film music career, and he'll stop composing for films altogether (I doubt it, just playing devil's advocate here)

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I wouldn't like for Williams' last Oscar to be for a music which is not as good as his previous Oscar awarded scores.

And since I 'm thinking it would be difficult for him to write a score now that will surpass Jaws, Star Wars, E.T. and Schindler's List, I think it would be better left at those ones..

Of course this era we're living in, is not so much offered for one to write an iconic score, because we haven't the movies that require an iconic score.

WEll, yes, we're expecting Superman, but still, its style will be - I assume - far from the classical Hollywood style..

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I wouldn't like for Williams' last Oscar to be for a music which is not as good as his previous Oscar awarded scores.

And since I 'm thinking it would be difficult for him to write a score now that will surpass Jaws, Star Wars, E.T. and Schindler's List, I think it would be better left at those ones..

Are we picky?

You'd rather have Williams not win an Oscar because the score is not as good as Star Wars or Schindler's List? You must be joking!

I feel Life Of Pi will win.

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Williams being nominated is a foregone conclusion, but he won't win. The score is not really present in the film with the exception some of the fiddle-esque parts. There are sparse moments of reflectiveness, but this is a very subdued score within the confines of the film. I don't see him winning, or being a favorite in any way. It'll simply be a formality that he garners a nomination.

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