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Erik Woods

2012 IFMCA Awards: Nominations

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IFMCA Nominations 2012



INTERNATIONAL FILM MUSIC CRITICS AWARD NOMINATIONS REVEAL MOST OPEN RACE IN YEARS, WITH MULTIPLE NOMINATIONS FOR DANNA, DESPLAT, VELÁZQUEZ, WILLIAMS


FEBRUARY 7, 2013 — The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2012. The largest numbers this year are, for the most part, split evenly between four composers, all of whom received four nominations: MYCHAEL DANNA, ALEXANDRE DESPLAT, FERNANDO VELÁZQUEZ and veteran composer JOHN WILLIAMS.


The nominations for Danna, Velázquez and Williams were each for a single score – director Ang Lee’s vivid shipwreck drama LIFE OF PI, director Juan Antonio Bayona’s harrowing tsunami drama THE IMPOSSIBLE [LO IMPOSIBLE] and director Steven Spielberg’s look at the last months of the life of Abraham LINCOLN, respectively.


Desplat’s nominations were for his body of work in 2012 which included writing IFMCA Award-nominated music for the quirky comedy MOONRISE KINGDOM, the storybook animation RISE OF THE GUARDIANS, and the contemporary war thriller ZERO DARK THIRTY, as well as for the 1970s espionage thriller ARGO, the realistic French romantic drama RUST AND BONE [DE ROUILLE ET D’OS], the Italian satirical comedy REALITY, and the French-language biopic CLOCLO.


The other nominees for Film Score of the Year are the ambitious sci-fi drama CLOUD ATLAS by Tom Tykwer, Johnny Klimek and Reinhold Heil (two nominations), and director Peter Jackson’s epic fantasy prequel THE HOBBIT: AN UNEXPECTED JOURNEY by Howard Shore (two nominations).

Danna, Desplat, Velázquez and Williams are also short-listed for Film Composer of the Year along with DANNY ELFMAN, who enjoyed a stellar year composing music for such popular and successful films as DARK SHADOWS, FRANKENWEENIE, HITCHCOCK, MEN IN BLACK III, PROMISED LAND and SILVER LININGS PLAYBOOK.


The IFMCA recognizes emerging talent in the film music world, and this year is no exception. The nominees in the Breakout Composer of the Year category include young Spanish composer ZELTIA MONTES for her work on the Spanish feature drama VILAMOR; composer DAN ROMER and composer/director BENH ZEITLIN for their captivating bluegrass-flavored score for the critically acclaimed BEASTS OF THE SOUTHERN WILD; JOSEPH TRAPANESE for his work on the animated TV show TRON: UPRISING; NATHAN JOHNSON for his unconventionally percussive music for the acclaimed sci-fi thriller LOOPER; and composer/conductor NIC RAINE, a long time associate of the late John Barry and contributor to Silva Screen and Tadlow Music’s series of re-recordings, who has begun to establish his own musical voice through his score for the German-language thriller WIR WOLLTEN AUFS MEER.


As it has in previous years, the IFMCA takes pride in honoring composers from across the film music world; this year’s international nominees include French composer Philippe Rombi for his work on director François Ozon’s thriller DANS LA MAISON, Finnish composer Panu Aaltio for the beautiful nature documentary score METSÄN TARINA, UK-based Portuguese composer Miguel d’Oliveira’s score for the BBC documentary SHAKESPEARE & US, Argentinean composer Federico Jusid’s music for the Spanish TV series ISABEL, and Japanese composer Naoki Sato’s contribution to the Japanese TV series PRICELESS.


Several composers are receiving their first ever IFMCA Award nominations this year, including JON BRION (Paranorman, Animation), ROBERT FOLK (There Be Dragons – Secretos de Pasión, Drama), PASCAL GAIGNE (Los Mundos Sutiles, Documentary), GRANT KIRKHOPE (Kingdoms of Amalur: Reckoning, Video Game), WALTER MURPHY (Ted, Comedy), FREDERIK WIEDMANN (Green Lantern: The Animated Series, Television), and the team from Blizzard Entertainment led by RUSSELL BROWER and NEAL ACREE (World of Warcraft: Mists of Pandaria, Video Game).


The International Film Music Critics Association will announce the winners of the 9th IFMCA Awards on February 21, 2013.


=============================================


THE NOMINEES


2012 Film Categories


FILM SCORE OF THE YEAR


CLOUD ATLAS, music by Tom Tykwer, Johnny Klimek and Reinhold Heil

THE HOBBIT: AN UNEXPECTED JOURNEY, music by Howard Shore

THE IMPOSSIBLE, music by Fernando Velázquez

LIFE OF PI, music by Mychael Danna

LINCOLN, music by John Williams


FILM COMPOSER OF THE YEAR


MYCHAEL DANNA

ALEXANDRE DESPLAT

DANNY ELFMAN

FERNANDO VELÁZQUEZ

JOHN WILLIAMS


BREAKOUT COMPOSER OF THE YEAR


NATHAN JOHNSON

ZELTIA MONTES

NIC RAINE

DAN ROMER & BENH ZEITLIN

JOSEPH TRAPANESE


BEST ORIGINAL SCORE FOR A DRAMA FILM


ANNA KARENINA, music by Dario Marianelli

THE IMPOSSIBLE, music by Fernando Velázquez

LIFE OF PI, music by Mychael Danna

LINCOLN, music by John Williams

THERE BE DRAGONS – SECRETOS DE PASIÓN, music by Robert Folk


BEST ORIGINAL SCORE FOR A COMEDY FILM


MOONRISE KINGDOM, music by Alexandre Desplat

SALMON FISHING IN THE YEMEN, music by Dario Marianelli

THE SESSIONS, music by Marco Beltrami

SILVER LININGS PLAYBOOK, music by Danny Elfman

TED, music by Walter Murphy


BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM


THE AMAZING SPIDER-MAN, music by James Horner

DANS LA MAISON, music by Philippe Rombi

THE DARK KNIGHT RISES, music by Hans Zimmer

SKYFALL, music by Thomas Newman

ZERO DARK THIRTY, music by Alexandre Desplat


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


CLOUD ATLAS, music by Tom Tykwer, Johnny Klimek and Reinhold Heil

THE HOBBIT: AN UNEXPECTED JOURNEY, music by Howard Shore

JOHN CARTER, music by Michael Giacchino

PROMETHEUS, music by Marc Streitenfeld, additional music by Harry Gregson-Williams

SINISTER, music by Christopher Young


BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE


BRAVE, music by Patrick Doyle

FRANKENWEENIE, music by Danny Elfman

PARANORMAN, music by Jon Brion

RISE OF THE GUARDIANS, music by Alexandre Desplat

SECRET OF THE WINGS, music by Joel McNeely


BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE


KINGDOM OF PLANTS, music by Joel Douek, Freddy Sheinfeld and Elik Alvarez

LOS MUNDOS SUTILES, music by Pascal Gaigne

METSÄN TARINA, music by Panu Aaltio

SAMSARA, music by Lisa Gerrard and Michael Stearns

SHAKESPEARE & US, music by Miguel d’Oliveira


FILM MUSIC COMPOSITION OF THE YEAR


“The Cloud Atlas Sextet for Orchestra” from CLOUD ATLAS, music by Tom Tykwer, Johnny Klimek and Reinhold Heil

“The Impossible Main Title” from THE IMPOSSIBLE, music by Fernando Velázquez

“John Carter of Mars” from JOHN CARTER, music by Michael Giacchino

“Pi’s Lullaby” from LIFE OF PI, music by Mychael Danna and Bombay Jayashri

“The Peterson House and Finale” from LINCOLN, music by John Williams


Other 2012 Categories


BEST ORIGINAL SCORE FOR A TELEVISION SERIES


DOCTOR WHO, music by Murray Gold

DOWNTON ABBEY, music by John Lunn

GREEN LANTERN: THE ANIMATED SERIES, music by Frederik Wiedmann

ISABEL, music by Federico Jusid

PRICELESS, music by Naoki Sato


BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA


JOURNEY, music by Austin Wintory

KINGDOMS OF AMALUR: RECKONING, music by Grant Kirkhope

RESISTANCE: BURNING SKIES, music by Jason Graves and Kevin Riepl

STARHAWK, music by Christopher Lennertz

WORLD OF WARCRAFT: MISTS OF PANDARIA, music by Russell Brower, Neal Acree, Sam Cardon, Edo Guidotti and Jeremy Soule


BEST ARCHIVAL RELEASE OF AN EXISTING SCORE


- BEN-HUR, music by Miklós Rózsa; album produced by Lukas Kendall, Mike Matessino and Neil S. Bulk; liner notes by Jeff Bond and Frank K. DeWald; album art direction by Joe Sikoryak (Film Score Monthly)

- CONAN THE BARBARIAN, music by Basil Poledouris; album produced by Nick Redman and Douglass Fake; liner notes by Nick Redman; album art direction by Joe Sikoryak (Intrada)

- HOOK, music by John Williams; album produced by Didier C. Deutsch, Mark G. Wilder, MV Gerhard and Matt Verboys; liner notes by Daniel Schweiger; album art direction by Jim Titus (La-LaLand)

- STAR TREK: THE MOTION PICTURE, music by Jerry Goldsmith; album produced by Didier C. Deutsch, Mike Matessino, Bruce Botnick, MV Gerhard, Matt Verboys and David C. Fein; liner notes by Jeff Bond and Mike Matessino; album art direction by Jim Titus (La-La Land)

- STAR TREK: THE ORIGINAL SERIES, music by Alexander Courage, George Duning, Jerry Fielding, Gerald Fried, Sol Kaplan, Samuel Matlovsky, Joseph Mullendore and Fred Steiner; album produced by Lukas Kendall, Neil S. Bulk, Jeff Bond, MV Gerhard, and Matt Verboys; liner notes by Jeff Bond; album art direction by Joe Sikoryak (La-La Land)


BEST ARCHIVAL RE-RECORDING OF AN EXISTING SCORE


- THE ADVENTURES OF DON JUAN/ARSENIC AND OLD LACE, music by Max Steiner; conducted by William Stromberg; album produced by William Stromberg, John Morgan and Anna Bonn; liner notes by James V. d’Arc, Ryan Brennan and Curt Hardaway; album art direction by Jim Titus (Tribute Film Classics)

- NOTRE DAME DE PARIS – THE MUSIC OF MAURICE JARRE, music by Maurice Jarre; conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by James Fitzpatrick and Frank K. DeWald; album art direction by Damien Doherty (Tadlow)

- QUO VADIS?, music by Miklós Rózsa; conducted by Nic Raine; album produced by James Fitzpatrick and Luc Van de Ven; liner notes by Frank K. DeWald; album art direction by GINKO DIGI (Prometheus/Tadlow)

- THE RED HOUSE, music by Miklós Rózsa; conducted by Allan Wilson; album produced by Kevin Kaska and Douglass Fake; liner notes by Dan Robbins and Frank K. DeWald; album art direction by Joe Sikoryak (Intrada)

- WINGS, music by J.S. Zamecnik; conducted by Peter Boyer and Ira Hearshen; album produced by Dominik Hauser, Jeannie Gayle Pool, Dan Goldwasser, MV Gerhard and Matt Verboys; liner notes by Jeannie Gayle Pool; album art direction by Dan Goldwasser (La-La Land)


FILM MUSIC RECORD LABEL OF THE YEAR


INTRADA RECORDS, Douglass Fake, Roger Feigelson

LA-LA LAND RECORDS, MV Gerhard, Matt Verboys, Neil S. Bulk, Dan Goldwasser

MOVIESCORE MEDIA, Mikael Carlsson

QUARTET RECORDS, Jose M. Benitez

TADLOW MUSIC, James Fitzpatrick


=============================================

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.


Since its inception, the IFMCA has grown to comprise almost 60 members from countries as diverse as Belgium, Canada, Cyprus, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, 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 Williams’ WAR HORSE in 2011, 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.

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BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE

KINGDOM OF PLANTS, music by Joel Douek, Freddy Sheinfeld and Elik Alvarez

LOS MUNDOS SUTILES, music by Pascal Gaigne

METSÄN TARINA, music by Panu Aaltio

SAMSARA, music by Lisa Gerrard and Michael Stearns

SHAKESPEARE & US, music by Miguel d’Oliveira

Chris P Bacon was robbed!!!!!

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High Ground is one of the best scores of 2012, I can't believe it wasn't nominated in the Documentary category!

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Why isn't every composer on the "score of the year" list also nominated for "composer of the year", and vice versa? That's pretty stupid. Do they think Cloud Atlas and An Unexpected Journey wrote themselves?

How can Elfman and Desplat be nominated for composer of the year if they don't appear in the Score of the year category?

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Why isn't every composer on the "score of the year" list also nominated for "composer of the year", and vice versa? That's pretty stupid. Do they think Cloud Atlas and An Unexpected Journey wrote themselves?

How can Elfman and Desplat be nominated for composer of the year if they don't appear in the Score of the year category?

Close to 60 members of the IFMCA vote. In each category (including score of the year and composer of the year) each member selects 5 nominees. After all the votes are counted the top 5 vote getters in each category get a nomination. That's the way we do things. And by doing it that way the Score of the Year and Composer of the Year numbers aren't going to add up equally.

Also, being nominated for score of the year doesn't automatically mean that you will receive the composer of the year vote. Some composers are more prolific than others during the course of the year. And while they may not get a score of the year nomination, two or three of their scores might get secondary category nominations, which would validate them for composer of the year honors. That's just one possible explanation.

The sytem isn't stupid. It's democratic and 100% fair.

-Erik-

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Because they composed more than one score this year...

Maybe so, it still doesn't make sense.

A "composer of the year" that didn't write someting worthy of enterting the "score of the year" category?

So, say, Danna wins score of the year, and Elfman could win composer of the year? That is an absolute contradiction. It may be "democratic", but it's still stupid.

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Because they composed more than one score this year...

Maybe so, it still doesn't make sense.

A "composer of the year" that didn't write someting worthy of enterting the "score of the year" category?

So, say, Danna wins score of the year, and Elfman could win composer of the year? That is an absolute contradiction. It may be "democratic", but it's still stupid.

How does this not make sense to you? The IFMCA might select Life of Pi as best score but they also might look at the body of work Elfman created throughout the year (which was superb) and vote for him as composer of the year because of that over Danna. It makes perfect sense.

-Erik-

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Yeah, it makes perfect sense to me. gkgyver, say each score is rated in terms of quality.

Every score nominated for "best score" is worth 10/10 points. But there's a composer who wasn't nominated for best score who wrote two 9/10 scores. He has 18 points, and the rest of the composers have 10. So he wins best composer.

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Not at all, because directors are nominated for a specific film (ie Spielber for Lincoln). The best composer award is for their entire body of work that year.

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