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The Book Thief score nominated for a BAFTA


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I think Gravity had a great score. Well deserved nomination. Not great as a listening experience of course, but it really gave the film tension and in a pretty original way. Afterall, scoring a film i

I believe that the best film composers are those that manage to do both.

The problem I think is that it seems everybody here (and not just here) think that you can just slam a great John Williams score on any movie, and the movie + the score will be great. That's just not

JW might actually win this one. He's won like 8 of his BAFTA nominations, and he's only been nominated for 14. On the other hand, they're starting to look more like the Oscars since he's started to rack up the nominations in the past few years.

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I think Gravity had a great score. Well deserved nomination. Not great as a listening experience of course, but it really gave the film tension and in a pretty original way. Afterall, scoring a film is not about making great music, but making great music for the film.

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Jason: Haha:) Well yes I have not been very active here lately :) I just read a lot of laughing stock comments about the Gravity score here and I actually think it was a very interesting, original and movie enhancing score. So I perfectly understand how it can be nominated, and I think Steven Price will get a lot of offers after his work on Gravity.

Totally different genre from what Williams does but that doesn't make it less worthy of a BAFTA, Oscar or Golden Globe nomination.

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You didn't think it was too loud an inappropriate in the film itself?

Nope, I thought it was a totally appropriate and appropriately loud and fitting - becoming a very important element of the film. Definitely a score that was meant to be heard - not for its beauty (although there were a couple of sentimental places in it too) but for it's "industrial", almost sound design like nature.

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Afterall, scoring a film is not about making great music, but making great music for the film.

I believe that the best film composers are those that manage to do both.

Well, for "Gravity", I think Price's score was almost the perfect approach. I can't see how a classical, more melodic score would have worked just as well. Sure it could have worked but it would most likely have had to have a much more emotional approach instead of the route they took, which I would say was more of an "intellectual", inside-your-brains approach. I still think it had emotional impact but in a very different way than what a "typical" classical score would have brought to the table. Not to mention that it was a very modern approach - I guess something Herman-ish could have been a way to go by the same approach in a classical manner, but I can perfectly well understand if the director/producer(s) wanted a modern score, that this was the way they decided to go.

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Afterall, scoring a film is not about making great music, but making great music for the film.

I believe that the best film composers are those that manage to do both.

But no film composer sets out to make great music, just great film music. If it happened naturally then JW wouldn't have to rearrange his work for the concert hall.

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The problem I think is that it seems everybody here (and not just here) think that you can just slam a great John Williams score on any movie, and the movie + the score will be great.

That's just not how it works. Different movies need differente composers + musical approaches -- and just because the movie doesn't sport a thematic John Williams (or alike) score doesn't mean the score can't be great for/in the movie. I am all for John Williams, I love his music and he has been a big inspiration but I also realize there are other paths to follow.

Sorry for being kinda OT BTW - congrats on Williams' nomination here. It's a great score too for sure.

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I think Gravity had a great score. Well deserved nomination. Not great as a listening experience of course, but it really gave the film tension and in a pretty original way. Afterall, scoring a film is not about making great music, but making great music for the film.

Give yourself an avatar and call me Mary!

Don't be a stranger, Si ;)

Afterall, scoring a film is not about making great music, but making great music for the film.

I believe that the best film composers are those that manage to do both.

An ignorant notion on your part that is a convenient fallacy which overlooks subjective reaction and simple musical taste. There's probably loads of weirdos out there who bought the cd and love blasting it out in the kitchen while they're mopping the tiles. Would they not tell you that the dude who knocked this one out did manage both?

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JW might actually win this one. He's won like 8 of his BAFTA nominations, and he's only been nominated for 14. On the other hand, they're starting to look more like the Oscars since he's started to rack up the nominations in the past few years.

Lets face it indy, we all keep saying this, every year, but it never happens. So let's stop trying to fool ourselves.

My prediction, Gravity will go home with the Best Original Score Oscar, Golden Globe, BAFTA, etc.

Not completely undeserved as there have been worse decisions. It is an effective film score (with the exception of the finale cues, which were a bit overbearing in the film).

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Williams will win when none of these other scores is a gimmick score , like Gravity

Explain how it's a "gimmick score". Back your argument up. If you don't respond I'll interpret it as an open admission of throwaway ignorance on your part. Same goes if a bro steps in to answer for you.

Step up to the plate Sir KM!

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Gimmick score is a score that doesn't really stand on it's own for listening purpose but more of a sound design of the film (Gravity, whatever Santaollala won his second Oscar for). They are usually attached to films favorite for Best Movie and win by association

Or it's a very simplistic score that doesn't deserve to win musically but people voting remember for one "hook" cue that was mixed loud in the film (Brokeback Mountain), last years The Artist

It's clear Santaollala made a farce of what's wrong with the Best Score Oscar and it's embarrassing that he won twice

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Not really, they're much better as music than the movies they're associated with

To me a great score is something that might be performed by a symphony orchestra 50 years from now

It's the intrinsic quality of the music that counts, crappy but "effective" music is gimmicky

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Not really, they're much better as music than the movies they're associated with

To me a great score is something that might be performed by a symphony orchestra 50 years from now

To you.

To me a great score is something which contributes to making its movie great 50 years from now.

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Most people here at JW fan like JW's intrinsic music quality and have not seen a lot of the movies they own the c.d.'s to. I have no idea of the scenes that were scored with some of my favorite JW cues and I don't care

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Most people here at JW fan like JW's intrinsic music quality and have not seen a lot of the movies they own the c.d.'s to. I have no idea of the scenes that were scored with some of my favorite JW cues and I don't care

... as I was saying.

I still stand by that.

I would have been taken by surprise if you didn't.

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Then we don't have the same approach of listening to film music or appreciating film scores.

No we do not. Surely you haven't just learned this now?

The film is not my primary point of interest.

Sure, but then how does that make you a balanced judge of what makes for good musical sound design as far as the film is concerned? By your own admission the film itself is absolutely secondary to your potential enjoyment of its music. That in my opinion makes you comprised as an objective commentator: because without the film being in place there is no score.

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Well, it the main reason why some debates are unresolvable here.

People that like film scores as a primary source of listening to music (for example as a more thematic form of orchestral classical music) VS people that study film and the relationship with the music. You and Koray are in the second category

There's another category, the uber movie franchise fanboy that likes the music by association (Batman trilogy LotR,Harry Potter, Star Wars...) but not interested in the composer's work beyond that


I like the way JW's music stimulates my eardrums on my 1000$ headphones, anything else is of sceondary concern to me


Sure, but then how does that make you a balanced judge of what makes for good musical sound design as far as the film is concerned? By your own admission the film itself is absolutely secondary to your potential enjoyment of its music. That in my opinion makes you comprised as an objective commentator.

No it doesn't, but I root for the most interesting score musically to win

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JW might actually win this one. He's won like 8 of his BAFTA nominations, and he's only been nominated for 14. On the other hand, they're starting to look more like the Oscars since he's started to rack up the nominations in the past few years.

Lets face it indy, we all keep saying this, every year, but it never happens. So let's stop trying to fool ourselves.

My prediction, Gravity will go home with the Best Original Score Oscar, Golden Globe, BAFTA, etc.

Not completely undeserved as there have been worse decisions. It is an effective film score (with the exception of the finale cues, which were a bit overbearing in the film).

It depends of how the nominations are spread out, but if Gravity isn't nominated for anything outside of its technical prowess, the score isn't going to win. I think the Oscar gold has a real chance of going to Zimmer this year. Newman is the runner up.

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