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89th Academy Awards (2017 Ceremony for 2016 films)


Disco Stu
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3 minutes ago, Thor said:

Scorsese does this now and then -- i.e. eschews almost all music in his films (except source music). I love it! Most of these films tend to have very interesting sound design instead; or interesting use of existing compositions.

 

In terms of using both an original score and a lot of source music together, The Aviator is particularly masterful.  Great movie.

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10 minutes ago, Richard Penna said:

I barely noticed any score in Shutter Island.

 

That's probably because there isn't any...

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Oh, right, I didn't read the preceding comments properly.

 

Had an interesting discussion at work about how I find it hard to get into films that don't have any score, or at least something pre-existing giving some dramatic push. It's one of several reasons why I can't watch The Wire. If there's no music, you're relying on everything else in the scene being strong enough, and often that's not the case.

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If I had to pick any parts of the original Star Wars film as the most boring, there'll all parts with no score.  

 

Especially the huge gap between "X-Wings Draw Fire" and "Use The Force"

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2 hours ago, Richard Penna said:

Oh, right, I didn't read the preceding comments properly.

 

Had an interesting discussion at work about how I find it hard to get into films that don't have any score, or at least something pre-existing giving some dramatic push. It's one of several reasons why I can't watch The Wire. If there's no music, you're relying on everything else in the scene being strong enough, and often that's not the case.

 

I actually like that. I would say much of European arthouse cinema is entirely devoid of score. Maaaaybe some source music but that's it. Like Michael Haneke's Amour, a film ostensibly about retired music teachers and a lot of talk about music and a big piano in most scenes and it has about 3-4 minutes of music in a 130 minute film and all of it source music. And no main title or end credits music of course. I think Cache has no music at all, not even source music.

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4 hours ago, Jay said:

If I had to pick any parts of the original Star Wars film as the most boring, there'll all parts with no score.  

 

Especially the huge gap between "X-Wings Draw Fire" and "Use The Force"

 

Star Wars is a perfectly spotted film.

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How can any sane movie fan find any part of the Battle of Yavin boring? As I recall, it's the return of score to the film that makes Biggs' death especially painful. All these other pilots die, nothing, but Luke's childhood friend gets a sad musical send-off. Then the Death Star is nearly ready to fire and shit gets real. 

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I don't think the film is boring at all, it's a near perfect film, the unscored parts just stand out to me more than anything else I could think of. 

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(Edit: This didn't post initially?)

Goodbye Solo, too.  Some of the best-scored films have been very minimally spotted (Patton has about 30 minutes of score for a 3-hour movie) and others (LOTR, for example) have almost no moments without music. 

 

Shutter Island was very effective with the music it used, but I think it would have been equally strong (or perhaps better) with a dedicated score from Shore written in the same vein (which he's done numerous times).  I think the musical element of Silence was a key weak point of the film, and I would have loved to hear how Shore (or Sakamoto!) would have addressed it.

 

Oh, and by the way:

 

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8 hours ago, TheUlyssesian said:

 

I actually like that. I would say much of European arthouse cinema is entirely devoid of score. Maaaaybe some source music but that's it. Like Michael Haneke's Amour, a film ostensibly about retired music teachers and a lot of talk about music and a big piano in most scenes and it has about 3-4 minutes of music in a 130 minute film and all of it source music. And no main title or end credits music of course. I think Cache has no music at all, not even source music.

 

Yup. Not to mention the whole Dogme 95 thing. Many of my favourite movies have no, or very little, original score at all. I often need to see some of these as an antidote after a wall-to-wall-scored Hollywood film.

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18 hours ago, Koray Savas said:

No Country For Old Men is brilliant with its 90 seconds of score and end credits piece. Tension runs bloody tight and it's all because of the performances and direction. 

 

Few films are as well done as that. If there's a problem with the story/direction/plot, then the film will suffer without music.

 

M. Night comments on the Signs DVD that he starts without any music in mind, then asks JNH what he thinks would work. I like that approach.

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  • 4 weeks later...

Oscar-nominated screenwriters share their worst studio notes

 

Some of these are pretty outrageous haha.
 

Quote

Eric Heisserer (“Arrival”)
“It was the start of a pitch, I said ‘There’s a spy and his wife.’ The executive said, ‘There is no wife. Continue.'”

 

Quote

Barry Jenkins (“Moonlight”)
“So, where are the white people?”

 

Quote

Damien Chazelle (“La La Land”)
“It was on ‘Whiplash,’ it ends with a kind of long drum solo, which was the whole point of making the movie. And the note was to get rid of all that. The note was written out — ‘He’s good at drumming. We get it.'”

 

Quote

Allison Schroeder (“Hidden Figures”)
“I was really excited, I was pitching this thriller with two female leads, about espionage. [The executive] said, ‘Oh! We love it! It’s great. Can you either change it to incest or two men? I said, ‘If you’ll really hire me? Yes.'”

 

Quote

Taylor Sheridan (“Hell or High Water”)
When I start getting notes, it just starts to sound like the teacher from the Peanuts cartoon. I was in a meeting, I wrote this pilot for AMC, and we’re all sitting there and they’re giving me all their notes and I’m listening and at one point I say, ‘What the f— are you people talking about?”

 

And they said, ‘Taylor, you have to look for the note within the note.”  I said, ‘OK, but why don’t you just give me the note?’ They looked at me dead seriously and said, ‘Well we don’t know what the note is.'”

 

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What was up with  JT throwing the microphone onto the stage?

 

oooh nice to see a clip from Hell or High Water, Bridges was excellent in that.

 

Oh damn, the kid from Manchester By The Sea was the best part of that film.  I'd be happy with either winning

 

Haven't seen Lion, haven't seen Moonlight, haven't seen Nocturnal Animals (Michael Shannon is always great, though!)

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This guy who won for Moonlight, we've seen him everywhere lately, he was also in Hidden Figures, Luke Cage, House of Cards..... I remember when he still used his crazy long first name and it took up the whole screen in the opening credits of The 4400

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Gotta say, I'm pretty impressed with how Jimmy Kimmel has started things off tonight. He's taken a few easy-going, obvious shots in Trump's direction (that was inevitable), but nothing like what I expected—and he made a great case for people having positive conversations with one another. He's actually knocking the actors more than the politicians! His bits about Matt Damon and Meryl Streep were brilliant.

 

I love the idea of the montage preceding the Supporting Actor award. Hope they do this throughout the show.

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How about that, Suicide Squad is an Academy Award winning film.  Weird.

 

And Fantastic Beasts of all things wins for Costumes, meaning La-La Land can't sweep

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Oh dang I didn't think to pay attention to that, bummer.  I did notice them playing the ST theme for the Beyond make-up nom

 

And an 8 hour movie wins best documentary, is that a record?

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Lots of score music in that AT&T ad too

 

Oooh, I didn't see all the films nominated for Sound Editing, but I thought Arrival's entire sound design was awesome, so woohoo!

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54 minutes ago, Jay said:

This guy who won for Moonlight, we've seen him everywhere lately, he was also in Hidden Figures, Luke Cage, House of Cards..... I remember when he still used his crazy long first name and it took up the whole screen in the opening credits of The 4400

 

He's a good actor, but he shouldn't have won. I mean he was on screen for like 5 minutes.

 

Good for Viola Davis! It's been long overdue.

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They always have a filler thing in the middle of the show. This was kinda funny, not that great. The most interesting thing was that the tourists remained tourists—like this was just another stop along the way. They kept taking pictures, picking up souvenirs, no big deal. THAT'S funny.

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We get Sammy this year. Wish he would say, "And the motherf***ing Oscar goes to...."

 

La La Land. Most anticlimactic win ever.

 

Though that was a pretty great speech by a film composer, I gotta say.

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In Memoriam time... who will get snubbed, there's always one (or more)

 

Wow they didn't snub Anthon Yelchin or Kenny Baker

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Okay . . . John Hurt brought a tear.

 

I wondered if they would try to get Paxton in there. He got a live nod, and probably won't be in the one next year.

 

Finished with Carrie. Very nice.

 

I still prefer it when they use a great piece from a score (naturally).

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15 minutes ago, Uni said:

We get Sammy this year. Wish he would say, "And the motherf***ing Oscar goes to...."

 

La La Land. Most anticlimactic win ever.

 

Though that was a pretty great speech by a film composer, I gotta say.

 

What did he say?

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