AOTC and Chamber of Secrets Were Not Nominated Because...

[Lurker 5]

I'm not sure if this is old news or not, but according to Jeff Bond in the new issue of Film Score Monthly, both Attack of the Clones and Harry Potter and the Chamber of Secrets were not nominated for "Best Original Score" Oscars because John Williams withdrew them from consideration. Perhaps he felt there was not enough original material in those scores to qualify. Whatever his reasons were, it is interesting.

Neil

[UCFKevin 0]

It is old news, but still very interesting.

[Ricard 2,245]

No it's not old news. Read Neil's post carefully and tell me if you read it before here or anywhere else.

And Neil, thanks for the report. But does the guy cite his source? Otherwise his report has no value. Especially coming from someone like Bond.

[ocelot 508]

interesting if true though...

[NeejaHalycon 0]

It could be Williams realized that the Academy doesn't give out awards based on meritt anyway, and that there was no point in having three entries if none had a chance of winning.

[Ren 75]

i hadn't heard that but i think i'm confusing it with the news that your score can't be considered if it has repeating material from a previous score.

[Ray Barnsbury 8]

Very interesting indeed, if it's true. I wonder what the rationale was. It seems like you would always at least give yourself a chance. Maybe he thought it was futile because they were both sequels and the academy would have it in for them because of that ridiculous rule that is to be instilled next year.

Ray Barnsbury

[Guest]

Just curious, Ricard... What's your beef with Jeff Bond?

If you've said anything in previous posts, I missed it.

As a matter of fact, you don't give good vibes towards Film Score Monthly in general. Did they dis you or your site?

[Ricard 2,245]

Just curious, Ricard... What's your beef with Jeff Bond?

Nothing special.

As a matter of fact, you don't give good vibes towards Film Score Monthly in general.  Did they dis you or your site?

LOL That's the funniest thing I've read this week (after the April fool's jokes, that is)

As a matter of fact, in four years since I started the website I've never had a single problem with FSM or any of their contributors. I've even helped promoting all their articles about Williams and all their Williams relases. Furthermore, one of their contributors (John Takis) is also a contributor to this site.

May I ask why you thought otherwise? If you really thought otherwise, that is. :roll:

[Guest]

technically, the oscar for original score is just that, for original score, not arrangement of original score modified with a few more leitmotifs for the sequel.

so, if he took down his entry or wasnt given it, then i feel its fine.

he still was nominated this year. and heck, last year he was nominated for 2, lol

great composer, but lets not inflate his ego;)

[Ricard 2,245]

technically, the oscar for original score is just that, for original score, not arrangement of original score modified with a few more leitmotifs for the sequel.

Well, some may think (not me) that this was the case of Chamber of Secrets, but certainly not AOTC.

[UCFKevin 0]

Ricard, I'm pretty sure I read that news here actually, but maybe it was somewhere else.

[Ricard 2,245]

Ricard, I'm pretty sure I read that news here actually, but maybe it was somewhere else.

This is what you read on this site in January:

"New and stricter rules of the Academy of Motion Picture Arts and Sciences will be enforced from next year, eliminating future Harry Potter, Star Wars and Indiana Jones films from consideration in the Original Score category."

http://www.jwfan.net/modules.php?op=modloa...ws&file=article

And this is what Neil posted today:

"Attack of the Clones and Harry Potter and the Chamber of Secrets were not nominated for "Best Original Score" Oscars because John Williams withdrew them from consideration."

Not exactly the same

[ocelot 508]

if indeed it was the case it would be more in line with the whole Julianne Moore thing. She opted to be put in best supporting actress field for The Hours as that way if she was nominated for both that and Far from Heaven in the same catagory, the votes would be split. Maybe Williams thought the same way. Since he didn't get Sorcerer's Stone, why even try for the sequel and have it against yourself once again....... Too many people get split votes that way and it has happened to him time and time again. Better to be nominated once...

Interesting though that neither him or Moore got a statue though

[Wojo 2,453]

Maybe Williams thought the same way. Since he didn't get Sorcerer's Stone, why even try for the sequel and have it against yourself once again.......  Too many people get split votes that way and it has happened to him time and time again.  Better to be nominated once...

Yea, we saw this in 1912 when Party A had an incumbent on its ticket, another candidate was on that party's spin off party's ticket, and someone else of the other party, B, ended up winning because Party A was split pretty much down the middle.

Political? not really, there comes a time when politics becomes history and history becomes example, I kept it vague, it was a hundred years ago, and it goes to show you how double nominations split the voters and the little guy can end up winning.

(but if you don't like it, you can just delete it, i won't care, just don't lock the thread)

On the other hand, Ren said

hadn't heard that but i think i'm confusing it with the news that your score can't be considered if it has repeating material from a previous score.

In that case, the rules or conventions must've been different when the scores to both Empire and Jedi were nominated, and I think the rest of the Indy films, when TPM and AOTC have not been, never mind the fact that they probably don't deserve the honor, anyways.

[Yoda Longbottom 0]

...both Attack of the Clones and Harry Potter and the Chamber of Secrets were not nominated for "Best Original Score" Oscars because John Williams withdrew them from consideration.  Perhaps he felt there was not enough original material in those scores to qualify.  Whatever his reasons were, it is interesting.

Neil

It was a well-thought out decision by John Williams.

I wished Minority Report had been nominated of all the four scores. The inclusion of 5 period songs on slightly better Catch Me If You Can is, I always thought, sort of disadvantage for the score, I mean generally for any score, but maybe I'm mistaken, I'm not sure about it.

I see many of JW's loyals don't hold Minority Report close to their hearts, but I think it was JW's strongest output of 2002, subtle yet distinguished, though not thematically lavish. But it should never be a drawback for a soundtrack that thematic "coyness".

What I still find both MR and CMIYC is lacking is a sturdy core, a prominent centerpiece from which the material would unfold. CMIYC has some promising ideas to wishfully build upon, which never happens, plus I cannot tell which one is the score's gist. A.I. should have won; I know I'm rehashing worn out complaints here but I can't help it. It might have been JW's last chance. . . . . . . ? ? ? ? ?

Roman.-)

[Elmo Lewis 6]

I couldn't agree more with you, Roman, neither could I have put it better and more clearly. Only I think CMIYC was superior in MR. Maybe just in form and not in content. Ah, well.

[Morn 8]

technically, the oscar for original score is just that, for original score, not arrangement of original score modified with a few more leitmotifs for the sequel.

That's not what a sequel score usually is, Chamber of secrets is an exception.

[UCFKevin 0]

Okay then, Ricard....thanks......?

[Guest]

I'm definitely one Williams fan who holds MR close to my heart (hence, the avatar). It's definitely a change of pace and there's a different style to it. "Anderton's Great Escape" is definitely a return to form, but I can't really say that much about the rest of the score.

There's a few homages, definitely. The opening credits/beginning of "Can You See?" is right out of Blade Runner (a non-Williams score), the pulsating brass from 1:10 to 1:21 of the same track is very reminiscent of "Barry's Abduction" from CE3K, and the beginning of "Eye-Dentiscan" is just like Superman's "Lex Luthor's Lair" (a cliche point, but nonetheless accurate).

I can remember anticipating the score for years. I was definitely more fascinated by the idea of the first futuristic Williams score (even though A.I. was low on the radar at that point). When I started hearing about MR, it was right around the time I discovered Goldsmith's Total Recall. The TR score mesmerized me and I thought with MR, JW would be doing the same thing. In the following three years between then and when MR was released, I kind of lost interest in TR and mainly focused on Williams' work and, at times, Horner's. When MR came, I was pretty pleased anyway, even though it's really not like TR at all. TR had mostly sappy action music. MR is mainly a solid dramatic score. But the dramatic side made MR fairly unique. "A New Beginning" definitely echoes "Elegy for Cello and Orchestra"/"Regaining A Son", but it seems more romantic (as in un-platonic, as opposed to Neo-Classical, Baroque, etc.)

One of the characteristics of this score that captivates me is the Pre-Crime theme. It must be the most experimental theme that Williams has ever penned. Has there ever been another theme like it? It's fits with the atmosphere of the Pre-Crime sets like a glove!

[Lurker 5]

Give me Goldsmith's score to Total Recall any day of the week over Minority Report.

Neil

[Guest]

I have not ever been a fan of Total Recall, stupid film, and another score by JG which sounds like any other score by JG. Switch the cue titles between it and Rambo and you'd never know the difference.

MR is an underrated gem.

[Ricard 2,245]

I have not ever been a fan of Total Recall, stupid film, and another score by JG which sounds like any other score by JG.  Switch the  cue titles between it and Rambo and you'd never know the difference.

The difference is that the Rambo score is an absolute masterpiece and Total Recall goes from mediocre to unbearable (IMHO, of course)

[Lurker 5]

Wow, I think that Total Recall is one of Goldsmith's finest scores. I've loved it ever since I first saw the movie in 1990. I remember getting the first CD as a Hanukah gift that year, and I now play the new deluxe edition all the time.

Neil

[UCFKevin 0]

I've never been too fond of the Total Recall score. It sounds kinda.......I dunno. Hammy? Wrong word...I think.

[Lurker 5]

Am I alone in my love for Total Recall?

Neil

[Ricard 2,245]

Am I alone in my love for Total Recall?

No. Marian, Stefan and many others love it.

[Guest]

I've only heard the theme from Total Recall, which is very promising, but I refrained from buying the Cd because from what I recall- the movie was one of the worst movies I'd ever seen (this coming from a guy who's seen Speed 2, Baby Geniouses and Plan 9 from Outer space).

MR has a fantastic score, perfect for the movie, and although doesn't make a fantastic soundtrack, is still very enjoyable to listen to. Plus the movie is one of the best I've ever seen (best one last year)

[Justin 2]

Total Recall is awesome.

Justin -Who loves The Big Jump cue.

[Morn 8]

Am I alone in my love for Total Recall ?  

No, I think it's one of Goldsmiths best.

[Lurker 5]

I think it's one of Goldsmiths best.

Maybe I should reconsider it then.

Neil