Popular Post Erik Woods 555 Posted February 8, 2018 Popular Post Share Posted February 8, 2018 INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARD NOMINATIONS ANNOUNCED; MULTIPLE NOMINATIONS FOR ALEXANDRE DESPLAT, MICHAEL GIACCHINO, DANIEL PEMBERTON, JOHN WILLIAMS http://filmmusiccritics.org/2018/02/ifmca-award-nominations-2017/ FEBRUARY 8, 2018. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2017, for the 14th annual IFMCA Awards. In a wide open field, the most nominated composers are Alexandre Desplat and Daniel Pemberton, who both received four nominations, Michael Giacchino, who received five nominations, and John Williams, who received six nominations for new work, plus an additional three for archival re-releases of some of his classic scores. 56-year old Frenchman Alexandre Desplat is nominated for his work on two scores – director Guillermo Del Toro’s critically acclaimed monster movie romance “The Shape of Water,” and director Luc Besson’s epic space fantasy “Valerian and the City of a Thousand Planets” – and is one of the five nominees for Composer of the Year. IFMCA member James Southall said that “The Shape of Water” was “yet another from the top drawer of Desplat,” and went on to describe him as “one of the most consistently impressive film composers of the last couple of decades,” who has “managed to be so successful without having to water down his highly-distinctive musical voice at all”. Desplat previously received IFMCA Score of the Year honors in 2008 for “The Curious Case of Benjamin Button”. His other major scores in 2017 include director George Clooney’s satirical racial drama ‘”Suburbicon,” and the French-language comedy-drama “D”Après Une Histoire Vraie,” directed by Roman Polanski. Daniel Pemberton, the 40-year-old English composer, impressed IFMCA members particularly with his scores for two films: Ridley Scott’s “All the Money in the World,” about the true-life kidnapping of the grandson of billionaire J. Paul Getty in 1973, and “King Arthur: Legend of the Sword,” an anarchic re-imagining of the early life of the mythical king growing up in Roman Britain, by director Guy Ritchie. Pemberton, who is also one of the five nominees for Composer of the Year, impressed IFMCA member Alan Rogers specifically, who heralded “King Arthur” as the “overall score of the year” and said that “the score is more rewarding with every listen”. Pemberton’s other significant works in 2017 include the political dramas “Molly’s Game” and “Mark Felt: The Man Who Brought Down the White House,” and an episode of the sci-fi anthology series “Black Mirror” entitled “USS Callister”. 50-year-old New Jersey-born Michael Giacchino is lauded for two scores: Pixar’s lavish animated Mexican-themed fantasy “Coco,” and the third film in the blockbuster Planet of the Apes trilogy, “War for the Planet of the Apes”. IFMCA member Mihnea Manduteanu said that “Coco” had “effervescence and passion” and was “inspirational, emotional and fun at the same time,” while IFMCA member James Southall said that “War for the Planet of the Apes” was “not just the best film music [Giacchino has] ever written” but that “the manner of the score, the construction of the dramatic narrative, [and] the very deliberate emotional prods … make it stand out as a special achievement”. Giacchino previously received Score of the Year honors in 2004 for “The Incredibles,” and in 2009 for “Up”. He is also one of the five nominees for Composer of the Year this year, having also written the scores for the intimate drama “The Book of Henry,” and the super hero sequel “Spider-Man: Homecoming” in 2017. Despite now being 86 years of age, John Williams continues to be a force in the world of film music. Both of Williams’s 2017 scores are nominated for Score of the Year: director Steven Spielberg’s “The Post,” a political drama about the Pentagon Papers scandal that rocked Washington in the early 1970s, and “Star Wars: The Last Jedi,” director Rian Johnson’s blockbuster second installment in the new space fantasy series which has smashed box office records around the world. IFMCA member Christian Clemmensen described “The Post” as “an exercise in Williams minimalism wholly appropriate for the context of the historical drama” with a finale full of “Williams’s typical French horn majesty, denoting the significance of the occasion”. Meanwhile, IFMCA member Jon Broxton said that “the two major new themes [in The Last Jedi] combine perfectly with the older material,” with Williams providing “more than enough variation on those themes for them to still feel fresh and exciting”. He went on to say that “the new action material, especially in the fathiers sequence, and during the final Crait battle, is wonderfully entertaining and musically creative” and that the entire score is “a nostalgia bomb of the highest order”. Williams – the fourth of the five nominees for Composer of the Year – previously received Score of the Year honors for “Memoirs of a Geisha” in 2005, “War Horse” in 2011, and “Star Wars: The Force Awakens” in 2015. The fifth nominee for Score of the Year is Jonny Greenwood's music for the controversial and avant-garde romantic period drama “Phantom Thread,” directed by Paul Thomas Anderson and starring Daniel Day-Lewis. In describing the score, IFMCA member Jon Broxton wrote that it was a “quite masterful score from Greenwood, one which gets deeply under the skin of the damaged, potentially dangerous, but nevertheless mutually fulfilling relationship at the center of the story. The abstract, impressionistic, modernistic textures perfectly capture the torment that both characters at times feel, as well as their willful and often unpleasant personalities. Then, when he opens up his orchestra and performs the Phantom Thread theme with glorious melodrama, or when he writes elegant romantic music for what should be the dreadful finale, the whole thing simply soars”. The fifth composer vying for the title of Composer of the Year is Benjamin Wallfisch, whose astonishing work in 2017 included writing the music for the horror sequel “Annabelle: Creation,” the sweeping historical drama “Bitter Harvest,” the atmospheric thriller “A Cure for Wellness,” the new adaptation of Stephen King’s “It,” and the optimistic and celebratory documentary “Mully,” as well as working with Hans Zimmer on “Blade Runner 2049” and “Dunkirk”. IFMCA member Kaya Savas called “It” “the backbone that makes us emotionally connect to our protagonists”. IFMCA member Ley Bricknell described “A Cure for Wellness” as “totally compelling” with “an overwhelming sense of fear and madness”. IFMCA member Peter Simons said that “Bitter Harvest” was a “rich orchestral score with lush themes … a wonderful pastoral tone to it, and a gorgeous main theme”. Each year the IFMCA goes out of its way to recognize emerging talent in the film music world, and this year is no exception. The nominees in the Breakthrough Composer of the Year category are a diverse and exciting group. American composer Michael Abels wrote the Swahili-inflected score for the racially charged cult horror hit “Get Out”. German composer Anne-Kathrin Dern wrote two vastly different but no less impressive scores – one for the sweeping Chinese drama “The Jade Pendant,” and one for the German children’s film “Hexe Lilli Rettet Weihnachten”. Cypriot composer George Kallis had three enormously impressive scores in 2017, including the children’s fantasy “Albion: The Enchanted Stallion,” the historical drama “The Black Prince,” and the Russian fantasy epic “Posledni Bogatyr/The Last Warrior”. Spanish composer Alejandro Vivas joined the ever-growing list of outstanding Iberian musicians with his score for the WWII drama “El Jugador de Ajedrez/The Chess Player,” while Brit Christopher Willis channeled Prokofiev and Shostakovich in his score for the satirical comedy “The Death of Stalin”. As it has in previous years, the IFMCA takes pride in honoring composers from across the film music world; in addition to the ones already mentioned, this year’s international nominees include French composer Cyrille Aufort (“Knock,” Comedy), French composer Olivier Derivière (“Get Even,” Game), French composer Pascal Gaigne (“Plan de Fuga,” Action/Adventure/Thriller), Spanish composer David García Díaz (“Rime,” Game), Argentine composer Federico Jusid (“Tiempos de Guerra,” Television), and Japanese composers Yôko Kanno (“Onna Jôshu Naotora,” Television) and Yasunori Mitsuda (“Valkyria: Azure Revolution,” Game). Also worth noting in 2017 is the larger number of women composers and film music professionals amongst the nominees; in addition to breakthrough composer nominee Anne-Kathrin Dern and television nominee Yôko Kanno, other female nominees include Rachel Portman (“Their Finest,” Comedy) and Debbie Wiseman (“Live at the Barbican,” Compilation), as well as writer Julie Kirgo, Sony Classical album producer Laura Zsank, and graphic designer Kay Marshall. Several other composers are receiving their first ever IFMCA Award nominations this year, including Andrew Cottee (“The Orville,” Television), David Fleming (“Blue Planet II,” Documentary), Philip Glass (“Jane,” Documentary), and Steve Mazzaro (“The Boss Baby,” Composition). The International Film Music Critics Association will announce the winners of the 14th IFMCA Awards on February 22, 2018. ####################################### THE 2017 IFMCA AWARD NOMINEES SCORE OF THE YEAR PHANTOM THREAD, music by Jonny Greenwood THE POST, music by John Williams THE SHAPE OF WATER, music by Alexandre Desplat STAR WARS: THE LAST JEDI, music by John Williams WAR FOR THE PLANET OF THE APES, music by Michael Giacchino COMPOSER OF THE YEAR ALEXANDRE DESPLAT MICHAEL GIACCHINO DANIEL PEMBERTON BENJAMIN WALLFISCH JOHN WILLIAMS BREAKTHROUGH COMPOSER OF THE YEAR MICHAEL ABELS ANNE-KATHRIN DERN GEORGE KALLIS ALEJANDRO VIVAS CHRISTOPHER WILLIS BEST ORIGINAL SCORE FOR A DRAMA FILM ALL THE MONEY IN THE WORLD, music by Daniel Pemberton DARKEST HOUR, music by Dario Marianelli MURDER ON THE ORIENT EXPRESS, music by Patrick Doyle PHANTOM THREAD, music by Jonny Greenwood THE POST, music by John Williams BEST ORIGINAL SCORE FOR A COMEDY FILM THE DEATH OF STALIN, music by Christopher Willis DOWNSIZING, music by Rolfe Kent KNOCK, music by Cyrille Aufort PADDINGTON 2, music by Dario Marianelli THEIR FINEST, music by Rachel Portman BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM A CURE FOR WELLNESS, music by Benjamin Wallfisch JUMANJI: WELCOME TO THE JUNGLE, music by Henry Jackman KING ARTHUR: LEGEND OF THE SWORD, music by Daniel Pemberton PLAN DE FUGA, music by Pascal Gaigne THE RENDEZVOUS, music by Austin Wintory BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM GET OUT, music by Michael Abels THE SHAPE OF WATER, music by Alexandre Desplat STAR WARS: THE LAST JEDI, music by John Williams VALERIAN AND THE CITY OF A THOUSAND PLANETS, music by Alexandre Desplat WAR FOR THE PLANET OF THE APES, music by Michael Giacchino BEST ORIGINAL SCORE FOR AN ANIMATED FILM CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, music by Theodore Shapiro COCO, music by Michael Giacchino THE EMOJI MOVIE, music by Patrick Doyle FERDINAND, music by John Powell LOVING VINCENT, music by Clint Mansell BEST ORIGINAL SCORE FOR A DOCUMENTARY BLUE PLANET II, music by Hans Zimmer, Jacob Shea, and David Fleming BOSTON, music by Jeff Beal EARTH: ONE AMAZING DAY, music by Alex Heffes JANE, music by Philip Glass MULLY, music by Benjamin Wallfisch BEST ORIGINAL SCORE FOR TELEVISION ALIAS GRACE, music by Jeff Danna and Mychael Danna GAME OF THRONES, music by Ramin Djawadi ONNA JÔSHU NAOTORA, music by Yôko Kanno THE ORVILLE, music by Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee TIEMPOS DE GUERRA, music by Federico Jusid BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA DEFORMERS, music by Austin Wintory DIVIDE, music by Chris Tilton GET EVEN, music by Olivier Deriviére RIME, music by David García Díaz VALKYRIA: AZURE REVOLUTION, music by Yasunori Mitsuda BEST NEW RELEASE, RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE BEN-HUR, music by Miklós Rózsa; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by James Fitzpatrick, Gareth Bevan, and Nic Finch (Tadlow) CLOSE ENCOUNTERS OF THE THIRD KIND, music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land) DAMNATION ALLEY, music by Jerry Goldsmith; album produced by Nick Redman and Mike Matessino; liner notes by Julie Kirgo; album art direction by Kay Marshall (Intrada) DUEL IN THE SUN, music by Dimitri Tiomkin; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by Jim Titus (Tadlow/Prometheus) E.T. THE EXTRA-TERRESTRIAL, music by John Williams; album produced by Mike Matessino and Bruce Botnick; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land) BEST FILM MUSIC COMPILATION ALBUM CAPTAINS COURAGEOUS: THE FRANZ WAXMAN COLLECTION, music by Franz Waxman; album produced by Douglass Fake; liner notes by Frank K. De Wald; album art direction by Kay Marshall and Joe Sikoryak (Intrada) DEBBIE WISEMAN: LIVE AT THE BARBICAN, music by Debbie Wiseman; The Orchestra of the Guildhall School conducted by Debbie Wiseman; album produced by Debbie Wiseman, Reynold Da Silva, David Stoner, and Pete Compton; liner notes by Debbie Wiseman; album art direction by Stuart Ford (Silva Screen) JOHN WILLIAMS AND STEVEN SPIELBERG: THE ULTIMATE COLLECTION, music by John Williams; album produced by Laura Zsaka and Jamie Richardson; liner notes by Jon Burlingame; album art direction by Amelia Tubb (Sony Classical) THRILLER, music by Jerry Goldsmith; The City of Prague Philharmonic Orchestra conducted by Nic Raine; album produced by James Fitzpatrick and Leigh Phillips; liner notes by Jon Burlingame; album art direction by Matthew Wright and Nic Finch (Tadlow) THE WILD WILD WEST, music by Various Composers; album produced by Jon Burlingame; liner notes by Jon Burlingame; album art direction by Jim Titus (La-La Land) FILM MUSIC RECORD LABEL OF THE YEAR CALDERA RECORDS, Stephan Eicke INTRADA RECORDS, Douglass Fake and Roger Feigelson LA-LA LAND RECORDS, MV Gerhard and Matt Verboys QUARTET RECORDS, José M. Benitez TADLOW MUSIC, James Fitzpatrick FILM MUSIC COMPOSITION OF THE YEAR “End Credits” from WAR FOR THE PLANET OF THE APES, music by Michael Giacchino “Finale” from STAR WARS: THE LAST JEDI, music by John Williams “Growing Up in Londinium” from KING ARTHUR: LEGEND OF THE SWORD, music by Daniel Pemberton “Justice” from MURDER ON THE ORIENT EXPRESS, music by Patrick Doyle “Love” from THE BOSS BABY, music by Hans Zimmer, Steve Mazzaro, and Conrad Pope ####################################### The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music. Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, China, Denmark, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America. Previous IFMCA Score of the Year Awards have been awarded to Jóhann Jóhannsson’s “Arrival” in 2016, John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “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’s “Memoirs of a Geisha” in 2005, and Michael Giacchino’s “The Incredibles” in 2004. For more information about the International Film Music Critics Association go to www.filmmusiccritics.org, visit our Facebook page, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org. John, SteveMc, James and 1 other 3 1 Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted February 8, 2018 Share Posted February 8, 2018 Great to see Giacchino's Apes nominated for a few awards. My favourite score and film of the year. Jonesy 1 Link to comment Share on other sites More sharing options...
Jay 37,369 Posted February 8, 2018 Share Posted February 8, 2018 GO ORVILLE!!!!!!!!! leeallen01 and dtw42 2 Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted February 10, 2018 Share Posted February 10, 2018 Orville fooking rules Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted February 11, 2018 Share Posted February 11, 2018 Thank God no Dunkirk. dtw42 and Jurassic Shark 2 Link to comment Share on other sites More sharing options...
Erik Woods 555 Posted February 22, 2018 Author Share Posted February 22, 2018 At 12 pm (EST) / 9 am (PST) we'll start announcing the winners of the 2017 IFMCA AWARDS on Facebook and on Twitter. Each category will be announced in 10-minute increments starting with RECORD LABEL OF THE YEAR! https://www.facebook.com/ifmca/https://twitter.com/IFMCA -Erik- Jurassic Shark and Taikomochi 2 Link to comment Share on other sites More sharing options...
Jay 37,369 Posted February 22, 2018 Share Posted February 22, 2018 Congrats to LLL for winning label of the year! Link to comment Share on other sites More sharing options...
Erik Woods 555 Posted February 22, 2018 Author Share Posted February 22, 2018 INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES WINNERS OF 2017 IFMCA AWARDS; “PHANTOM THREAD” TAKES SCORE OF THE YEAR, MULTIPLE WINS FOR MICHAEL GIACCHINO, BENJAMIN WALLFISCH FEBRUARY 22, 2018 — The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2017, in the 2017 IFMCA Awards. The award for Score of the Year goes to British composer Jonny Greenwood for his score for critically acclaimed period drama “Phantom Thread,” directed by Paul Thomas Anderson, and starring Daniel Day-Lewis. In describing the score, IFMCA member Jon Broxton wrote that it was a “quite masterful score from Greenwood, one which gets deeply under the skin of the damaged, potentially dangerous, but nevertheless mutually fulfilling relationship at the center of the story. The abstract, impressionistic, modernistic textures perfectly capture the torment that both characters at times feel, as well as their willful and often unpleasant personalities. Then, when he opens up his orchestra and performs the Phantom Thread theme with glorious melodrama, or when he writes elegant romantic music for what should be the dreadful finale, the whole thing simply soars”. The score was also named Best Original Score for Drama Film; these are the first IFMCA Award wins of Greenwood’s career, him having previously been nominated for Breakthrough Film Composer of the Year in 2007 and Best Original Score for an Action/Adventure/Thriller Film for “Inherent Vice” in 2014. Composer Alexandre Desplat is named Composer of the Year, him having written at least four outstanding works spanning multiple genres in the past year. His work in 2017 included director Guillermo del Toro’s critically acclaimed monster movie romance “The Shape of Water,” director Luc Besson’s epic space fantasy “Valerian and the City of a Thousand Planets,” director George Clooney’s satirical racial drama ‘”Suburbicon,” and the French-language comedy-drama “D”Après Une Histoire Vraie,” directed by Roman Polanski. IFMCA member James Southall said that The Shape of Water was “yet another from the top drawer of Desplat,” and went on to describe him as “one of the most consistently impressive film composers of the last couple of decades,” who has “managed to be so successful without having to water down his highly-distinctive musical voice at all”. IFMCA member Christian Clemmensen called Valerian and the City of a Thousand Planets a “sonic marvel of extremely intelligent rendering” and an “unparalleled execution of orchestral textures” featuring “composition of demanding complexity.” Desplat received IFMCA Score of the Year honors in 2008 for “The Curious Case of Benjamin Button”. This marks the third time Desplat has been named Composer of the Year, following his previous wins in 2017 and 2014. Composer Michael Giacchino wins two awards – Film Music Composition of the Year and Best Original Score for a Fantasy/Science Fiction/Horror Film – both for his work on the third film in the blockbuster Planet of the Apes trilogy, “War for the Planet of the Apes”. IFMCA member James Southall said that War for the Planet of the Apes was “not just the best film music [Giacchino has] ever written” but that “the manner of the score, the construction of the dramatic narrative, [and] the very deliberate emotional prods … make it stand out as a special achievement”. Composer Benjamin Wallfisch also wins two awards – Best Original Score for an Action/Adventure/Thriller Film and Best Original Score for a Documentary – for two very different works. Director Gore Verbinski’s “A Cure for Wellness” is a Gothic thriller which draws on European classical traditions to generate its creepy atmosphere, while “Mully” is an inspirational documentary about the life of Charles Mully, a Kenyan business tycoon who gave away his fortune to start the Mully Children’s Family, the largest children’s rescue, rehabilitation and development organization in Africa. Wallfisch’s score blends rich, beautiful orchestral themes with influences from traditional East African music. IFMCA member Ley Bricknell described “A Cure for Wellness” as “totally compelling” with “an overwhelming sense of fear and madness”. Cypriot composer George Kallis is named Breakthrough Composer of the Year for his stellar work writing three enormously impressive scores in 2017: the children’s fantasy “Albion: The Enchanted Stallion,” the historical drama “The Black Prince,” and the Russian fantasy epic “Posledni Bogatyr/The Last Warrior,” all of which impressed members of the IFMCA with their scope and creativity. The various other genre awards are won by Christopher Willis his Russian-inspired music for the satirical comedy “The Death of Stalin”; and Theodore Shapiro for his anarchic but wonderfully sincere score for the animated super hero parody “Captain Underpants: The First Epic Adventure”. In the non-film categories, composers Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee jointly win the award for Best Original Score for a Television Series for their magnificent work on the Fox sci-fi series “The Orville,” while Spanish composer David García Díaz wins the award for Best Original Score for a Video Game or Interactive Media for his moving score for the adventure–puzzle video game “Rime,” in which players are compelled to solve environmental puzzles across five large levels that represent the five stages of grief. Burbank, California-based La-La Land Records is named Film Music Record Label of the Year in recognition of their ongoing excellence in restoring and releasing the most beloved film scores of the past. British label Tadlow Records and producer James Fitzpatrick are honored with the award for Best New Release, Re-Release or Re-Recording of an Existing Score for their lavish new recording of Miklós Rózsa’s classic 1959 score “Ben-Hur,” which IFMCA member Craig Lysy described as “the most thematically complex and melodically rich film score ever penned by the hand of man” … “a superb recording and the crowning glory of the Golden Age”. Finally, Oakland, California-based Intrada Records and producer Douglass Fake wins the award for Best Film Music Compilation Album for their superb release “Captains Courageous: The Franz Waxman Collection”, a compilation of outstanding themes by the great German composer of the 1940s and 50s. ============================================= COMPLETE LIST OF WINNERS SCORE OF THE YEAR PHANTOM THREAD, music by Jonny Greenwood COMPOSER OF THE YEAR ALEXANDRE DESPLAT BREAKTHROUGH COMPOSER OF THE YEAR GEORGE KALLIS FILM MUSIC COMPOSITION OF THE YEAR “End Credits” from WAR FOR THE PLANET OF THE APES, music by Michael Giacchino BEST ORIGINAL SCORE FOR A DRAMA FILM PHANTOM THREAD, music by Jonny Greenwood BEST ORIGINAL SCORE FOR A COMEDY FILM THE DEATH OF STALIN, music by Christopher Willis BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM A CURE FOR WELLNESS, music by Benjamin Wallfisch BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM WAR FOR THE PLANET OF THE APES, music by Michael Giacchino BEST ORIGINAL SCORE FOR AN ANIMATED FILM CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, music by Theodore Shapiro BEST ORIGINAL SCORE FOR A DOCUMENTARY MULLY, music by Benjamin Wallfisch BEST ORIGINAL SCORE FOR TELEVISION THE ORVILLE, music by Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA RIME, music by David García Díaz BEST NEW RELEASE, RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE BEN-HUR, music by Miklós Rózsa; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by James Fitzpatrick, Gareth Bevan, and Nic Finch (Tadlow) BEST FILM MUSIC COMPILATION ALBUM CAPTAINS COURAGEOUS: THE FRANZ WAXMAN COLLECTION, music by Franz Waxman; album produced by Douglass Fake; liner notes by Frank K. De Wald; album art direction by Kay Marshall and Joe Sikoryak (Intrada) FILM MUSIC RECORD LABEL OF THE YEAR LA-LA LAND RECORDS, MV Gerhard and Matt Verboys ####################################### The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music. Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, China, Denmark, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America. Previous IFMCA Score of the Year Awards have been awarded to Jóhann Jóhannsson’s “Arrival” in 2016, John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “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’s “Memoirs of a Geisha” in 2005 and Michael Giacchino’s “The Incredibles” in 2004. Link to comment Share on other sites More sharing options...
Jay 37,369 Posted February 22, 2018 Share Posted February 22, 2018 Very pleases with the Orville, War for the POTA, Captain Underpants, and LLL wins! Link to comment Share on other sites More sharing options...
Richard Penna 3,694 Posted February 22, 2018 Share Posted February 22, 2018 I can't for the life of me understand the love for Phantom Thread. Feels the definition of 'serious music' == awards. Meh. Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted February 22, 2018 Share Posted February 22, 2018 War is the Planet of the Apes is one of the worst scores of the year. Link to comment Share on other sites More sharing options...
Jay 37,369 Posted February 22, 2018 Share Posted February 22, 2018 What about it makes you feel that way? Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted February 22, 2018 Share Posted February 22, 2018 It has an incredibly campy quality to it that seriously brings the film down a few pegs. Also, all of the new thematic material is pretty boring and repetitious (particularly the Nova theme). Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Jay 37,369 Posted February 22, 2018 Share Posted February 22, 2018 Huh, interesting, I don't think really think it sounds campy. Oh well. Link to comment Share on other sites More sharing options...
KK 3,307 Posted February 22, 2018 Share Posted February 22, 2018 It isn't bad on album, though it's more static than I would like. It doesn't work very well in film though. Not Mr. Big 1 Link to comment Share on other sites More sharing options...
Richard Penna 3,694 Posted February 23, 2018 Share Posted February 23, 2018 I just started playing the End Credits and the melody instantly reminds me of Yared's Cold Mountain. Cue of the year? Seriously? I've never felt so out of touch with what everyone else thinks is 'good' Little has inspired me this year. Not Mr. Big 1 Link to comment Share on other sites More sharing options...
crocodile 8,017 Posted February 23, 2018 Share Posted February 23, 2018 15 hours ago, KK said: It isn't bad on album, though it's more static than I would like. It doesn't work very well in film though. I think the exact opposite. Karol Link to comment Share on other sites More sharing options...
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