2018 IFMCA AWARD NOMINATIONS - UPDATE: Winners announced

[Erik Woods 433]

INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARD NOMINATIONS ANNOUNCED; JAMES NEWTON HOWARD LEADS THE FIELD WITH FOUR NOMINATIONS
 

FEBRUARY 7, 2019. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2018, for the 15th annual IFMCA Awards. In one of the most open fields in IFMCA history, composer James Newton Howard received the most nominations with four, closely followed by Nicholas Britell, Alexandre Desplat, Ludwig Göransson, Justin Hurwitz, and John Powell, who each received three.

 

67-year-old American composer James Newton Howard is nominated for his work on two scores – “Fantastic Beasts: The Crimes of Grindelwald,” the second film in the Harry Potter spinoff series, and the controversial Jennifer Lawrence Cold War spy thriller “Red Sparrow” – and is one of the five nominees for Composer of the Year. IFMCA member Christian Clemmensen called Fantastic Beasts an “accomplished and mature fantasy score” which “sits comfortably with Howard’s accomplished genre works and competes favorably for a place amongst 2018’s best scores,” while IFMCA member Mihnea Manduteanu described Red Sparrow as “beautiful and passionate” and “melodic and furious”. Howard previously received IFMCA Score of the Year honors in 2006 for “The Lady in the Water”. His other major score in 2018 was for the lavish fantasy “The Nutcracker and the Four Realms,” which was inspired by Tchaikovsky’s seminal ballet.

39-year-old New York-born composer Nicholas Britell is nominated for Composer of the Year, and received two nods in the Drama Score category for two very different works – the sensitive 1970s drama “If Beale Street Could Talk” based on the novel by James Baldwin, and the bitingly satirical political drama “Vice,” which looks at the life and career of former US Vice President Dick Cheney. IFMCA member Kaya Savas said that Beale Street was “a gorgeous and deeply moving experience” which “explores the depths of love in all its shapes and forms”, while IFMCA member Jon Broxton said that Vice “keyed the audience in to the [satirical] joke while not overselling it to the point of obviousness,” and that Britell “made his score genuinely interesting and appealing from a musical point of view – something that many composers fail to do”.

 

57-year-old French composer Alexandre Desplat, who won the IFMCA Score of the Year award in 2008 for “The Curious Case of Benjamin Button,” is nominated in the genre categories for three of his uniquely varied scores: the quirky comedy western “The Sisters Brothers,” the historical thriller “Operation Finale” which looks at Jewish secret agents tracking down Nazis after the end of World War II, and director Wes Anderson’s typically idiosyncratic animated film “Isle of Dogs”. IFMCA member Olivier Desbrosses described Isle of Dogs as “a score rich in oriental percussions, original and ambitious”.

 

Ludwig Göransson, the 34-year-old Swedish composer, enjoyed a truly tremendous year in 2018 and is nominated for Score of the Year, Composer of the Year, and Best Fantasy/Sci-Fi/Horror Score for his groundbreaking work on the enormously successful Marvel super hero film “Black Panther”. IFMCA member James Southall called Black Panther a “very distinctive sounding score” which contains “expansive arrangements of the main themes” and “complex, multi-layered percussion”. Göransson’s other work in 2018 included a second massively popular super-hero film, “Venom,” the remake of the classic revenge thriller “Death Wish,” and the boxing drama “Creed II,” the eighth film in the long-lasting Rocky series.

34-year-old American composer Justin Hurwitz is nominated for three awards – Score of the Year, Drama Score, and Film Music Composition of the Year – all for his work on director Damian Chazelle’s “First Man,” which looks at the impact of the Apollo 11 moon landings on the families of men involved. Similarly, 55-year-old British composer John Powell is nominated for three awards – Score of the Year, Fantasy/Sci-Fi/Horror Score, and Film Music Composition of the Year – all for his outstanding work on “Solo”, the Star Wars spin-off movie looking at the early life of the smuggler and rogue Han Solo. Powell previously won the IFMCA Score of the Year Award in 2010 for “How to Train Your Dragon”. IFMCA members Asier Senarriaga and Óscar Giménez called Solo “a spectacular score that combines the classic ideas of Williams with the talent of Powell,” and proclaimed it “the score of the year”.

 

The other two nominees for Score of the Year are American composer Marc Shaiman, who is nominated for his work on “Mary Poppins Returns,” the lovingly-crafted sequel to the classic Disney musical; and American composer Mark McKenzie, who received his nomination for his stunningly beautiful score for the Mexico-produced animated film “Max and Me,” which looks at the life of the Polish saint Maximilian Kolbe, who was executed in Auschwitz.

 

The other two nominees for Composer of the Year are American composer Alan Silvestri, whose work in 2018 included popular and successful films such as “Ready Player One,” “Avengers: Infinity War,” and “Welcome to Marwen”; and Spanish composer Roque Baños, who showed an impressive amount of versatility and range in scoring films as diverse as the thrillers “The Girl in the Spider’s Web” and “The Commuter,” the sporting drama “The Miracle Season,” director Terry Gilliam’s literary fantasy “The Man Who Killed Don Quixote,” and three Spanish-language comedies: “Sin Rodeos,” “Miamor Perdido,” and “Yucatán”.

 

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. Three of the five composers nominated are already famous in their own right for other artistic endeavors, but are being recognized here specifically for their first ever work scoring feature films; all three are British. Thomas Adès is renowned as one of the world’s leading contemporary classical and concert hall composers, but only wrote his first film score this year with his contribution to the historical literary drama “Colette”. Amelia Warner is an established actress and solo recording artist, but impressed the IFMCA membership with her debut score for the film about the life of the groundbreaking horror author “Mary Shelley”. Meanwhile, Thom Yorke is best known as the Grammy Award-winning lead singer of the alternative rock band Radiohead, and has now followed in the footsteps of his band-made Jonny Greenwood by writing his first score, for director Luca Guadagnino’s remake of the classic horror film “Suspiria”.

 

The final two composers nominated for Breakthrough Composer are exciting young talents from Spain. Iván Palomares is recognized for his sensitive score for the fantastical yet intimate father-son drama “En las Estrellas,” while Manuel Riveiro is nominated for his outstanding score for the period thriller “La Sombra de la Ley,” in which a dogged cop travels to Barcelona in the 1920s to take on an organized crime gang.

 

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 South African composer Mark Chait (“Frontier of Love,” Television), Argentine composer Federico Jusid (“Watership Down,” Animation, and “La Catedral del Mar,” Television), Dutch composer Matthijs Kieboom (“Wild,” Documentary), Sweden-based composers Robert Parker and Waveshaper (“Videoman,” Comedy), and Turkish composer Pinar Toprak (“Tides of Fate,” Documentary).

Several other composers are receiving their first ever IFMCA Award nominations this year, including the aforementioned Kieboom, Parker, and Waveshaper, plus Benji Merrison (“Dynasties,” Documentary), Michael Nyman (“McQueen,” Documentary), and Will Slater (“Dynasties,” Documentary).

 

The International Film Music Critics Association will announce the winners of the 15th IFMCA Awards on February 21, 2019.

 

-----

 

The list of nominees is as follows:

 

FILM SCORE OF THE YEAR

 

BLACK PANTHER, music by Ludwig Göransson
FIRST MAN, music by Justin Hurwitz
MARY POPPINS RETURNS, music by Marc Shaiman
MAX AND ME, music by Mark McKenzie
SOLO, music by John Powell

 

FILM COMPOSER OF THE YEAR

 

ROQUE BAÑOS
NICHOLAS BRITELL
LUDWIG GÖRANSSON
JAMES NEWTON HOWARD
ALAN SILVESTRI

 

BREAKTHROUGH COMPOSER OF THE YEAR

 

THOMAS ADÈS
IVÁN PALOMARES
MANUEL RIVEIRO
AMELIA WARNER
THOM YORKE

 

BEST ORIGINAL SCORE FOR A DRAMA FILM

 

EN LAS ESTRELLAS/UP AMONG THE STARS, music by Iván Palomares
FIRST MAN, music by Justin Hurwitz
IF BEALE STREET COULD TALK, music by Nicholas Britell
MARY, QUEEN OF SCOTS, music by Max Richter
VICE, music by Nicholas Britell

 

BEST ORIGINAL SCORE FOR A COMEDY FILM

 

CHRISTOPHER ROBIN, music by Geoff Zanelli and Jon Brion
CRAZY RICH ASIANS, music by Brian Tyler
MARY POPPINS RETURNS, music by Marc Shaiman
THE SISTERS BROTHERS, music by Alexandre Desplat
VIDEOMANNEN/VIDEOMAN, music by Robert Parker and Waveshaper

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM

 

KING OF THIEVES, music by Benjamin Wallfisch
LA SOMBRA DE LA LEY/GUN CITY, music by Manuel Riveiro and Xavier Font
MISSION: IMPOSSIBLE – FALLOUT, music by Lorne Balfe
OPERATION FINALE, music by Alexandre Desplat
RED SPARROW, music by James Newton Howard

 

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

 

BLACK PANTHER, music by Ludwig Göransson
FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD, music by James Newton Howard
JURASSIC WORLD: FALLEN KINGDOM, music by Michael Giacchino
READY PLAYER ONE, music by Alan Silvestri
SOLO, music by John Powell

 

BEST ORIGINAL SCORE FOR AN ANIMATED FILM

 

INCREDIBLES 2, music by Michael Giacchino
ISLE OF DOGS, music by Alexandre Desplat
MAX AND ME, music by Mark McKenzie
SPIDER-MAN: INTO THE SPIDER-VERSE, music by Daniel Pemberton
WATERSHIP DOWN, music by Federico Jusid

 

BEST ORIGINAL SCORE FOR A DOCUMENTARY

 

DYNASTIES, music by Benji Merrison and Will Slater
FREE SOLO, music by Marco Beltrami
McQUEEN, music by Michael Nyman
TIDES OF FATE, music by Pinar Toprak
WILD, music by Matthijs Kieboom

 

BEST ORIGINAL SCORE FOR A TELEVISION SERIES

 

AIQING DE BIANJIANG/FRONTIER OF LOVE, music by Mark Chait
LA CATEDRAL DEL MAR, music by Federico Jusid
LOST IN SPACE, music by Christopher Lennertz
WESTWORLD, music by Ramin Djawadi
YELLOWSTONE, music by Brian Tyler

 

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

 

11:11 MEMORIES RETOLD, music by Olivier Derivière
GOD OF WAR, music by Bear McCreary
NI NO KUNI II: REVENANT KINGDOM, music by Joe Hisaishi
SPIDER-MAN, music by John Paesano
TORN, music by Garry Schyman

 

BEST ARCHIVAL RELEASE – NEW RELEASE OR NEW RECORDING OF AN EXISTING SCORE

 

BRAM STOKER’S DRACULA, music by Wojciech Kilar; album produced by Dan Goldwasser; liner notes by Tim Greiving; art direction by Dan Goldwasser (La-La Land)
THE BRIDE WORE BLACK, music by Bernard Herrmann; The Basque National Orchestra conducted by Fernando Velázquez; album produced by Jose M. Benitez and Edouard Dubois; liner notes by Frank K. DeWald; art direction by Nacho B. Govantes (Quartet)
DRACULA, music by John Williams; album produced by Mike Matessino and Robert Townson; liner notes by Mike Matessino; art direction by Jim Titus (Varèse Sarabande)
EL HOMBRE Y LA TIERRA, music by Antón García Abril; album produced by Jose M. Benitez and Miguel A. Órdóñez; liner notes by Miguel A. Órdóñez; art direction by Nacho B. Govantes (Quartet)
THE VIKINGS, music by Mario Nascimbene; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. DeWald; art direction by Jim Titus (Prometheus/Tadlow)

 

BEST ARCHIVAL RELEASE – COMPILATION

 

CARTER BURWELL: MUSIC FOR FILM, music by Carter Burwell; The Brussels Philharmonic Orchestra conducted by Dirk Brossé; album produced by Marijke Vandebuerie and Valerie Dobbelaere; liner notes by Patrick Duynslaegher and Raf Butstraen; art direction by Stuart Ford (Silva Screen)
THE COMPLETE LONDON SESSIONS, music by Georges Delerue; album produced by Robert Townson; liner notes by Robert Townson; art direction by Robert Townson, Bill Pitzonka, and Bob Peak (Varèse Sarabande)
HARRY POTTER: THE JOHN WILLIAMS SOUNDTRACK COLLECTION; music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; art direction by Jim Titus (La-La Land)
THRILLER 2, 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; art direction by Nic Finch (Tadlow)
A TRIBUTE TO MICHAEL KAMEN, music by Michael Kamen; The Malaga Philharmonic Orchestra conducted by Pablo Urbina; album produced by José M. Benítez and Chris Malone; art direction by Nacho B. Govantes (Quartet)

 

FILM MUSIC LABEL OF THE YEAR

 

INTRADA RECORDS, Douglass Fake, Roger Feigelson
LA-LA LAND RECORDS, MV Gerhard, Matt Verboys
QUARTET RECORDS, Jose M. Benitez
TADLOW MUSIC, James Fitzpatrick
VARÉSE SARABANDE, Robert Townson

 

FILM MUSIC COMPOSITION OF THE YEAR

 

“The Landing” from FIRST MAN, written by Justin Hurwitz
“Finale” from MARY, QUEEN OF SCOTS, written by Max Richter
“Overture” from RED SPARROW, written by James Newton Howard
“Mine Mission” from SOLO, written by John Powell
“The Adventures of Han” from SOLO, written by John Williams

 

-----

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 Jonny Greenwood’s “Phantom Thread” in 2017, 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.

---

---

---

[Jay 33,670]

Two tracks from Solo up for composition of the year - impressive! 

 

I mean, Potter has to win archival compilation of the year. 

 

Westworld should win for TV 

 

How's the Tides of Fate score? 

[The Illustrious Jerry 3,355]

James Newton Howard did have a great year, yes. Personally though I thought Brittel had a big one with his two lovely scores.

 

Pretty well correct in these nominations for the most part.

[Mr. Who 798]

19 hours ago, Jay said:

Westworld should win for TV 

Yes!

[Jay 33,670]

The real crime here is that Celeste wasn't nominated for video game score of the year

[Thor 6,338]

58 minutes ago, Jay said:

The real crime here is that Celeste wasn't nominated for video game score of the year

 

I voted for it, but it didn't make the cut in the end.

[Jay 33,670]

Nice! 

[Presto 4,241]

Looks like a lot of awards went to Williams related releases:

 

http://filmmusiccritics.org/2019/02/ifmca-award-winners-2018/?fbclid=IwAR1rCQBOMngfjT1tUOEXbZBzsFCY82BKf_oa8JoC43fDT55XmvYE6yw8giM

 

Quote

The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2018, in the 2018 IFMCA Awards.

 

The award for Score of the Year goes to British composer John Powell for his score for the Star Wars spin-off story “Solo,” which looked at the early life of the legendary rogue and intergalactic smuggler Han Solo. The film was directed by Ron Howard, and starred Alden Ehrenreich, Emilia Clarke, and Donald Glover. In describing the score, IFMCA members Asier Senarriaga and Óscar Giménez called Solo “a spectacular score that combines the classic ideas of Williams with the talent of Powell,” and proclaimed it “the score of the year,” while IFMCA member Jon Broxton – speaking about the score’s multitude of recurring character themes – said that the way Powell “incorporates all the thematic complexity into his score is masterful, but best of all is the way he allows them to develop organically; this is not just a rigid leitmotif score where mathematics trumps emotion. Instead, Powell engages in sensible and appropriate development, meaning that when the emotional outbursts do come, they pack a real wallop, and satisfy both the heart and the brain in equal measure.”

 

The score is also named Best Original Score for a Fantasy/Science Fiction/Horror Film, while John Williams’s contribution to the score, the standalone piece “The Adventures of Han,” is named Film Music Composition of the Year. These are the seventh and eighth IFMCA Award wins of Powell’s career; he previously won the Score of the Year award for “How to Train Your Dragon” in 2010.

 

James Newton Howard is named Composer of the Year, and takes home the award for Best Original Score for an Action/Adventure/Thriller Film for his work on the controversial Jennifer Lawrence Cold War spy thriller “Red Sparrow,” for which he wrote an astonishingly powerful classical overture for the film’s opening ballet sequence, as well as some intense action and suspense music. IFMCA member Mihnea Manduteanu described Red Sparrow as “beautiful and passionate” and “melodic and furious”.

 

Howard’s other work in 2018 was just as outstanding, and included the second Harry Potter spinoff film “Fantastic Beasts: The Crimes of Grindelwald,” and the lavish fantasy “The Nutcracker and the Four Realms,” which was inspired by Tchaikovsky’s seminal ballet. IFMCA member Christian Clemmensen called Fantastic Beasts an “accomplished and mature fantasy score” which “sits comfortably with Howard’s accomplished genre works and competes favorably for a place amongst 2018’s best scores.” These are the ninth and tenth IFMCA Awards of Howard’s career. He previously received IFMCA Score of the Year honors in 2006 for “The Lady in the Water”.

 

British composer Amelia Warner is named Breakthrough Composer of the Year for her enormously impressive mainstream debut work scoring the literary drama based on the life of the groundbreaking horror author “Mary Shelley”. IFMCA member Peter Simons said that Mary Shelley was “a wonderful score … mesmerizing … unlike anything I’ve heard in a long time, if ever. The use of synth and vocals over strings and piano is just exquisite. There is always something interesting going on, either melodically or aurally … it’s one of the most exciting scores of the year”.

 

The various other genre awards are won by Max Richter for his classically-inspired music for the historical drama “Mary Queen of Scots”; Marc Shaiman for his loving, nostalgic homage to Walt Disney and the Sherman Brothers on the comedy musical sequel “Mary Poppins Returns”; Mark McKenzie for his spectacularly beautiful, reverent score for the Mexican animated film “Max and Me”; and Pinar Toprak for her broad, adventurous, expansive orchestral score for the yacht-racing documentary “Tides of Fate”. With this win Toprak is now the only person with more than two IFMCA Award nominations to win every time she has been nominated – her previous wins were for “The Lightkeepers” (Comedy, 2010) and “The Wind Gods” (Documentary, 2011).

 

In the non-film categories, composer Christopher Lennertz wins the award for Best Original Score for a Television Series for his bold, exciting score for the rebooted version of the classic sci-fi series “Lost in Space,” while composer Bear McCreary wins the award for Best Original Score for a Video Game or Interactive Media for his thrilling score for the action adventure game “God of War”.

 

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. Acclaimed album producer Mike Matessino receives both Archival Awards: one for his work restoring and releasing John Williams’s classic score for the 1979 Frank Langella version of “Dracula” on the Varèse Sarabande label, and one for his work in putting together the lavish box set of John Williams’s three Harry Potter scores – “Harry Potter and the Sorcerer’s Stone,” “Harry Potter and the Chamber of Secrets,” and “Harry Potter and the Prisoner of Azkaban” – for La-La Land Records. Producer Robert Townson shares the award for Dracula, and album artist Jim Titus worked on both releases.

#############################

 

COMPLETE LIST OF WINNERS

 

FILM SCORE OF THE YEAR

    SOLO, music by John Powell

 

FILM COMPOSER OF THE YEAR

    JAMES NEWTON HOWARD

 

BREAKTHROUGH COMPOSER OF THE YEAR

    AMELIA WARNER

 

FILM MUSIC COMPOSITION OF THE YEAR

    “The Adventures of Han” from SOLO, written by John Williams

 

BEST ORIGINAL SCORE FOR A DRAMA FILM

    MARY, QUEEN OF SCOTS, music by Max Richter

 

BEST ORIGINAL SCORE FOR A COMEDY FILM

    MARY POPPINS RETURNS, music by Marc Shaiman

 

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM

    RED SPARROW, music by James Newton Howard

 

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

    SOLO, music by John Powell

 

BEST ORIGINAL SCORE FOR AN ANIMATED FILM

    MAX AND ME, music by Mark McKenzie

 

BEST ORIGINAL SCORE FOR A DOCUMENTARY

    TIDES OF FATE, music by Pinar Toprak

 

BEST ORIGINAL SCORE FOR A TELEVISION SERIES

    LOST IN SPACE, music by Christopher Lennertz

 

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

    GOD OF WAR, music by Bear McCreary

 

BEST ARCHIVAL RELEASE – NEW RELEASE OR NEW RECORDING OF AN EXISTING SCORE

    DRACULA, music by John Williams; album produced by Mike Matessino and Robert Townson; liner notes by Mike Matessino; art direction by Jim Titus (Varèse Sarabande)

 

BEST ARCHIVAL RELEASE – COMPILATION

    HARRY POTTER: THE JOHN WILLIAMS SOUNDTRACK COLLECTION; music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; art direction by Jim Titus (La-La Land)

 

FILM MUSIC LABEL OF THE YEAR

    LA-LA LAND, MV Gerhard, 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 Jonny Greenwood’s “Phantom Thread” in 2017, 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.

 

[Jay 33,670]

Lost In Space a better score than Westworld Season 2?  Bah!

[Laserschwert 371]

Congrats to LLL and Mike Matessino! Some well deserved awards.

[Jay 33,670]

Mike on the Harry Potter win:

 

Oh, my! This is quite humbling. Thank you for bestowing such an honor on the Maestro's music for the boy wizard. I'd like to accept it on behalf of my colleagues who do such tremendous work in compiling written scores and commissioning orchestras to record them anew. Such efforts are truly staggering and really quite different from what goes into a project like Harry Potter. The recordings from this past year have been particularly wonderful. If I may be so bold, I consider that a different category. As for Harry, it was my hope to create a release that set a standard for how to do projects like this. Thanks to the Harry Potter goblins at Warner Bros., the filmmakers, the musicians, and to La-La Land Records for sharing in and supporting that vision.

 

https://www.facebook.com/mike.matessino/posts/10216567689720198

 

Mike on the Dracula win:

 

Thank you for honoring this release. I share with all film music lovers the gratitude that this material survived and was at last able to be released. It was a privilege to work on it. Thank you, Jim Titus for your wonderful art, and of course Robert Townson, for your amazing support and trust on this and The Cowboys.

 

https://www.facebook.com/mike.matessino/posts/10216567658319413

 

I am certainly thrilled that the first Project Consultant credit I ever got won this award!  I was happy to help with Dracula as well

[Jurassic Shark 10,652]

Good work! It can only go in one direction from here.