TheUlyssesian 2,478 Posted February 3, 2020 Share Posted February 3, 2020 1 hour ago, Alex said: the music feels like it was just written and then placed in the film, rather than being written for the film, if that makes sense. Isn't that the case for most film music these days and almost every Zimmer score. Ricard 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted February 3, 2020 Share Posted February 3, 2020 It is. Link to comment Share on other sites More sharing options...
KK 3,307 Posted February 3, 2020 Share Posted February 3, 2020 Right. So you'd probably understand why voters are drawn to scores that actually make a distinct impression in film, regardless of compositional merit. At the end, it doesn't really matter if the music is good. The music has to be good in film. Not that those two things are mutually exclusive... Link to comment Share on other sites More sharing options...
Lewya 360 Posted February 3, 2020 Share Posted February 3, 2020 Alex Ross, the music critic for The New Yorker wrote that Desplat's score for Little Women was a mere step above a score for a Hallmark holiday movie, maybe just half a step better: He also liked that comment someone made about the score being awful and Desplat phoning it in. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted February 3, 2020 Share Posted February 3, 2020 As he would probably for 98% of all stuff this board cherishes. No criteria for anything, really. Tydirium 1 Link to comment Share on other sites More sharing options...
Alex 2,835 Posted February 3, 2020 Share Posted February 3, 2020 Desplat phoning it in, like JW, is usually superior to most other film music out there, at least from a technical standpoint. No one really mentions Randy Newman, but I thought Marriage Story had a lovely little score. Suited the film perfectly I thought. Chewy and Tydirium 2 Link to comment Share on other sites More sharing options...
Edmilson 7,473 Posted February 3, 2020 Share Posted February 3, 2020 In terms of impact in the movie, if I were an Academy voter, I'd vote for Thomas Newman. Of all the nominated scores, 1917 is the one that works best in the movie, followed by Joker. As much as I like TROS as pure music, on the movie Abrams managed to butcher the score. Haven't watched Little Women and Marriage Story. Link to comment Share on other sites More sharing options...
Fabulin 3,515 Posted February 3, 2020 Share Posted February 3, 2020 On 2/3/2020 at 2:11 PM, Edmilson said: I guess this is the tendency these days, the more minimalistic and droning, and the less emotion besides moodiness and maybe dread your score has, the more awards you are going to get. Case in point, Hildur's own Chernobyl. You just record some ambient sounds, manipulate them on the computer to ~create tension~ and there you have it, your very tense score that is going to be a success. I think Herrmann would be an award darling these days, for all the wrong reasons---and then hate the s out of the people giving him awards. Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted February 3, 2020 Share Posted February 3, 2020 Harrmann's music is still melodic and thematic most of the time. These RC shills could only hope for that level of genius. Edmilson 1 Link to comment Share on other sites More sharing options...
DrTenma 116 Posted February 4, 2020 Share Posted February 4, 2020 I wanted to give my impressions on the 5 nominees: - The Rise of Skywalker: this is the score I enjoyed the most and also, the one I think is the better. I'm biased because that's the style of music that I enjoy the most and because Williams is still my favourite composer but, even I didn't like at all the movie and feel that the score is not well used there, the composition is so good that (unrealistically) I want it to win. - 1917: I didn't like the score before seeing the movie and I couldn't finish listening to the FYC promo the first time. After seeing the movie, everything changed. I like this score very much. Is not always excellent but it has some great minutes in it. Maybe is because between the score nominees this is the better movie, but the score is just perfect with the images. It's epic when it has to be, emotional the it's needed, there's silence when the movie needs that... I would be happy if Thomas Newman wins for this one. - Little Women: by no means this is a bad score but IMHO is a boring score. I couldn't care for the music with the movie and outside I still feel it lacks "something". I'm sure that people that knows more music than me can find the subtleties on Desplat's composition but I find it dull. Pretty, but boring. - A Marriage Story: I don't have anything against this score, but also anything in favor. Is short and nice but not better than the majority of music composed last year. - Joker: I'm sure this will win, I knew it when the Oscars run started, and it makes me a little bit sad and annoyed. Again, I'm sure that musical experts can find greatness here but not me. Is the most contemporary and also the most generic score of the bunch. The music of Guðnadóttir could fit in any thriller, drama or sci-fi movie... I don't find the character of Joker in the music, or the city, or any distinctive thing. Also, this is the movie that has the more pop music material, all the "iconic" moments in the movie have a preexisting song in it and that's the real reason the academics will vote for it. Link to comment Share on other sites More sharing options...
Alex 2,835 Posted February 4, 2020 Share Posted February 4, 2020 Will be interesting to see if JW receives any more nominations after this. They’ve already started to replace him with Desplat as the “token nominee” every year. Link to comment Share on other sites More sharing options...
Richard Penna 3,695 Posted February 4, 2020 Share Posted February 4, 2020 1 hour ago, DrTenma said: I wanted to give my impressions on the 5 nominees: - The Rise of Skywalker: this is the score I enjoyed the most and also, the one I think is the better. I'm biased because that's the style of music that I enjoy the most and because Williams is still my favourite composer but, even I didn't like at all the movie and feel that the score is not well used there, the composition is so good that (unrealistically) I want it to win. - 1917: I didn't like the score before seeing the movie and I couldn't finish listening to the FYC promo the first time. After seeing the movie, everything changed. I like this score very much. Is not always excellent but it has some great minutes in it. Maybe is because between the score nominees this is the better movie, but the score is just perfect with the images. It's epic when it has to be, emotional the it's needed, there's silence when the movie needs that... I would be happy if Thomas Newman wins for this one. - Little Women: by no means this is a bad score but IMHO is a boring score. I couldn't care for the music with the movie and outside I still feel it lacks "something". I'm sure that people that knows more music than me can find the subtleties on Desplat's composition but I find it dull. Pretty, but boring. I'm not quite as hyped about TROS as you are, but it is the one score of the bunch that I liked right from the word go. I don't think it makes it the best score though, somehow.... I agree 100% on 1917 and Little Women. (Haven't seen the latter, but the score is unbelievably boring to me). DrTenma 1 Link to comment Share on other sites More sharing options...
DrTenma 116 Posted February 4, 2020 Share Posted February 4, 2020 35 minutes ago, Richard Penna said: I'm not quite as hyped about TROS as you are, but it is the one score of the bunch that I liked right from the word go. I don't think it makes it the best score though, somehow.... You're right, a great score also has to be well used in its movie. I probably should have said that I feel is the best music as a listening experience... Edmilson 1 Link to comment Share on other sites More sharing options...
Fabulin 3,515 Posted February 4, 2020 Share Posted February 4, 2020 . Link to comment Share on other sites More sharing options...
Tydirium 1,167 Posted February 4, 2020 Share Posted February 4, 2020 It's kind of depressingly funny how Hildur is getting all these awards, and yet if you go over to the Filmtracks forums, the annual "Filmtracks Community Awards" (almost 100 film music fans voted) doesn't feature a single score by her in the top 30... So how are these big-name awards so out-of-touch? If the consensus among people who actively engage with film music as a hobby, is that her scores don't deserve to be a top 10 (let alone to snag the #1 spot), then why on Earth are these awards taken seriously? It's a joke. Link to comment Share on other sites More sharing options...
Edmilson 7,473 Posted February 4, 2020 Share Posted February 4, 2020 3 minutes ago, Tydirium said: the annual "Filmtracks Community Awards" (almost 100 film music fans voted) Hey, we have a lot of film music fans here too, where's the JWFan Community Awards? Link to comment Share on other sites More sharing options...
Tydirium 1,167 Posted February 4, 2020 Share Posted February 4, 2020 We should have them! Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted February 4, 2020 Popular Post Share Posted February 4, 2020 What for, every year a Williams score would win, even if he didn't write any. Tydirium, Koray Savas and DrTenma 1 2 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted February 4, 2020 Share Posted February 4, 2020 We already have one - The JWFannies! Link to comment Share on other sites More sharing options...
Tydirium 1,167 Posted February 4, 2020 Share Posted February 4, 2020 2 minutes ago, publicist said: What for, every year a Williams score would win, even if he didn't write any. Good point. Maybe the rule for us will have to be "No JW scores allowed". Come to think of it, that would actually be pretty interesting for a General Discussion thing. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted February 4, 2020 Share Posted February 4, 2020 JG would win, even though he's been dead for over a decade. Fabulin and Tydirium 2 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted February 4, 2020 Share Posted February 4, 2020 Forget it, the Best of lists we post at the end of each year are the best proof it makes no sense: 98% of the users never listen to anything save for the same three blockbuster scores. KK 1 Link to comment Share on other sites More sharing options...
Edmilson 7,473 Posted February 4, 2020 Share Posted February 4, 2020 19 minutes ago, publicist said: 98% of the users never listen to anything save for the same three blockbuster scores. Yeah, but not only listen to the OST, but also to the FYC, and then stress over 15 second tracks missing from both of them. DrTenma 1 Link to comment Share on other sites More sharing options...
Popular Post publicist 4,643 Posted February 5, 2020 Popular Post Share Posted February 5, 2020 And here, ladies and gentlemen, you have it black on white why wasting your time on this (and probably other) awards is pure nonsense: “Every time that ‘Joker’ ad comes on TV with that weird violin, I’m like, ‘Oh god, turn it off! Turn it off!’ But, I mean, come on, how many Oscars can John Williams and Randy Newman win? I know it’s so stupid to think like that but I’m sort of influenced by that. I might still vote for ‘Joker’ even though I can’t stand the score and haven’t seen the film because it’s the first time a woman would win.” by Anonymous Oscar voter The Illustrious Jerry, Holko, Tydirium and 2 others 5 Link to comment Share on other sites More sharing options...
Lewya 360 Posted February 5, 2020 Share Posted February 5, 2020 18 minutes ago, publicist said: And here, ladies and gentlemen, you have it black on white why wasting your time on this (and probably other) awards is pure nonsense: “Every time that ‘Joker’ ad comes on TV with that weird violin, I’m like, ‘Oh god, turn it off! Turn it off!’ But, I mean, come on, how many Oscars can John Williams and Randy Newman win? I know it’s so stupid to think like that but I’m sort of influenced by that. I might still vote for ‘Joker’ even though I can’t stand the score and haven’t seen the film because it’s the first time a woman would win.” by Anonymous Oscar voter LOL. I just don't get it. Now she is even called out for helping to redeem film music's reputation by a recent Pulitzer prize jury member. This professor who wrote this article was one of the five jury members for the Pulitzer prize for music two years ago or so: https://www.thenation.com/article/culture/hildurg-gudnadottir-music-profile/ Her scores for HBO’s Chernobyl and Todd Phillips’s Joker bring soundtracks into the realm of high art. Few insults hit a serious composer as hard as saying a piece of work “sounds like movie music” or, worse still, like “mood music.” The background function of a film score has stigmatized the genre as something insubstantial and inclined to cliché since the days of piano players tinkling away as silent pictures flickered in early movie houses. Mood music took hold as a genre with the introduction of the long-playing record, when albums of lush strings and sonic faux-exotica by schlocksters like Les Baxter were pitched as aural lubricants for bachelor-pad sex, and the contemporary variations on the form found on Spotify’s “chill” playlists are still considered less-than-major works by nature of their functionality as ambiance. Hildur Guðnadóttir, the composer from Iceland best known for her scores for the HBO miniseries Chernobyl and Todd Phillips’s comic-villain thriller Joker, has emerged from years of noble obscurity in the darker corners of the art-music world to help redeem the reputations of both movie music and mood music. In the past year, she’s won an Emmy and a Grammy for Chernobyl and a Golden Globe award and an Oscar nomination for her Joker score. As the headline of an Esquire piece on her newfound prominence announced, “‘Joker’ Composer Hildur Guðnadóttir Is Shaking Up the Industry.” More accurately, the mainstream entertainment industry is shaking itself up by allowing Guðnadóttir to do, in a high-profile way, the kinds of things she’s done in avant-garde circles for years. Now 37, Guðnadóttir has been creating bold and imaginative music on her own and with a variety of collaborators since the first decade of the 21st century. In fact, she’s been performing publicly on her primary instrument, the cello, since girlhood, encouraged by her parents: her mother, the classical vocalist Ingveldur Guðrún Ólafsdóttir, and her father, Guðni Franzson, a clarinetist, composer, and conductor. After experimenting in various art-rock ensembles throughout Scandinavia and in Berlin, where she studied at the Universität der Künste, Guðnadóttir made her first solo album, Mount A, in 2006. Though it was released under the pseudonym Lost in Hindurness, Guðnadóttir made every sound on the recording, from the nonverbal vocals to the cello, piano, zither, vibraphone, gamelan, gamba (a Renaissance-era stringed instrument), and Mongolian khuur, which I’d never heard of till I read the liner notes. Recorded partly in a New York studio and partly in a house in the village of Hólar, Iceland (because she liked the way her cello sounded there), Mount A was rereleased in 2010 under Guðnadóttir’s own name. It is an exceptionally assured and strange recording debut, a DIY collage of sonic textures and tone colors by an artist open to the moment and hungry for surprise. “I think there shouldn’t be limits to what we’re allowed to say or express, as long as we don’t hurt anyone,” Guðnadóttir told an interviewer in an “All Access” video. “Music should be a form of free expression.” Her willingness (or eagerness) to venture into under-explored areas of emotionality was a hallmark of her music long before she gave voice to the brooding rage that festers into gleeful sadism in Joker. If her music won’t hurt anyone, she’s happy to conjure the sound of someone, like Joker, who will. After Mount A, Guðnadóttir worked as a cellist or composer on more than a dozen albums made in collaboration with electronic, art-pop, classical, or category-defiant musicians in Scandinavia, from established figures like Nico Muhly, Ben Frost, and the Swedish group the Knife to acts little known outside the Nordic world, like the short-lived Iceland band Rúnk and the Finnish techno duo Pan Sonic. What’s readily streamable of this output today, such as Muhly’s Speaks Volumes (2006), Frost’s Theories of Machines (2006), and Tu Non Mi Perderai Mai (a collaboration jointly credited to Guðnadóttir and the late Icelandic composer Jóhann Jóhannsson, also from 2006), only hints at the imaginative force of Guðnadóttir’s solo music. By 2009, when she released her second album, Without Sinking, Guðnadóttir was fully formed as an experimental composer and musician. As on Mount A, she played multiple instruments and sang atmospheric, nonliteral sounds but added a trio of musicians—Jóhannsson on organ, Skúli Sverrisson on bass, and her father on clarinet and bass clarinet—to bring more colors and fuller body to the music. It is, in concept, programmatic music intended to suggest an encounter with a body of water in a place like Iceland, which is to say a place like no other. The 10 selections have simple titles such as “Elevation,” “Overcast,” “Ascent,” and “Into Warmer Air,” and the tracks feel at first like conventional ambient music. But unexpected things happen as their sounds unfurl. Acoustic instruments are overtaken by electronics, twisted around, and transformed. The familiar is disrupted by the unnamable. To take this as mood music is to allow your mood to spin and sink and land somewhere you’ve never been before. The essence of Guðnadóttir’s music as an agent of mood was recognized early as suitable to film scores. Beginning in 2011, she was commissioned to compose music, alone or with collaborators, for a series of European films, including Tobias Lindholm’s A Hijacking and Saul Dibb’s Journey’s End. When Jóhannsson died suddenly in the midst of writing music for Garth Davis’s Mary Magdalene, Guðnadóttir completed the score. Her music for that film was celebrated for its deft mingling of classical sonorities and electronics to bring timely resonance to characters from deep history, and Chernobyl and Joker followed. For Chernobyl, the British-made miniseries about the 1986 Soviet nuclear disaster, Guðnadóttir tapped her skill with nontraditional sounds and constructed a full musical score with no music. To evoke the grim, oppressive atmosphere of the film’s time and place, she toured the decommissioned nuclear facility used in the film and had a specialist in field recording capture the sounds she encountered there, the hums and buzzes and rhythmic clanking of the machinery. Then she processed those sounds and edited them as if they were instruments and made a grimly hypnotic anti-musical kind of music from them. For Joker, Guðnadóttir also worked unconventionally, composing the score from the shooting script rather than a rough cut of the film. She wrote the core themes on a halldorophone, an electro-acoustic instrument that is played much like a cello but facilitates the creative manipulation of feedback and other effects. Phillips, when shooting the film, would play Guðnadóttir’s music on the set, allowing the score to drive the action. With the background music foregrounded in the filmmaking, Guðnadóttir’s score is as elemental to Joker as Joaquin Phoenix’s performance. The music, a slow-acting poison formula of acoustic instruments and electronics mixed and overheated, brings to life the Joker’s degeneration into madness and bloodlust so vividly that you could watch the movie with your eyes closed and the vocals muted and still have the Joker experience. Reflecting on the darkness of the score in an interview, Guðnadóttir connected it to her work outside film, music that deserves to be more widely heard. “My solo music started as a way to really look inwards…without any outside dialogue,” she said. “A lot of my music is kind of contemplative, and somehow that always tends to tilt on the darker side. My inner conversation is apparently quite dark.” Link to comment Share on other sites More sharing options...
Holko 9,532 Posted February 5, 2020 Share Posted February 5, 2020 Please do something about that formatting Fixed, thank you. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,554 Posted February 5, 2020 Share Posted February 5, 2020 19 minutes ago, publicist said: And here, ladies and gentlemen, you have it black on white why wasting your time on this (and probably other) awards is pure nonsense: “Every time that ‘Joker’ ad comes on TV with that weird violin, I’m like, ‘Oh god, turn it off! Turn it off!’ But, I mean, come on, how many Oscars can John Williams and Randy Newman win? I know it’s so stupid to think like that but I’m sort of influenced by that. I might still vote for ‘Joker’ even though I can’t stand the score and haven’t seen the film because it’s the first time a woman would win.” by Anonymous Oscar voter Has this ejit completely forgotten about Rachel Portman, and Anne Dudley?! Tydirium 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted February 5, 2020 Share Posted February 5, 2020 Of course. Because, you know, who cares? Gee, what a piece of shit that Nation article is. It's ok to celebrate your own friends but not on such rotten tangent that likens all filmmusic B. H. (before Hildur) to Les Baxter bachelor pad LPs. I mean, seriously. Bayesian and Tydirium 2 Link to comment Share on other sites More sharing options...
Edmilson 7,473 Posted February 5, 2020 Share Posted February 5, 2020 23 minutes ago, publicist said: “Every time that ‘Joker’ ad comes on TV with that weird violin, I’m like, ‘Oh god, turn it off! Turn it off!’ But, I mean, come on, how many Oscars can John Williams and Randy Newman win? I know it’s so stupid to think like that but I’m sort of influenced by that. I might still vote for ‘Joker’ even though I can’t stand the score and haven’t seen the film because it’s the first time a woman would win.” There's so many wrong things with this, I can't even begin to imagine how moronic this people are. It's like they think "no one will know who I am anyway, so I can show the world my utter idiocy!" Fabulin and Tydirium 2 Link to comment Share on other sites More sharing options...
Fabulin 3,515 Posted February 5, 2020 Share Posted February 5, 2020 . Ricard and Tydirium 2 Link to comment Share on other sites More sharing options...
KK 3,307 Posted February 5, 2020 Share Posted February 5, 2020 23 minutes ago, publicist said: Of course. Because, you know, who cares? Gee, what a piece of shit that Nation article is. It's ok to celebrate your own friends but not on such rotten tangent that likens all filmmusic B. H. (before Hildur) to Les Baxter bachelor pad LPs. I mean, seriously. Sounds almost as bad as the "film music critic" guy who waxes Zimmer poetry over at Slate... Link to comment Share on other sites More sharing options...
publicist 4,643 Posted February 5, 2020 Share Posted February 5, 2020 I try to dig up an article claiming Burt Bacharach saved film music back in 1969. Link to comment Share on other sites More sharing options...
Edmilson 7,473 Posted February 5, 2020 Share Posted February 5, 2020 Resuming the comment from the Oscar voter: -I don't like the score; -I haven't watched the movie, so I don't know how the score works on it, how the music supports the narrative, how it comments about the character, which is, like, the BASIC to give the most famous award in the American movie industry to a score; -But, since the others are some old white dudes with lots of Oscars, I'll give the award to this score I DON'T like, just because the composer is female, and women, of course, never won anything on this industry outside of the Best Actress categories and maybe Best Costume Design. Genius! This person really have no problem on demoralizing his own job as a voter and the whole Academy... Days later, they get surprised learning that the ratings went down once again. Tydirium 1 Link to comment Share on other sites More sharing options...
KK 3,307 Posted February 5, 2020 Share Posted February 5, 2020 10 minutes ago, Edmilson said: This person really have no problem on demoralizing his own job as a voter and the whole Academy... Days later, they get surprised learning that the ratings went down once again. Well, if anything, Hildur's inevitable would probably be good for ratings. In fact, I wouldn't be surprised if many voters' choices lean towards what improves image and ratings of the Academy in the eyes of world. Link to comment Share on other sites More sharing options...
crocodile 8,020 Posted February 5, 2020 Share Posted February 5, 2020 19 minutes ago, KK said: Well, if anything, Hildur's inevitable would probably be good for ratings. In fact, I wouldn't be surprised if many voters' choices lean towards what improves image and ratings of the Academy in the eyes of world. The question we need to ask ourselves is whether it matters. Karol Link to comment Share on other sites More sharing options...
Edmilson 7,473 Posted February 5, 2020 Share Posted February 5, 2020 I don't think specifically Hildur's victory will be good for ratings. Probably it'll be good for the image of the Academy being more ~diverse~ by giving the award for Best Original Score for a female composer, but for the ratings... not so much. What may give them a little more audience is the presence of the billion dollar grossing blockbuster movie Joker on so many awards. When the academy was nominating just smaller flicks, the ratings went down, but last year with Black Panther and Bohemian Rhapsody, the ratings went up compared to the previous year. Link to comment Share on other sites More sharing options...
eitam 364 Posted February 5, 2020 Share Posted February 5, 2020 I still haven't heard Joker, maybe I'll even like it, but God, to read that it "helps redeem the reputation of movie music"? That's just insulting. Bayesian and Tydirium 2 Link to comment Share on other sites More sharing options...
Tydirium 1,167 Posted February 6, 2020 Share Posted February 6, 2020 6 hours ago, Naïve Old Fart said: Has this ejit completely forgotten about Rachel Portman, and Anne Dudley?! Reminds me of the people who acted like BLACK PANTHER was the first movie to ever have... drumroll... black people, in it. All because people want to be able to pat themselves on the back like they're making huge strides of progress, when that progress has already been made. It's amazing, how short Hollywood's memory can be. 7 hours ago, publicist said: And here, ladies and gentlemen, you have it black on white why wasting your time on this (and probably other) awards is pure nonsense: “Every time that ‘Joker’ ad comes on TV with that weird violin, I’m like, ‘Oh god, turn it off! Turn it off!’ But, I mean, come on, how many Oscars can John Williams and Randy Newman win? I know it’s so stupid to think like that but I’m sort of influenced by that. I might still vote for ‘Joker’ even though I can’t stand the score and haven’t seen the film because it’s the first time a woman would win.” by Anonymous Oscar voter So the people who will hand her the Oscar can at least anonymously admit that they don't like her music, lol. If that isn't proof that it's all just a bunch of virtue-signaling these days, I don't know what is. Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted February 6, 2020 Share Posted February 6, 2020 5 hours ago, KK said: Well, if anything, Hildur's inevitable would probably be good for ratings. In fact, I wouldn't be surprised if many voters' choices lean towards what improves image and ratings of the Academy in the eyes of world. Hollywood is basically all white guilt liberals. Wins like Crash and Green Book only make sense if you know that. Tydirium and Fabulin 2 Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted February 6, 2020 Share Posted February 6, 2020 On 2/5/2020 at 5:30 AM, Jurassic Shark said: JG would win, even though he's been dead for over a decade. Closer to two decades really. Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted February 6, 2020 Share Posted February 6, 2020 On 2/4/2020 at 1:16 PM, Tydirium said: It's kind of depressingly funny how Hildur is getting all these awards, and yet if you go over to the Filmtracks forums, the annual "Filmtracks Community Awards" (almost 100 film music fans voted) doesn't feature a single score by her in the top 30... So how are these big-name awards so out-of-touch? If the consensus among people who actively engage with film music as a hobby, is that her scores don't deserve to be a top 10 (let alone to snag the #1 spot), then why on Earth are these awards taken seriously? It's a joke. Nah, it’s the film music message boards that are the joke. The Oscars have always been this way. Don’t know why everyone is acting surprised. Every year they do the anonymous voter confessions and every year it reveals that it’s all politics, like we all suspect and know. So... who cares? Y’all have to step away and look at this from a wide perspective. These ceremonies are literally just a bunch of millionaires giving each other gold statues. If you are nominated, you get a gift bag worth $100,000. Stop putting it up on a pedestal because it’s rarely indicative of the actual quality of current film. Tydirium 1 Link to comment Share on other sites More sharing options...
Fabulin 3,515 Posted February 6, 2020 Share Posted February 6, 2020 . Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted February 6, 2020 Share Posted February 6, 2020 Has anyone considered that 1 or 2 anonymous voter interviews are not necessarily representative of the attitudes of every single Academy member? These sites are in it for the clicks, so they would only publish ones that are likely to make people angry. Anyway, being a film music nerd isn't a requirement for working in the film industry, why would you expect the wider industry to share your musical tastes? I'm sure most members do what most everyone does when voting for anything: balance their personal preferences with their perceptions of the wider group dynamics, etc. Cerebral Cortex 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted February 7, 2020 Share Posted February 7, 2020 And so it continues: Best Original Score This one was such a no-brainer. [Star Wars: The Rise of Skywalker's] John Williams? Just a big yawn. [The Alexandre Desplat score for] Little Women was nothing special. Marriage Story? I've heard it a lot. 1917? Thomas Newman. Dynamic. Powerful. Drives the picture along really nice. But the Joker score [by Hildur Guðnadóttir] is fucking amazing. It was fresh. It was new. It was young. It was alive. It was scary. It was creepy. It made you get into his [Joker's] character. You know, oftentimes when I hear Q&As it makes me less interested in a movie, but I heard her on NPR doing an interview and I was fucking floored. And that TV series that she did [the HBO limited series Chernobyl] also has a fucking amazing score. But Joker has the freshest score in years. MY VOTE Joker https://www.hollywoodreporter.com/lists/brutally-honest-oscar-ballot-1917-gimmicky-renee-zellweger-nailed-it-1276607/item/best-original-score-2020-brutally-honest-ballot-2-1276611 Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted February 7, 2020 Share Posted February 7, 2020 I think if the Academy has 8000 voters, the final vote tally will be Hildur -7516 Tom Newman - 313 Desplat - 135 Randy Newman - 34 Williams - 2 (Williams own vote and Spielberg’s) Bayesian 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted February 7, 2020 Share Posted February 7, 2020 HA! JW would never vote for himself. Too modest. Link to comment Share on other sites More sharing options...
Holko 9,532 Posted February 7, 2020 Share Posted February 7, 2020 You must not know Johnny at all if you think he'd even consider voting for his own stuff! Link to comment Share on other sites More sharing options...
Edmilson 7,473 Posted February 7, 2020 Share Posted February 7, 2020 What a bunch of cunts. These retards can't recognize a good score even if it was dancing in front of them. Joker's score might be effective, but fresh? What is so innovative about that score? Really, what is? The first time a composer used a cello solo? Or the first score by a female composer whose name isn't Rachel Portman? So, the pre requisite for winning this fucking award is just being "young and innovative"? I think I'll be a movie composer and make a score that is just the sound of myself farting and burping manipulated electronically. It'll be called "fresh, new, young, the best score since The Social Network". etc. crumbs and Tydirium 2 Link to comment Share on other sites More sharing options...
Popular Post Holko 9,532 Posted February 7, 2020 Popular Post Share Posted February 7, 2020 1 minute ago, Edmilson said: I think I'll be a movie composer and make a score that is just the sound of myself farting and burping manipulated electronically. It'll be called "fresh, new, young, the best score since The Social Network". etc. I'm sure it'll be more listenable! Edmilson, crumbs and Tydirium 3 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted February 7, 2020 Share Posted February 7, 2020 3 minutes ago, Edmilson said: I think I'll be a movie composer and make a score that is just the sound of myself farting and burping manipulated electronically. It'll be called "fresh, new, young, the best score since The Social Network". etc. Didn't HanZ already do that? Link to comment Share on other sites More sharing options...
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