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2020 Oscars - Best Original Score predictions


TownerFan
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This isn't related to the Score Oscar, but you wanna know something wild?

 

Brad Pitt is the favorite to win the Best Supporting Actor Oscar, which would be his first one.  He is actually 3 years older than Al Pacino was when he won his first Oscar, which is considered the classic "this is in recognition of your career, not this performance" win.  Al Pacino seemed as ancient and eternal as the mountains to me in the 1990s, but he was just in his early 50s :lol:

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2 hours ago, Disco Stu said:

Brad Pitt is the favorite to win the Best Supporting Actor Oscar, which would be his first one.  

 

*First for acting!

 

I have similar thoughts as yours on Pacino with a lot of people. John Williams is that way too, he’s kinda been in his 80s for 30 years to me lol. 

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While the TROS music is excellent, it has very little presence and impact in the film... which is what really killed Williams' chances of winning. And it doesn't help that the film wasn't well received, either. He'll no doubt be nominated since the music branch probably recognizes its brilliance outside of the film.

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9 hours ago, Disco Stu said:

Brad Pitt is the favorite to win the Best Supporting Actor Oscar, which would be his first one.  He is actually 3 years older than Al Pacino was when he won his first Oscar, which is considered the classic "this is in recognition of your career, not this performance" win.  Al Pacino seemed as ancient and eternal as the mountains to me in the 1990s, but he was just in his early 50s :lol:

But he doesn't deserve the Oscar.

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I didn't think Pitt's turn in Hollywood was anything to write home about, certainly not compared to the performances in The Irishman (both Pacino and Pesci, for that matter).

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Here's another Oscar curiosity: if Joaquin Phoenix wins Best Actor this year for Joker, it'll be the second time the same character gives two different performers the awards for Best Actor and Best Supporting Actor - on this case, Heath Ledger, which won in 2008.

 

The first one was Vito Corleone, who gave Brando the award for Best Actor in The Godfather and De Niro the award for Best Supporting Actor on Godfather Part 2.

 

Of course, there's a few caveats. Firstly, Ledger unfortunately died before receiving his Oscar, while Brando famously refused his. Also, this is a little stretch, since the Joker from Nolan's movie is not exactly the same person than the character from Todd Phillips' movie, but you get the idea.

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She certainly has talent, but what does it help when filmmakers, audiences and award voters applaud music that avoids everything that made the art form great? I saw Joker now and the music didn't tell me anything about the film's story or its main character. It's a static and purely decorative accessory that stylishly fits the movie, but never comments, reflects or shapes dramatically. In short: it's the unthinking men's/women's dream score, sitting there to be marveled at like the ultra design edition of the new MacBook Pro.

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My compatriot Pablo Villaça, one of the most influent Brazilian critics these days (probably the most influent, since Rubens Ewald Filho passed away last year), published his bets for the Oscar nominations, and he is not so confident in Williams... :( 

 

Translating: Coringa = Joker, Adoráveis Mulheres = Little Women, Histórias de um Casamento = Marriage Story. Between parenthesis, he says: "Of course the Academy can remember that John Williams' score for The Rise of Skywalker is his goodbye from the series and nominate him, but..."

 

trilha.PNG

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Yep, and it happens super early, at a bit after 5am L.A. time (I guess to allow the entire day for the PR machines to turn on).

 

Just after 1pm UK time, which (*checks clock*) is about 30 mins from now!

 

Streaming here: 

 

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I love that Randy and Thomas Newman are nominated together.

 

It's happened only once before in 1995, when Randy was nominated for Toy Story and Thomas for Unstrung Heroes.
 

This is also Randy's first Original Score nomination since 2001, when he was nominated for Monsters, Inc.

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Nice!  Randy got another nomination for a song from Toy Story 4.  Good for him.

 

4 minutes ago, Þekþiþm said:

Is there a full written list? I don't feel like watching a video.

 

It's still going, it's live.  The list will be up in a few minutes.

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John has deserved many wins. This years he doesn't even deserve the nomination 

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10 minutes ago, Stefancos said:

Alan Silvestri was robbed!


Ready Player One was eligible last year , not this year. 

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I haven’t seen or heard Little Women yet. Of the other 4 I say Rise of Skywalker comfortably ranks #1 as listening music, and a distant #2 to 1917 as film score. 

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Oscar is already Hildur's. This will be one of the most boring years of all time in terms of competition for the award. Last year, there were still doubt about who would win among Mary Poppins Returns or Black Panther, and in 2017 I bet the dispute between Desplat and Greenwood was pretty close, but this year will be dull af.

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Nah Desplat and Goransson were easy givens. As a probable runner-up, T Newman is as much in the running as Shaiman/Greenwood were.

 

2014 was the last time I really wasn’t too sure who would win between Desplat x2, Johannsson, or Zimmer. That was a toss up but I think Grand Budapest won the BAFTA, so.

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In 2017, yeah, probably Desplat was the frontrunner anyway, he had won the Globes and the BAFTA, although I still wasn't sure about him. He already had his Oscar, and the Award hasn't been given to someone which already had the statue since Santaolalla in 2006.

 

If I'm not mistaken, the only composers to win another Oscar after they had won at least one before since the 90s were Barry in 90, Williams in 93, Menken's countless victories, Shore in 2003 and Santaolalla in 2006. Given how the Academy prefers to give the award to a newcomer, or someone on its first nomination, I was betting on Greenwood that year.

 

But in 2018 the race was much more weird. Hurwitz won the Globes and wasn't nominated to the Oscars, A Star is Born won the BAFTAs (wtf?!?) and until the end I guess it was a very tight race between Black Panther and Mary Poppins, with Beale Street on their backs.

 

I agree that 2016 and 2015 were predictable, and that 2014 was an interesting race, with pratically everyone having a shot (even Zimmer), except for that guy from that biopic about painting that nobody watched.

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  • 3 weeks later...

An anonymous Oscar ballot from a member of the directors branch critizised the nomination of Williams, here is what he/she said:

Original Score

“Joker” will win for Hildur Guðnadóttir. I can’t deny it’s a great score.

“1917.” However, Thomas Newman has never won. The music for that flaming village scene and the end cue of the movie are both extraordinary. I may vote for this.

“Star Wars: Rise of Skywalker” is the only bullshit nomination. John Williams has done some amazing work, but not a single cue in this pops at all.

 

https://www.indiewire.com/2020/01/anonymous-oscar-ballot-2020-director-best-picture-1202207110/

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I don’t get it, I just don’t get. Joker is such a nothing score. It’s just droning cello music. There’s no intricacy, no interesting or complicated orchestration. I’m sure Hildur is a great composer, but come on. Just listen to “The Speeder Chase” or “Little Women”. The colour, fluidity and complexity of these cues are just so superior to anything in Joker. This has triggered me more than the love for The Social Network.

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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.

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1 hour ago, Alex said:

I don’t get it, I just don’t get. Joker is such a nothing score. It’s just droning cello music. There’s no intricacy, no interesting or complicated orchestration. I’m sure Hildur is a great composer, but come on. Just listen to “The Speeder Chase” or “Little Women”. The colour, fluidity and complexity of these cues are just so superior to anything in Joker. This has triggered me more than the love for The Social Network.

 

Sure. But to Hildur's credit, at least her score actually leaves an impression and builds a personality for the film in context, despite its lacking subtlety. Desplat's whimsical, wandering figures for Little Women mostly just serve as functional sonic wallpaper.

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Yeah, I’ll admit, in Little Women, 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.

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