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2020 Oscars - Best Original Score predictions

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1 hour ago, Edmilson said:

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.

 

I think you're being unfair. I think Joker is dull as ditchwater but at least this voter isn't going the 'score sucks, but the composer is female!!!!' route. They actually like the score, think it's innvovative, and like its effect in the film.

 

We may not agree with their opinion, but it's one of the more honourable opnions.

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9 minutes ago, Richard Penna said:

I think you're being unfair. I think Joker is dull as ditchwater but at least this voter isn't going the 'score sucks, but the composer is female!!!!' route. They actually like the score, think it's innvovative, and like its effect in the film.

 

We may not agree with their opinion, but it's one of the more honourable opnions.

 

I don't have a problem with this person liking or not the score. As I've said here, I consider it an effective score. My problem is with him calling it "fresh and new", when clearly there's nothing really that fresh about the Joker score.

 

When you follow the Oscars, the impression is that such is their antipathy and contempt for Williams and/or traditional scores and composers, and such is the desire on innovating the world of film music, bringing "new and innovative" voices every year, that they give nominations and awards to utter shit like the scores of Lion, Moonlight, Chernobyl, etc. It's like if they are embarrassed for traditional orchestral music, and will only give awards to scores that do everything to escape this pattern.

 

That's why I still think a score made of the sounds of my own farts would make these clueless morons fall in love with. 

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1 hour ago, publicist said:

I don't care about the award in the slightest, but i find it fascinating that all major media (and people from that sphere) describe this score (and Chernobyl) with adjectives that are the total opposite of what the thing is. Alive? Freshest? Made you get into the character?

 

They basically say what they want it to be, what it really *is* starts to become a rather fascinating question (i had a typically lengthy exchange with Thor about it that went nowhere). The score is, as i said, mostly static and more decorative than actively shaping any narrative by musical means. What makes all these guys go gaga over it...i don't know. But it sure is a sign of coming apocalypse.

 

Media flexing their ability to brainwash.

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Once in a while things like this pop up, Titanic was the same, though i can't remember anyone claiming Horner's faux-celtic Enya serving was leading film scoring on a hitherto unkown bold new path of meaning.

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7 minutes ago, Edmilson said:

I like (not love) Joker's score, but Hildur's other amazingly acclaimed score, Chernobyl, I think this one is actually more dangerous to scores in general than Joker.

 

When you see a score that is basically the sounds of nuclear plants, indistinguishable from the SFX, being that beloved and awarded by these fucking idiots, it means that they want more scores like this going forward: pretty much just sound effects, no emotion, no comment about the characters or the narrative, nothing, just the same sounds the characters are hearing.

 

Joker is not much better. Mostly static, immovable cello/synth spheres that do not change much from beginning to end, neither in tempo nor content. Works as stylish decoration, adds zero to the proceedings, which is exactly what so many people claim it does in spades. It sounds like eastern music for Samurai sitting together in Zen-like meditation. Not like some crazy mental transformation from depressed man to mythic antagonist.

1 minute ago, TheUlyssesian said:

Is this new? Zimmer has been dumping such garbage on us for a long time now.

 

This is a very reductive statement. Zimmer's scores are, even for the Batman movies, much easier to grasp and put into narrative boxes.

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Herrmann on Taxi Driver and the Hitchcock movies, and North on A Streetcar Named Desire, were more successful than her on portraying a despairing character descending into madness. Streetcar , unlike Joker, was a truly innovative score for its time, using a "new" style of music (jazz) to create a dramatic, tragic portrayal of Vivien Leigh's suffering.

 

However, if Hildur does not let the success of this year comes to her head, I guess she has a promising career moving forward, unlike, for example, Kacszmarek or Bource, that virtually disappeared from Hollywood, or Steven Price, that these days only scores nature docs and shitty action flicks (like Skwad).

 

 

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5 hours ago, Edmilson said:

Steven Price, that these days only scores nature docs and shitty action flicks (like Skwad).

 

I was very impressed with his score for One Planet. Much better than the work Zimmer's team were doing for Attenborough's BBC documentaries (which they took over from the very talented George Fenton, sadly).

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Only ONE critic out of 122 critics wanted Williams to win for The Rise of Skywalker while 40 critics wanted Joker to win. Surprised Desplat was only 5 votes away from Joker to be honest:

Best Original Score

1. Hildur Guðnadóttir, “Joker” (40 votes)

2. Alexandre Desplat, “Little Women” (35 votes)

3. TIE: Randy Newman, “Marriage Story” (23 votes) / Thomas Newman, “1917” (23 votes)

4. John Williams, “Star Wars: The Rise of Skywalker” (1 vote)

 

https://www.indiewire.com/2020/02/which-movies-should-win-oscars-2020-critics-vote-parasite-1202209448/

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1/122? Ouch. But it's those same critics who release "best soundtracks of the year" lists that are 80% remixed songs or weird noises as different from a typical JW score as possible.

Though given that, I'm surprised too that Desplat's Little Women apparently made such an impression on them. Maybe it's the "politics" part of the award game weighing in?

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Politics. They love Gerwig, and the Desplat is innocous/sophisticated enough. Musically, RoS is above them, but doesn't make much of an impression in the movie (universally considered terrible) and also is an old hat now. It's just not a score that wins awards and it looks like at something like Return of the King from a very far distance.

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8 hours ago, eitam said:

1/122? Ouch. But it's those same critics who release "best soundtracks of the year" lists that are 80% remixed songs or weird noises as different from a typical JW score as possible.

Though given that, I'm surprised too that Desplat's Little Women apparently made such an impression on them. Maybe it's the "politics" part of the award game weighing in?


You know the worst term in modern film criticism and discussion?

 

Needle drops!

 

What a punk ass hippy term. "The needle drops are pretty good in this film."

 

But yes, modern film critics have zero idea what a good film score is. Ask this people about the greatest score of all time and Social Network and Dunkirk will be in Top 10. 

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2 hours ago, TheUlyssesian said:

 

Needle drops!

What a punk ass hippy term. "The needle drops are pretty good in this film."

 

 

Thanks, now I won't be able not to think about this whenever I see the term ! :lol:

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4 hours ago, TheUlyssesian said:

But yes, modern film critics have zero idea what a good film score is. Ask this people about the greatest score of all time and Social Network and Dunkirk will be in Top 10. 

 

The more unlistenable a score is, the more they'll like it!

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Whoa, whoa, whoa. 

What’s all this Reznor/Ross hate?

I’ve seen their TSN score compared to both the dullest Autopilot—VST–Zimmer, and to Joker’s score.

 

The latter worked fine in the movie, but I wouldn’t say is that innovative. It’s surely most “memorable” than the one for Chernobyl (was there a soundtrack?), but I would never listen to more than one track. The only thing I get about the award is that it would be a cool thing for noise/drone/ambient/post-minimalism artists, so I don’t see it as a big scandal.

 

As for Zimmer, I absolutely hate his copy-paste testosterone-filled digital ostinatos, and I hate them ‘cause I l know he could be better than that, but his most boring efforts have a way different flavor and intention than Hildur’s unsettling (albeit monotonous) cellos, or the signature Reznor/Ross atmospheres, and I don’t necessarily view them all as the cause of the Academy’s distaste for (good) orchestral music.

 

The Social Network is one of my favorite scores (even if I think their best one is The Girl With The Dragon Tattoo), and I’ve wanted Reznor to score something since the first time I listened to NIN’s “Ghosts I-IV” so I’m probably biased as heck, but c’mon. If intricate and clever orchestration was the only parameter for the Academy Awards, they should be called the JW awards. As cliched as it may sound, simple doesn’t necessarily mean bad or dull. A score has to work well in the context of the movie: Joker does, even if I wouldn’t listen to it. I wouldn’t give it an award but I wouldn’t compare it to, let’s say, Dunkirk, which is definitely more uninspired, “safe” and generic than Joker, and closer to sound design.

 

I’m sure The Social Network gets a lot of hate amongst orchestral purists, and it’s fine, but you can’t throw it in the same “generic RC-style sound design” thrashbin. TSN may not be neither as thematic as you wished nor intricately weaved, but it has recognizable melodies (the Hands Cover Bruise motif is undeniably effective and memorable imho), so I guess I’m a little bit triggered when I see it compared to a ticking clock dry-humping a bass boosted Shepard Tone or the same minor 3rd repeated for 2 hours.

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2 hours ago, Jurassic Shark said:

What kind of name is Atticus anyway? Sounds like some crazy guy who's living in the attic of his dead mother.

 

Or an attorney defending a black man accused of rape in Maycomb

 

Or a clothing brand founded by blink-182 bassist Mark Hoppus

 

 

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On 2/8/2020 at 8:25 AM, Stefancos said:

Honestly Endgame was more worthy of a nomination that the TROS score!


 

TROS is a very weak score. There’s nothing that really stands out and grabs you. I blame some of that on the film but Silvestri should have been rewarded with a nomination instead.

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3 hours ago, Jurassic Shark said:

 

No. JW was offered one a few years ago, but he declined and said he still had some scores to write.

What a badass!

2 hours ago, Jurassic Shark said:

If I recall correctly he didn't really turn the idea down, but kindly made them know it wasn't yet the time for it.

What is the opposite gesture to "I'm going to sleep"?

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Too bad the trumpet player clammed the last note so badly.

 

EDIT: And is it just me, or is that conductor kind of awkward/cringey? The weird golden outfit combined with the over-the-top facial expressions and mannerisms make her look like an animatronic out of a Disney World attraction, or something...

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1 hour ago, TheUlyssesian said:

Here is our John's music being performed at the Oscars - 

 

 

Damn - unavailable in my country, I can't find another version online  :'(

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