Jay 37,353 Posted February 4, 2021 Share Posted February 4, 2021 INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARD NOMINATIONS ANNOUNCED • DANIEL PEMBERTON AND HANS ZIMMER RECIEVE FIVE NOMINATIONS EACH • COMEDY CATEGORY DOMINATED BY WOMEN COMPOSERS • FIRST EVER JAPANESE FILM NOMINATED FOR SCORE OF THE YEAR FEBRUARY 4, 2021. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2020, for the 17th annual IFMCA Awards. British composer Daniel Pemberton and German composer Hans Zimmer lead the field with the most number of nominations, each receiving a total of five. Pemberton’s nominations were for his work on three films: the literary adventure “Enola Holmes,” based on the popular young adult novels by Nancy Springer about the younger sister of the legendary sleuth Sherlock; the political drama “The Trial of the Chicago 7,” which looks at the real-life trial of a group of anti–Vietnam War protesters charged with inciting riots at the 1968 Democratic National Convention; and “Rising Phoenix,” an acclaimed documentary following the stories of nine Paralympic athletes. “Enola Holmes” is nominated for Score of the Year, and Pemberton is nominated for Composer of the Year. IFMCA member James Southall called Enola Holmes “a great orchestral adventure romp, whose quirks only add to its great sense of fun … conventional by recent Pemberton standards but still features a number of quirks and it feels so continually fresh and energetic … one of the year’s strongest scores”. Zimmer’s five nominations were all for his work on one film, “Wonder Woman 1984,” the blockbuster sequel to the 2017 DC superhero film directed by Patty Jenkins, and starring Gal Gadot and Chris Pine. The score is nominated for Score of the Year and in its Fantasy/Sci-Fi/Horror genre, Zimmer is nominated for Composer of the Year, and two of Zimmer’s individual cues – “1984” and “Themyscira” – are nominated for Film Music Composition of the Year. IFMCA member Jon Broxton praised the score’s “upbeat attitude, its buoyant sense of fun and optimism, and the unashamed, un-ironic sincerity of its emotional content,” and said that “the depth and complexity of Zimmer’s thematic ideas makes the score satisfying from an intellectual point of view, meaning that the whole thing succeeds on every count.” Also nominated for both Score of the Year and Composer of the Year is British composer Christopher Willis, the winner of the IFMCA’s Comedy Score award in 2017. Willis’s score for the Dickensian literary comedy “The Personal History of David Copperfield” was described by IFMCA member Florent Groult as a “luminous neo-romantic mini symphony,” while his colleague Olivier Desbrosses called it an “inspired score that in no way seeks to hide its many nods to the great masters of classical music,” and features “sensational orchestrations and constant elegance.” The other nominees for Score of the Year are “The Call of the Wild” by British composer John Powell and “Fukushima 50” by Japanese composer Taro Iwashiro. “The Call of the Wild” is a new adaptation of the classic Jack London adventure novel of the same name, starring Harrison Ford. IFMCA member Christian Clemmensen said that Powell’s score “transcends the stereotypes of Western film music, merging that genre with modern fantasy and adventure sensibilities to form one of the most uniquely satisfying soundtrack experiences of its era.” Meanwhile, “Fukushima 50” tells the harrowing true story of what happened to the workers at the Fukushima Daiichi nuclear power plant, and how they risked their lives to stay at the plant and prevent its destruction in the wake of the devastating earthquake and tsunami that rocked Japan in 2011. The score by Taro Iwashiro was described by IFMCA member Joep de Bruijn as being “full of strong orchestral and solo performances, a memorable theme, and a great dramatic scope”. Iwashiro’s nomination in this category represents the first time in IFMCA history that a score from a Japanese film has been included in the five choices for Score of the Year. The other nominees for Composer of the Year are Federico Jusid and Bear McCreary. Argentine composer Jusid is nominated for his work on several scores across multiple genres, including the Spanish super-hero themed serial killer thriller “Orígenes Secretos” (also nominated in its genre), the romantic drama “El Verano Que Vivimos,” the thriller “No Matarás,” and TV series including “The Head”. American composer McCreary’s work in 2020 includes the animated film “Animal Crackers” (also nominated in its genre), the horror-thrillers “Fantasy Island” and “Freaky,” the espionage action movie “Ava,” and several prestigious continuing television dramas such as “Outlander,” “The Walking Dead,” “Snowpiercer,” and “Agents of S.H.I.E.L.D.” 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 group, and the IFMCA is especially excited to reveal that again two of the five nominees are women. Israeli composer Nami Melumad co-wrote two outstanding scores alongside veteran Michael Giacchino, notably the comedy “An American Pickle” and the video game “Medal of Honor: Above and Beyond,” showcasing her excellence and diversity across multiple genres. Meanwhile, British composer Isobel Waller-Bridge wrote a quintessentially English period score for the latest version of Jane Austen’s “Emma,” combining whimsical orchestral music with bel canto opera and folk tunes. Waller-Bridge, who is also known for her score for the hit TV comedy “Fleabag” created by and starring her sister Phoebe, is nominated for this award alongside her Emma co-composer David Schweitzer. The final three composers nominated for Breakthrough Composer begin with British composer Alex Baranowski, who wrote outstanding scores for films such as “The Windermere Children” and “A Christmas Carol” after working extensively and successfully in the theater. British filmmaker Thomas Clay wrote and directed an independent ‘Puritan western’ entitled “Fanny Lye Deliver’d,” and then decided to score the film himself after he was unable to secure a composer; the resulting score is a blend of 16th century period instruments and contemporary dramatic scoring that belies its low-budget status, and is all the more impressive considering the circumstances in which it was composed. Finally, American composer Philip Klein wrote a superb score for the war drama “The Last Full Measure,” the first credited work of his career after he spent several years writing additional music and orchestrating for many of Hollywood’s premier composers. Clay’s score for “Fanny Lye Deliver’d” is also nominated individually in the Drama category. 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 Bruno Coulais for the Irish animated film “Wolfwalkers,” and Cypriot composer George Kallis for the Turkish documentary film “Sadan Hanim”. The IFMCA is also especially pleased to note that the majority of the nominees in the Comedy category were written by women – “An American Pickle” jointly by Nami Melumad with Michael Giacchino, “Emma” jointly by Isobel Waller-Bridge with David Schweitzer, “Godmothered” by Rachel Portman, and “Wild Mountain Thyme” by Amelia Warner. This is the first time in IFMCA history that a single score category has had a female-composer majority, and is testament to the work of organizations such as the Alliance for Women Film Composers (AFWC) and their efforts to redress the gender gap in film music. Several composers are receiving their first ever IFMCA Award nominations this year in addition to the aforementioned newcomers; these are Terence Blanchard (“Da 5 Bloods,” Drama), Trent Reznor, Atticus Ross, and Jon Batiste (“Soul,” Animation), Laura Karpman and Raphael Saadiq (“Lovecraft Country,” Television), and Shigeru Umebayashi (“Ghost of Tsushima,” Game). The International Film Music Critics Association will announce the winners of the 17th IFMCA Awards on February 18, 2021. ####################################### The nominees are: FILM SCORE OF THE YEAR • THE CALL OF THE WILD, music by John Powell • ENOLA HOLMES, music by Daniel Pemberton • FUKUSHIMA 50, music by Taro Iwashiro • THE PERSONAL HISTORY OF DAVID COPPERFIELD, music by Christopher Willis • WONDER WOMAN 1984, music by Hans Zimmer FILM COMPOSER OF THE YEAR • FEDERICO JUSID • BEAR MCCREARY • DANIEL PEMBERTON • CHRISTOPHER WILLIS • HANS ZIMMER BREAKTHROUGH COMPOSER OF THE YEAR • ALEX BARANOWSKI • THOMAS CLAY • PHILIP KLEIN • NAMI MELUMAD • ISOBEL WALLER-BRIDGE AND DAVID SCHWEITZER BEST ORIGINAL SCORE FOR A DRAMA FILM • DA 5 BLOODS, music by Terence Blanchard • FANNY LYE DELIVER’D, music by Thomas Clay • FUKUSHIMA 50, music by Taro Iwashiro • NEWS OF THE WORLD, music by James Newton Howard • THE TRIAL OF THE CHICAGO 7, music by Daniel Pemberton BEST ORIGINAL SCORE FOR A COMEDY FILM • AN AMERICAN PICKLE, music by Michael Giacchino and Nami Melumad • EMMA, music by Isobel Waller-Bridge and David Schweitzer • GODMOTHERED, music by Rachel Portman • THE PERSONAL HISTORY OF DAVID COPPERFIELD, music by Christopher Willis • WILD MOUNTAIN THYME, music by Amelia Warner BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM • THE CALL OF THE WILD, music by John Powell • ENOLA HOLMES, music by Daniel Pemberton • MULAN, music by Harry Gregson-Williams • ORÍGENES SECRETOS [UNKNOWN ORIGINS], music by Federico Jusid • TENET, music by Ludwig Göransson BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM • THE INVISIBLE MAN, music by Benjamin Wallfisch • THE MIDNIGHT SKY, music by Alexandre Desplat • WENDY, music by Dan Romer and Benh Zeitlin • THE WITCHES, music by Alan Silvestri • WONDER WOMAN 1984, music by Hans Zimmer BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE • ANIMAL CRACKERS, music by Bear McCreary • FEARLESS, music by Anne-Kathrin Dern • ONWARD, music by Mychael Danna and Jeff Danna • SOUL, music by Trent Reznor, Atticus Ross, and Jon Batiste • WOLFWALKERS, music by Bruno Coulais BEST ORIGINAL SCORE FOR A DOCUMENTARY • DAVID ATTENBOROUGH: A LIFE ON OUR PLANET, music by Steven Price • ELEPHANT, music by Ramin Djawadi • HARBOR FROM THE HOLOCAUST, music by Chad Cannon • RISING PHOENIX, music by Daniel Pemberton • SADAN HANIM, music by George Kallis BEST ORIGINAL SCORE FOR TELEVISION • DRACULA, music by David Arnold and Michael Price • HIS DARK MATERIALS, music by Lorne Balfe • LOVECRAFT COUNTRY, music by Laura Karpman and Raphael Saadiq • THE MANDALORIAN, music by Ludwig Göransson • THE QUEEN’S GAMBIT, music by Carlos Rafael Rivera BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA • GHOST OF TSUSHIMA, music by Ilan Eshkeri and Shigeru Umebayashi • MEDAL OF HONOR: ABOVE AND BEYOND, music by Michael Giacchino and Nami Melumad • ORI AND THE WILL OF THE WISPS, music by Gareth Coker • THE PATHLESS, music by Austin Wintory • STAR WARS: SQUADRONS, music by Gordy Haab BEST NEW ARCHIVAL RELEASE – RE-RELEASE OR RE-RECORDING • ENDLESS NIGHT, music by Bernard Herrmann; the Basque National Orchestra, conducted by Fernando Velázquez; album produced by Edouard Dubois and José M. Benitez; liner notes by Frank K. DeWald; album art direction by Nacho B. Govantes (Quartet) • THE GOOD, THE BAD AND THE UGLY, music by Ennio Morricone; album produced by Chris Malone and José M. Benitez; liner notes by Chris Malone and Tim Greiving; album art direction by Nacho B. Govantes (Quartet) • HOW TO TRAIN YOUR DRAGON, music by John Powell; album produced by John Powell, Batu Sener, Bryon Davis, and Cary E. Mansfield; liner notes by Tim Greiving; album art direction by Bill Pitzonka (Varèse Sarabande/5 Cat Studios) • KING OF KINGS, music by Miklós Rózsa; the City of Prague Philharmonic Orchestra and Chorus, conducted by Nic Raine; album produced by James Fitzpatick; liner notes by Frank K. DeWald and James Fitzpatrick; album art direction by Nic Finch, Gareth Bevan, and James Fitzpatrick (Tadlow Music) • ROBIN HOOD: PRINCE OF THIEVES, music by Michael Kamen; album produced by Douglass Fake and Roger Feigelson; liner notes by Frank K. DeWald; album art direction by Kay Marshall (Intrada) BEST NEW ARCHIVAL RELEASE – COMPILATION • FRANZ WAXMAN: THE DOCUMENTARIES, music by Franz Waxman; album produced by Ford A. Thaxton and James Nelson; liner notes by Jon Burlingame; album art direction by Mark Banning (Dragon’s Domain) • JOHN WILLIAMS IN VIENNA, music by John Williams; the Wiener Philharmoniker and Anne-Sophie Mutter, conducted by John Williams; album produced by Bernhard Güttler; liner notes by Otta Biba; album art direction by Büro Dirk Rudolph (Deutsche Grammophon) • MORRICONE SEGRETO, music by Ennio Morricone; album produced by Pierpaolo De Sanctis; album art direction by Leonardo Pellegrino (Decca) • VOYAGE TO THE BOTTOM OF THE SEA, music by Alexander Courage, Robert Drasnin, Jerry Goldsmith, Lennie Hayton, Joseph Mullendore, Nelson Riddle, Paul Sawtell, Herman Stein, and Leith Stevens; album produced by Jeff Bond and Neil S. Bulk; liner notes by Jeff Bond; album art direction by Mark Banning (La-La Land) • WORLD SOUNDTRACK AWARDS – TRIBUTE TO THE FILM COMPOSER, music by Various Composers; the Brussels Philharmonic Orchestra and Vlaams Radiokoor, conducted by Dirk Brossé; album produced by Thomas Van Parys; liner notes by Thomas Van Parys; album art direction by Stuart Ford (Silva Screen/Film Fest Ghent) FILM MUSIC RECORD LABEL OF THE YEAR • INTRADA RECORDS, Douglass Fake and Roger Feigelson • LA-LA LAND RECORDS, MV Gerhard and Matt Verboys • MOVIESCORE MEDIA, Mikael Carlsson • QUARTET RECORDS, José M. Benitez • TADLOW MUSIC, James Fitzpatrick FILM MUSIC COMPOSITION OF THE YEAR • “1984” from WONDER WOMAN 1984, music by Hans Zimmer • “Buck Takes the Lead” from THE CALL OF THE WILD, music by John Powell • “Main Title” from THE QUEEN’S GAMBIT, music by Carlos Rafael Rivera • “Symphonic Suite F – 1st Chapter: All Life” from FUKUSHIMA 50, music by Taro Iwashiro • “Themyscira” from WONDER WOMAN 1984, music by Hans Zimmer ####################################### 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, Iran, 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 John Williams’s “Star Wars: The Rise of Skywalker” in 2019, John Powell’s “Solo” in 2018, 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, and John Powell’s “How to Train Your Dragon” in 2010. For more information about the International Film Music Critics Association go to www.filmmusiccritics.org, visit our Facebook page, find us on YouTube, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org fommes 1 Link to comment Share on other sites More sharing options...
Edmilson 7,436 Posted February 4, 2021 Share Posted February 4, 2021 16 minutes ago, Jay said: • FUKUSHIMA 50, music by Taro Iwashiro Haven't heard that one. Is it any good? Link to comment Share on other sites More sharing options...
Popular Post Jay 37,353 Posted February 4, 2021 Author Popular Post Share Posted February 4, 2021 Quote BEST NEW ARCHIVAL RELEASE – RE-RELEASE OR RE-RECORDING • ENDLESS NIGHT, music by Bernard Herrmann; the Basque National Orchestra, conducted by Fernando Velázquez; album produced by Edouard Dubois and José M. Benitez; liner notes by Frank K. DeWald; album art direction by Nacho B. Govantes (Quartet) • THE GOOD, THE BAD AND THE UGLY, music by Ennio Morricone; album produced by Chris Malone and José M. Benitez; liner notes by Chris Malone and Tim Greiving; album art direction by Nacho B. Govantes (Quartet) • HOW TO TRAIN YOUR DRAGON, music by John Powell; album produced by John Powell, Batu Sener, Bryon Davis, and Cary E. Mansfield; liner notes by Tim Greiving; album art direction by Bill Pitzonka (Varèse Sarabande/5 Cat Studios) • KING OF KINGS, music by Miklós Rózsa; the City of Prague Philharmonic Orchestra and Chorus, conducted by Nic Raine; album produced by James Fitzpatick; liner notes by Frank K. DeWald and James Fitzpatrick; album art direction by Nic Finch, Gareth Bevan, and James Fitzpatrick (Tadlow Music) • ROBIN HOOD: PRINCE OF THIEVES, music by Michael Kamen; album produced by Douglass Fake and Roger Feigelson; liner notes by Frank K. DeWald; album art direction by Kay Marshall (Intrada) Congrats to @BryonDavis and Cary for the HTTYD nod! Since Endless Night and King of Kings are re-recordings I feel like they should be in a different category? The work done to make those albums is a completely separate thing from the work done to make restorations of old recordings happen. It's odd seeing Mike Matessino, Jim Titus, Neil Bulk, and LLL nowhere on this list. Two Mules for Sister Sara, The Swarm, Munster Go Home, War of the Worlds aren't as important restorations to the IFMCA as HTTYD and Robin Hood? Tom Guernsey, Yavar Moradi, Arpy and 1 other 4 Link to comment Share on other sites More sharing options...
Thor 7,495 Posted February 4, 2021 Share Posted February 4, 2021 On 2/4/2021 at 2:51 PM, Edmilson said: Haven't heard that one. Is it any good? Yes, it's one of the best of the year. It's on my own top 10 too. Check out the 2020 awards thread. On 2/4/2021 at 2:56 PM, Jay said: Since Endless Night and King of Kings are re-recordings I feel like they should be in a different category? The work done to make those albums is a completely separate thing from the work done to make restorations of old recordings happen. This is a long-running discussion within the organization. Yes, there's a difference, but we can't have more categories. There are already too many to begin with. Edmilson 1 Link to comment Share on other sites More sharing options...
Erik Woods 555 Posted February 5, 2021 Share Posted February 5, 2021 9 hours ago, Jay said: Congrats to @BryonDavis and Cary for the HTTYD nod! Since Endless Night and King of Kings are re-recordings I feel like they should be in a different category? Those work done to make those albums is a completely separate thing from the work done to make restorations of old recordings happen. We go over this every year. If there aren't enough re-recordings in a given year then we add them to the ARCHIVAL RELEASE – RE-RELEASE OR RE-RECORDING category. 9 hours ago, Jay said: It's odd seeing Mike Matessino, Jim Titus, Neil Bulk, and LLL nowhere on this list. Two Mules for Sister Sara, The Swarm, Munster Go Home, War of the Worlds aren't as important restorations to the IFMCA as HTTYD and Robin Hood? That's not what we are saying at all. All that says is that they didn't get enough votes. That's democracy for ya! -Erik- Link to comment Share on other sites More sharing options...
Jay 37,353 Posted February 5, 2021 Author Share Posted February 5, 2021 I find it surprising that more IMFCA members voted for the new HTTYD or Robin Hood over the other ones I mentioned. Did they listen to all these releases before voting? Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted February 5, 2021 Share Posted February 5, 2021 Now THIS is a nice list and one that I can get behind! 11 minutes ago, Jay said: Did they listen to all these releases before voting? If they're anything like the Academy then probably not. TheUlyssesian 1 Link to comment Share on other sites More sharing options...
Jay 37,353 Posted February 5, 2021 Author Share Posted February 5, 2021 17 hours ago, Thor said: This is a long-running discussion within the organization. Yes, there's a difference, but we can't have more categories. There are already too many to begin with. 8 hours ago, Erik Woods said: We go over this every year. If there aren't enough re-recordings in a given year then we add them to the ARCHIVAL RELEASE – RE-RELEASE OR RE-RECORDING category. What about having a "best re-recording" category once every 5 years for the past 5 years worth of re-recordings, instead of forcing them into a similar-ish category once per year? Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Popular Post SilverTrumpet 638 Posted February 5, 2021 Popular Post Share Posted February 5, 2021 As always, the only list that really matters. Erik Woods, TheUlyssesian, Yavar Moradi and 1 other 4 Link to comment Share on other sites More sharing options...
Jay 37,353 Posted February 5, 2021 Author Share Posted February 5, 2021 Yea really glad Nami Melumad got multiple shout-outs as I really enjoyed American Pickle and especially Medal of Honor Above and Beyond. In general Medal of Honor Above and Beyond is completely slept on, don't know why more people aren't checking that one out Yavar Moradi and TSMefford 2 Link to comment Share on other sites More sharing options...
Erik Woods 555 Posted February 5, 2021 Share Posted February 5, 2021 On 2/5/2021 at 8:57 AM, Jay said: What about having a "best re-recording" category once every 5 years for the past 5 years worth of re-recordings, instead of forcing them into a similar-ish category once per year? Right... that's what I said above. If there aren't enough eligible re-recordings then they go into a category called BEST ARCHIVAL RELEASE – RE-RELEASE OR RE-RECORDING. If there *are* enough eligible re-recordings then that archival release category is labelled as BEST ARCHIVAL RELEASE – RE-RELEASE. -Erik- Link to comment Share on other sites More sharing options...
Jay 37,353 Posted February 5, 2021 Author Share Posted February 5, 2021 I'm sorry, but that isn't anything like what I was said at all. I was suggesting only having a re-recording category once every 5 years and saving all nominations until then Link to comment Share on other sites More sharing options...
Erik Woods 555 Posted February 5, 2021 Share Posted February 5, 2021 1 hour ago, Jay said: I'm sorry, but that isn't anything like what I was said at all. I was suggesting only having a re-recording category once every 5 years and saving all nominations until then Sorry... I missed read your post. And yeah, no that won't work at all. -Erik- Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted February 5, 2021 Share Posted February 5, 2021 Enola justly recognized. What are people missing about this outstanding score? As much as I hate Zimmer, can't argue with the two cue of the year noms. Both absolutely fantastic and dazzling. When he does want to compose, the man can definitely compose. Link to comment Share on other sites More sharing options...
Jay 37,353 Posted February 5, 2021 Author Share Posted February 5, 2021 I'm not missing out on it. I listened to the OST album 2 times (maybe 3 times?) and I didn't find anything outstanding about it. I was kinda surprised it got as much hype as it did. Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted February 5, 2021 Share Posted February 5, 2021 I loved it because it feels almost like a rarity - a big orchestral score in a modern action movie - no re-invention, just a straight old-fashioned orchestral score with memorable themes and good orchestration etc. Almost a John Williams like score if you will. I feel a little bit of rarity apart from say some animated films etc. Arpy and TSMefford 2 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted February 5, 2021 Share Posted February 5, 2021 2 hours ago, TheUlyssesian said: Enola justly recognized. What are people missing about this outstanding score? As much as I hate Zimmer, can't argue with the two cue of the year noms. Both absolutely fantastic and dazzling. When he does want to compose, the man can definitely compose. I very much agree with your first sentence. Loved the score for Enola Holmes. That second sentence though...lol. I don't mind one cue being nominated from 1984, but two? That is a score that I simply don't see what all the fuss is about. Again, I don't mind a cue being nominated, I'd have other thoughts if it won, but again...two?? Eh. I'd ditch the "Themyscira" nomination personally and swap it with something else. Not sure what, but I'm there are better cues than that one around. Everything else on this whole list I pretty much agree with and like. Link to comment Share on other sites More sharing options...
Erik Woods 555 Posted February 5, 2021 Share Posted February 5, 2021 1 hour ago, TSMefford said: I very much agree with your first sentence. Loved the score for Enola Holmes. That second sentence though...lol. I don't mind one cue being nominated from 1984, but two? That is a score that I simply don't see what all the fuss is about. Again, I don't mind a cue being nominated, I'd have other thoughts if it won, but again...two?? Eh. I'd ditch the "Themyscira" nomination personally and swap it with something else. Not sure what, but I'm there are better cues than that one around. Everything else on this whole list I pretty much agree with and like. Well, those two cues received the most votes so both get a nom. That's democracy! -Erik- TSMefford 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted February 5, 2021 Share Posted February 5, 2021 8 minutes ago, Erik Woods said: Well, those two cues received the most votes so both get a nom. That's democracy! -Erik- Oh of course. I mean there's nothing to be done. I wasn't questioning how they got there. Just questioning why those two cues got so many votes to appear. I've said it before, but it seems there's something to this score that the majority gets that I do not. Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted February 6, 2021 Share Posted February 6, 2021 2 hours ago, TSMefford said: Oh of course. I mean there's nothing to be done. I wasn't questioning how they got there. Just questioning why those two cues got so many votes to appear. I've said it before, but it seems there's something to this score that the majority gets that I do not. It is definitely one of the most shocking scores of recent years in the sense after years of dreck, Zimmer suddenly writes a very good score. And in an orchestral mode he seemed to have abandoned long ago. So it definitely makes you sit up and notice. Like say, Federer comes out and suddenly after 4 years wins a grand slam, you are like holy shit! Yavar Moradi 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted February 6, 2021 Share Posted February 6, 2021 2 hours ago, TheUlyssesian said: It is definitely one of the most shocking scores of recent years in the sense after years of dreck, Zimmer suddenly writes a very good score. And in an orchestral mode he seemed to have abandoned long ago. So it definitely makes you sit up and notice. Like say, Federer comes out and suddenly after 4 years wins a grand slam, you are like holy shit! That's what's so crazy to me! That's what I keep hearing people say when they talk about it, but I just don't feel that way. It still sounds like the recent Hans Zimmer works...but with an orchestra. I'll attempt to explain. I'm re-listening again now, and I guess when I heard early praise of it being Hans Zimmer going back to his orchestral roots I expected better, much better. I really loved Lion King, Gladiator, Da Vinci Code, Angels and Demons, Pirates, Sherlock Holmes, even The Simpsons Movie etc. but WW1984 is no where near those for me. To me, this sounds like Hans Zimmer using a full orchestra instead of his usual (as of late) sound design and walls of percussion and electronic noise, but with his present day writing style, which is not nearly as interesting to me as the writing on the earlier scores I mentioned. I've commented on this before too, and this is a big part of it for me, but his orchestra in prior scores I mentioned, sounds effective and full of life and real. Here it almost sounds sampled, it doesn't feel lively or emotional. It somehow feels stale. The ingredients are there to an extent, but I'm just not feeling it and I don't quite know why that is. It might be the mixing, it could be the writing, maybe parts of it are actually sampled, but I just don't know. It is the most positive and sort of vibrant I've heard Zimmer in quite a long time so I'll give it that, but the only track that comes close to being very good for me is "1984" and even that has a "sampled" sound, but it's fun and interesting. It simply must be a me problem. I just don't hear it. It's certainly different on the surface, but I still feel the hollowness I feel from most modern Zimmer scores. It's no better to me than Man of Steel, Batman V Superman, Inferno, etc. I do hope I have not subconsciously and forever ruined Zimmer for myself with the extreme boredom from his modern scores and annoyance at his "god-like" praise from his fans. I do want to like it as I used to be a Zimmer fan myself, but shortly after Inception I believe he just started losing me. I thought this would be the score that would revive him for me, because of what I was hearing about it, but...eh. Who knows, maybe I'll like the Sketches album better. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted February 6, 2021 Share Posted February 6, 2021 56 minutes ago, TSMefford said: That's what's so crazy to me! That's what I keep hearing people say when they talk about it, but I just don't feel that way. It still sounds like the recent Hans Zimmer works...but with an orchestra. I'll attempt to explain. I'm re-listening again now, and I guess when I heard early praise of it being Hans Zimmer going back to his orchestral roots I expected better, much better. I really loved Lion King, Gladiator, Da Vinci Code, Angels and Demons, Pirates, Sherlock Holmes, even The Simpsons Movie etc. but WW1984 is no where near those for me. To me, this sounds like Hans Zimmer using a full orchestra instead of his usual (as of late) sound design and walls of percussion and electronic noise, but with his present day writing style, which is not nearly as interesting to me as the writing on the earlier scores I mentioned. I've commented on this before too, and this is a big part of it for me, but his orchestra in prior scores I mentioned, sounds effective and full of life and real. Here it almost sounds sampled, it doesn't feel lively or emotional. It somehow feels stale. The ingredients are there to an extent, but I'm just not feeling it and I don't quite know why that is. It might be the mixing, it could be the writing, maybe parts of it are actually sampled, but I just don't know. It is the most positive and sort of vibrant I've heard Zimmer in quite a long time so I'll give it that, but the only track that comes close to being very good for me is "1984" and even that has a "sampled" sound, but it's fun and interesting. It simply must be a me problem. I just don't hear it. It's certainly different on the surface, but I still feel the hollowness I feel from most modern Zimmer scores. It's no better to me than Man of Steel, Batman V Superman, Inferno, etc. I do hope I have not subconsciously and forever ruined Zimmer for myself with the extreme boredom from his modern scores and annoyance at his "god-like" praise from his fans. I do want to like it as I used to be a Zimmer fan myself, but shortly after Inception I believe he just started losing me. I thought this would be the score that would revive him for me, because of what I was hearing about it, but...eh. Who knows, maybe I'll like the Sketches album better. You won't get a Zimmer defense from me. I think he's literally gutter trash 95% of the time. And I don't give a fuck about him. But just so people can see I am not irrational, I will praise if I genuinely like something and I genuinely do like this score. That aside I do agree it all sends essentially midi level. I did not in my first estimation of the first cue released, that this could be masterpiece level if I were to hear it live performed by an actual choir and orchestra. Dunno if that will ever happen, but he did show decent skill here. But again, I more or less don't care for Zimmer and am not going to defend him beyond that. He can go fuck himself for all I care. TSMefford 1 Link to comment Share on other sites More sharing options...
Erik Woods 555 Posted February 6, 2021 Share Posted February 6, 2021 All I can offer at this moment is Jon Broxton’s superb review of the score which mirrors my thoughts about the score. https://moviemusicuk.us/2020/12/29/wonder-woman-1984-hans-zimmer/ Edmilson 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted February 6, 2021 Share Posted February 6, 2021 19 minutes ago, Erik Woods said: All I can offer at this moment is Jon Broxton’s superb review of the score which mirrors my thoughts about the score. https://www.google.ca/amp/s/moviemusicuk.us/2020/12/29/wonder-woman-1984-hans-zimmer/amp/ Thanks Erik! I have read that one in my many attempts to try and see what people love about it so much. I just don't see what he's seeing. Oh well. I'm just one dude. It'll probably win in Best Cue of the year and Best Score for all I know. Maybe one day I'll see it. Link to comment Share on other sites More sharing options...
Thor 7,495 Posted February 6, 2021 Share Posted February 6, 2021 I'm one of the biggest Zimmer fans in this forum, but WONDER WOMAN 1984 never qualified to anything more than a 'runner-up' for me. Link to comment Share on other sites More sharing options...
Edmilson 7,436 Posted February 6, 2021 Share Posted February 6, 2021 It's his best score since Interstellar, and the most enjoyable to listen since At World's End. Knight of Ren and Erik Woods 1 1 Link to comment Share on other sites More sharing options...
Linae 11 Posted February 6, 2021 Share Posted February 6, 2021 - TheUlyssesian 1 Link to comment Share on other sites More sharing options...
Popular Post Lord Zimmer 211 Posted February 6, 2021 Popular Post Share Posted February 6, 2021 All of you can go fuck yourself. TSMefford, bruce marshall, crumbs and 2 others 1 4 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted February 7, 2021 Share Posted February 7, 2021 22 hours ago, Lord Zimmer said: All of you can go fuck yourself. Hey. Are you the real Hans Zimmer? Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted February 7, 2021 Share Posted February 7, 2021 Wonder Woman 1984 had some great moments - Themyscira and 1984 are quite infectious, but the score is a typical RCP/Zimmer product through and through so much so that it all felt predictable. I think a lot of the praise for it is because Zimmer uses an orchestral palette as more of a gimmick - but the score steps in and out of that mode intermittently and without much sense of continuity like a sleepy driver going in and out of sleep: TSMefford and Yavar Moradi 2 Link to comment Share on other sites More sharing options...
Knight of Ren 789 Posted February 7, 2021 Share Posted February 7, 2021 20 hours ago, Edmilson said: It's his best score since Interstellar, and the most enjoyable to listen since At World's End. I kind of agree with this. It's not a perfect score, but it's certainly the most interesting he has been since Interstellar. And the first three cues (Themyscira, Games and 1984) are the most fun I've had with a Zimmer score since At World's End (which remains one of my favorites of his). But I agree that a big chunk of the score sounds like digital samples and reminds me of scores like Man of Steel or Batman v Superman, which I kind of liked, so I can see where the criticism comes from. This kind of sound especially becomes more prominent as the album goes on, and the second half it's just the Man of Steel sound with maybe more variated orchestrations. At least that's how I feel. But I think that those three first tracks are a good sign of what Zimmer can still achieve if he wants to, so I hope his next scores like Bond or Top Gun follow this kind of sound. TSMefford and Yavar Moradi 2 Link to comment Share on other sites More sharing options...
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