Popular Post JNHFan2000 2,969 Posted February 9, 2023 Popular Post Share Posted February 9, 2023 http://filmmusiccritics.org/2023/02/ifmca-award-nominations-2022/ IFMCA Award Nominations 2022 INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARDS NOMINATIONS ANNOUNCED TELEVISON AND GAME SCORES ELIGIBLE FOR SCORE OF THE YEAR FOR FIRST TIME BEAR MCCREARY, MICHAEL GIACCHINO, DANIEL PEMBERTON LEAD LIST OF NOMINATED COMPOSERS COMPOSERS FROM EGYPT, FINLAND, JAPAN, POLAND, TURKEY, AMONG MANY OTHERS, ALL VYING FOR PRIZES ####################################### The nominees are: SCORE OF THE YEAR AVATAR: THE WAY OF WATER, music by Simon Franglen THE BATMAN, music by Michael Giacchino THE FABELMANS, music by John Williams THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary, theme by Howard Shore NOPE, music by Michael Abels COMPOSER OF THE YEAR ALEXANDRE DESPLAT SIMON FRANGLEN MICHAEL GIACCHINO BEAR MCCREARY DANIEL PEMBERTON BREAKTHROUGH COMPOSER OF THE YEAR MICHELINO BISCEGLIA ROBIN CAROLAN AND SEBASTIAN GAINSBOROUGH CHANDA DANCY HESHAM NAZIH BATU SENER COMPOSITION OF THE YEAR* *Note: there are six nominees in this category due to a tie between the nominees in fifth “Galadriel” from THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary “Leaving Home (Hometree)” from AVATAR: THE WAY OF WATER, music by Simon Franglen “Mother and Son” from THE FABELMANS, music by John Williams “Númenor” from THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary “Sailing Into the Dawn” from THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary “The Batman” from THE BATMAN, music by Michael Giacchino BEST ORIGINAL SCORE FOR A DRAMA FILM AMSTERDAM, music by Daniel Pemberton BABYLON, music by Justin Hurwitz EMILY, music by Abel Korzeniowski THE FABELMANS, music by John Williams LE TEMPS DES SECRETS, music by Philippe Rombi BEST ORIGINAL SCORE FOR A COMEDY FILM GLASS ONION: A KNIVES OUT MYSTERY, music by Nathan Johnson THE LOST CITY, music by Pinar Toprak THE LOST KING, music by Alexandre Desplat A MAN CALLED OTTO, music by Thomas Newman SEE HOW THEY RUN, music by Daniel Pemberton BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM THE BATMAN, music by Michael Giacchino ENOLA HOLMES 2, music by Daniel Pemberton THE NORTHMAN, music by Robin Carolan and Sebastian Gainsborough SUPERMARSU 2 [SUPER FURBALL SAVES THE FUTURE], music by Panu Aaltio VIOLENT NIGHT, music by Dominic Lewis BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM AVATAR: THE WAY OF WATER, music by Simon Franglen CRIMES OF THE FUTURE, music by Howard Shore DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS, music by Danny Elfman FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE, music by James Newton Howard JURASSIC WORLD: DOMINION, music by Michael Giacchino BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM LOS RENGLONES TORCIDOS DE DIOS, music by Fernando Velázquez THE MENU, music by Colin Stetson NOPE, music by Michael Abels PEARL, music by Tyler Bates and Timothy Williams WEREWOLF BY NIGHT, music by Michael Giacchino BEST ORIGINAL SCORE FOR AN ANIMATED FILM THE BAD GUYS, music by Daniel Pemberton GUILLERMO DEL TORO’S PINOCCHIO, music by Alexandre Desplat LIGHTYEAR, music by Michael Giacchino PAWS OF FURY: THE LEGEND OF HANK, music by Bear McCreary STRANGE WORLD, music by Henry Jackman BEST ORIGINAL SCORE FOR A DOCUMENTARY FROZEN PLANET II, music by Hans Zimmer, Adam Lukas, and James Everingham ONZE NATUUR [OUR NATURE], music by Dirk Brossé POLAR BEAR, music by Harry Gregson-Williams SECRETS OF THE SEA, music by Alan Williams WOLF, music by Matthijs Kieboom BEST ORIGINAL SCORE FOR TELEVISION THE ENGLISH, music by Federico Jusid INTERVIEW WITH THE VAMPIRE, music by Daniel Hart THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary, theme by Howard Shore MOON KNIGHT, music by Hesham Nazih THE ORVILLE, music by John Debney, Joel McNeely, Andrew Cottee, and Kevin Kaska, theme by Bruce Broughton BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA CAT BURGLAR, music by Christopher Willis THE FAITH OF THE THREE KINGDOMS, music by Shigeru Umebayashi and Chad Cannon GOD OF WAR: RAGNARÖK, music by Bear McCreary MARIO + RABBIDS: SPARKS OF HOPE, music by Yōko Shimomura, Grant Kirkhope, and Gareth Coker A PLAGUE TALE: REQUIEM, music by Olivier Derivière BEST ARCHIVAL RELEASE AMISTAD, music by John Williams; album produced by Mike Matessino, liner notes by Jeff Bond, album art direction by Jim Titus (La-La Land) BLACK PATCH/THE MAN, music by Jerry Goldsmith; Royal Scottish National Orchestra cond. William Stromberg, album produced by Douglass Fake, liner notes by Frank K. DeWald and Douglass Fake, album art direction by Jim Titus (Intrada) FRENZY, music by Ron Goodwin and Henry Mancini; album produced by Mike Matessino, liner notes by Deniz Cordell, album art direction by Nacho B. Govantes (Quartet) THE GODFATHER, music by Nino Rota; album produced by Dan Goldwasser and Neil S. Bulk, liner notes by Tim Grieving, album art direction by Dan Goldwasser (La-La Land) GOLDSMITH AT 20TH, VOL 5: MUSIC FOR TELEVISION 1968-1975, music by Jerry Goldsmith; album produced by Mike Matessino and Neil S. Bulk, liner notes by Jon Burlingame, album art direction by Jim Titus (La-La Land) JOHN WILLIAMS: THE BERLIN CONCERT, music by John Williams; Berliner Philharmoniker cond. John Williams, album produced by Ute Fesquet, Christoph Franke, and Oliver Kreyssig, liner notes by Tobias Möller and Richard Evidon, album art direction by Eva Reisinger (Deutsche Grammophon) L. A. CONFIDENTIAL, music by Jerry Goldsmith; album produced by Mike Matessino and Neil S. Bulk, liner notes by Tim Greiving, album art direction by Mark Shoolery (Varese Sarabande) THE MAGNIFICENT SEVEN COLLECTION, music by Elmer Bernstein; album produced by Chris Malone, liner notes by Frank K. DeWald, album art direction by Nacho B. Govantes and Jim Titus (Quartet) MARY, QUEEN OF SCOTS, music by John Barry; album produced by Mike Matessino and Neil S. Bulk, liner notes by Jon Burlingame, album art direction by Nacho B. Govantes (Quartet) WILLOW, music by James Horner; album produced by Douglass Fake, liner notes by Frank K. DeWald, album art direction by John Alvin and Kay Marshall (Intrada) 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 MUSIC BOX RECORDS, Cyril Durand-Roger and Laurent Lafarge QUARTET RECORDS, Jose M. Benitez ##################################### DemonStar, bruce marshall, enderdrag64 and 2 others 3 2 Link to comment Share on other sites More sharing options...
Jay 37,374 Posted February 9, 2023 Share Posted February 9, 2023 So sad that The Orville is literally the only nominee without a Spotify link because the Season 3 OST album still isn't out yet How in any way is "The Berlin Concert" considered an "Archival release"? The production path that leads to an album like that existing is completely different from a catalog release of a film score. I cannot understand how it ends up in the same category. Is Hans Zimmer Live going to be in this category next year? Congratulations to everyone at LLL, Intrada, Quartet, and Varese - and the independent producers and other crew that worked on them - for the well deserved nominations for Amistad, Godfather, Goldsmith at 20th 5, Willow, Frenzy, Magnificent Seven, Mary Queen of Scots, and LA Confidential. Great work getting great recognition Tom Guernsey and enderdrag64 2 Link to comment Share on other sites More sharing options...
Yavar Moradi 2,603 Posted February 9, 2023 Share Posted February 9, 2023 It’s because it was decided there weren’t enough new recordings to justify their own category as they used to get. I think it’s weird too, even as a member of IFMCA. I wish the new recording category stayed as its own unique separate thing no matter what, even if there were fewer new film music recordings produced than there are nominee slots (not a point we are at, yet). But the combining of the archival, compilation, and new recording categories into one are why there are 10 nominee slots instead of 5. Yavar Link to comment Share on other sites More sharing options...
Erik Woods 555 Posted February 9, 2023 Share Posted February 9, 2023 3 minutes ago, Jay said: So sad that The Orville is literally the only nominee without a Spotify link because the Season 3 OST album still isn't out yet How in any way is "The Berlin Concert" considered an "Archival release"? The production path that leads to an album like that existing is completely different from a catalog release of a film score. I cannot understand how it ends up in the same category. Is Hans Zimmer Live going to be in this category next year? Because we don't have enough re-recordings for their own category, we place them in the ARCHIVAL section when we want to honour a re-recording but don't have enough to fill a category. I hope that makes sense. Re-recordings aren't as common as they once were for their own category, which is unfortunate because we would love to see more of them. -Erik- Yavar Moradi and Jurassic Shark 2 Link to comment Share on other sites More sharing options...
Jay 37,374 Posted February 9, 2023 Share Posted February 9, 2023 The Berlin Concert is not a re-recording. It's a live concert. JTN 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,091 Posted February 9, 2023 Share Posted February 9, 2023 It's mostly recordings of pieces that have been recorded earlier. Link to comment Share on other sites More sharing options...
Erik Woods 555 Posted February 9, 2023 Share Posted February 9, 2023 8 minutes ago, Jay said: The Berlin Concert is not a re-recording. It's a live concert. Fine... new recording of an existing score. -Erik- Link to comment Share on other sites More sharing options...
Bespin 8,484 Posted February 9, 2023 Share Posted February 9, 2023 Congrats to veterans Thomas Newman, Danny Elfman, James Newton Howard and Howard Shore for their nominations! Link to comment Share on other sites More sharing options...
Richard Penna 3,695 Posted February 9, 2023 Share Posted February 9, 2023 If McCreary doesn't win for score of the year and TV score, something is very wrong. IMO it's the clear standout amongst all the nominees. Tom Guernsey and Yavar Moradi 2 Link to comment Share on other sites More sharing options...
Jay 37,374 Posted February 9, 2023 Share Posted February 9, 2023 It's interesting that in the "Composition of the Year" category, the three tracks they went with are Galadriel, Númenor, and Sailing Into Dawn, which is largely similar to Númenor. You'd think it would have been Galadriel, Valinor, and Númenor, or maybe Where The Shadows Lie (Fiona Apple) replacing one of those Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Edmilson 7,473 Posted February 9, 2023 Share Posted February 9, 2023 13 minutes ago, Richard Penna said: If McCreary doesn't win for score of the year and TV score, something is very wrong. IMO it's the clear standout amongst all the nominees. It's the favorite, but I think it'll face some tough competition from Avatar. Link to comment Share on other sites More sharing options...
Mr. Who 919 Posted February 9, 2023 Share Posted February 9, 2023 I hope Franglen wins composer of the year and score of the year and JNH can win best fantasy score! leeallen01 1 Link to comment Share on other sites More sharing options...
JNHFan2000 2,969 Posted February 9, 2023 Author Share Posted February 9, 2023 I really like Franglen's work last year. But up against both McCreary & Giacchino I feel he doesn't stand a chance. They both wrote multiple oustanding scores. Franglen had one oustanding score and one decent score. So I might give the Fantasy score to Franglen. Let McCreary win Score of the Year & Giacchino Composer of the year. Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted February 9, 2023 Share Posted February 9, 2023 Franglen should definitely win something from a category. The more I listen to his Avatar score, the more I fall in love with it. Not to be too dramatic, but it's one of my favourite scores probably ever. Yavar Moradi and Mr. Who 2 Link to comment Share on other sites More sharing options...
Richard Penna 3,695 Posted February 9, 2023 Share Posted February 9, 2023 There's scope for Franglen to get best fantasy/sci-fi score, although I enjoyed Dominion a lot more than I think some here did, and I think is equally deserving. Gia is a good candidate for composer of the year for multiple huge scores but McCreary should get score of the year. Nothing comes close in terms of thematic depth and constent quality across so much music. I feel hesitant in comparing RoP with The Fabelmans for example - 9 hours of stunning orchestral music alongside 20 minutes of good chamber music. Tom Guernsey 1 Link to comment Share on other sites More sharing options...
Edmilson 7,473 Posted February 10, 2023 Share Posted February 10, 2023 1 hour ago, JNHFan2000 said: So I might give the Fantasy score to Franglen. I didn't know you're a voter at IFMCA! As part of the association, can you get autographed film score CDs for free? Link to comment Share on other sites More sharing options...
JNHFan2000 2,969 Posted February 23, 2023 Author Share Posted February 23, 2023 Bespin 1 Link to comment Share on other sites More sharing options...
Bespin 8,484 Posted February 23, 2023 Share Posted February 23, 2023 Congrats to The Bear! Link to comment Share on other sites More sharing options...
Jay 37,374 Posted February 23, 2023 Share Posted February 23, 2023 FEBRUARY 23, 2023 — The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2022, in the 2022 IFMCA Awards. The award for Score of the Year goes to American composer Bear McCreary, for his score for the epic Amazon Prime television series The Lord of the Rings: The Rings of Power. The series, which has a main theme by composer Howard Shore, is based on the extended writings of author J.R.R. Tolkien, and looks at events that took place in Middle Earth millennia before those portrayed in director Peter Jackson’s massively successful and popular Lord of the Rings and Hobbit films. IFMCA member James Southall called The Rings of Power “a real triumph, undoubtedly McCreary’s own career-defining moment,” and IFMCA member Conrado Xalabarder said that the score was “one of the best in the history of music for television series … a work made from intelligence, commitment, and above all respect for Tolkien and the audience. All its central themes work impeccably, coherently, and they develop and interact with each other, creating first-rate narration and dramaturgy.” IFMCA member Jon Broxton similarly praised the score, saying “the level of research and intelligent design McCreary has done in terms of creating the musical structure of The Rings of Power is absolutely astonishing, and is probably unparalleled in the history of television music.” This marks the first time a score written for television has been named Score of the Year by the IFMCA. The rules were changed earlier in 2022 to allow television and video game scores to compete alongside films for the top award. The Lord of the Rings: The Rings of Power is also named Best Original Score for Television, while McCreary himself is named Composer of the Year, his first win in this category. McCreary’s other work in 2022 included the animated comedy Paws of Fury: The Legend of Hank, which is a re-imagining of the classic 1970s comedy Blazing Saddles; the epic video game God of War: Ragnarök (which also won the award for Best Original Score for a Video Game or Interactive Media); and continuing contributions to the most recent seasons of TV series such as Outlander, See, The Serpent Queen, The Walking Dead, and The Witcher: Blood Origin. These are the sixth, seventh, eighth, and ninth IFMCA Awards of McCreary’s career. British composer Simon Franglen wins two awards for his score for Avatar: The Way of the Water, director James Cameron’s first sequel to his 2009 blockbuster Avatar, which sends audiences back to the lush world of Pandora. The score was named Best Original Score for a Fantasy/Science Fiction Film, while his cue “Leaving Home,” aka “Hometree,” was named Composition of the Year. In reviewing Avatar: The Way of Water, IFMCA member Christian Clemmensen said that “Franglen surpassed all expectations in composing an astonishingly brilliant love letter to James Horner that is arguably superior to its predecessor,” and praised the score’s “fantastic themes, extremely tight narrative, and vibrant, smart mix of orchestra, voice, electronics, and specialty accents.”. Egyptian composer Hesham Nazih is named Breakthrough Composer of the Year after being widely heralded for his outstanding score for the super-hero series Moon Knight. Nazih – who has been working in the pan-Arabic film music industry for almost 20 years, and is well-known in that part of the world, but had never scored an English-language project before – brought authentic sounds of the Middle East to the Marvel Universe with his score. IFMCA member Jon Broxton described Moon Knight as “an old-fashioned big-orchestra superhero action score, anchored by a massive and memorable main theme, but which also seamlessly works in elements of Egyptian classical music, anchoring it in a specific place and a specific culture, while remaining appealing to a broad audience,” and noted that the score is “yet another reminder – as if one were needed – of just how much compositional talent there is working outside the established Hollywood mainstream.” Nazih’s win here marks the first win in any category for an African-born composer in IFMCA history. The various other genre awards are won by: John Williams for director Steven Spielberg’s semi-autobiographical drama The Fabelmans, Nathan Johnson for the murder mystery comedy Glass Onion, Michael Giacchino for the latest re-imagining of the classic DC superhero The Batman, Michael Abels for the contemporary horror film Nope, Alexandre Desplat for director Guillermo del Toro’s new animated version of the classic Pinocchio, and Harry Gregson-Williams for the Disney-produced nature documentary Polar Bear. Producer Michael Matessino and Quartet Records receive the Archival Award for their new release of the music for Alfred Hitchcock’s 1972 crime thriller Frenzy. The album was produced as a limited edition release that features in-depth liner notes by writer Deniz Cordell and art direction by Nacho B. Govantes, and showcases composer Ron Goodwin’s score for the finished film, as well as the little-heard rejected score by the great Henry Mancini. Quartet Records, and their executive owner Jose M. Benitez, is also named Film Music Record Label of the Year, in recognition of their outstanding series of expanded re-releases which in 2022 included titles such as the aforementioned Frenzy, John Barry’s Mary Queen of Scots, a collection of Elmer Bernstein’s Magnificent Seven scores, Georges Delerue’s The Day of the Dolphin, and Jerry Goldsmith’s Seconds. This year’s winner of the Roberto Aschieri Special Award, which is awarded to an individual who has made an important and long-lasting contribution to the art and preservation of film music over a career, is also given to producer Michael Matessino. The award is named in honor of Roberto Aschieri, the film music journalist and author from Argentina who was a member of the IFMCA until his death in 2017. Matessino is a writer, film historian and preservationist, with particular emphasis on the restoration of classic film music. An accomplished music mixer and editor, he has produced, edited, mixed and mastered music, and written liner notes for hundreds of soundtrack projects spanning nine decades, including the Star Wars Trilogy, Poltergeist, Superman, Alien, The Goonies, Back to the Future, Home Alone, the Star Trek feature films, and Empire of the Sun. Also among his credits are comprehensive box sets of Jerry Goldsmith’s and Bernard Herrmann’s music for 20th Century Fox, and many scores from Hollywood’s Golden Age including The Robe, Demetrius and the Gladiators, The Egyptian, David and Bathsheba, and Ben-Hur. This year alone he received five IFMCA nominations for his work on the albums for the aforementioned Frenzy, John Williams’s Amistad, Jerry Goldsmith’s L.A. Confidential, John Barry’s Mary Queen of Scots, and the compilation album Goldsmith at 20th, Vol 5: Music for Television 1968-1975. In total, Matessino is a 27-time IFMCA Award nominee. This year, the IFMCA has also decided to bestow the Kyle Renick Special Award on Ennio, the feature documentary about the life and career of the late Ennio Morricone, which was directed by his friend and colleague Giuseppe Tornatore.This special award is presented to a title not eligible for a standard IFMCA Award, but which has a film music component. This award is not guaranteed to be presented annually, and is only presented to a project worthy of separate special acknowledgement. The award is named in honor of Kyle Renick, the film music journalist and theater producer from New York who was a member of the IFMCA until his death in 2019. Ennio features extensive interviews with Morricone, who shares his memories of his life and career – from the beginning studying under Goffredo Petrassi and working as an arranger for RCA, to his Academy Award for Best Original Score on Quentin Tarantino’s The Hateful Eight – and, most fascinatingly discusses the creation of some of his legendary music. By focusing not just on the music that is already most familiar to the public at large, and thanks to the composer being unusually open and offering a rare public glance of his razor-sharp wit, it shares a number of fascinating insights into his fabled creativity. With additional interviews with many of his collaborators and contemporaries – not only composers like Quincy Jones, John Williams, Hans Zimmer or Pat Matheny, and filmmakers like Lina Wertmüller, Barry Levinson, Bernardo Bertolucci, and Clint Eastwood, but particularly from the earlier years of his career – the IFMCA felt that the film had great merit and worthy of special recognition in this way. The winners are: SCORE OF THE YEAR THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary, theme by Howard Shore COMPOSER OF THE YEAR BEAR MCCREARY BREAKTHROUGH COMPOSER OF THE YEAR HESHAM NAZIH COMPOSITION OF THE YEAR “Leaving Home (Hometree)” from AVATAR: THE WAY OF WATER, music by Simon Franglen BEST ORIGINAL SCORE FOR A DRAMA FILM THE FABELMANS, music by John Williams BEST ORIGINAL SCORE FOR A COMEDY FILM GLASS ONION: A KNIVES OUT MYSTERY, music by Nathan Johnson BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM THE BATMAN, music by Michael Giacchino BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM AVATAR: THE WAY OF WATER, music by Simon Franglen BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM NOPE, music by Michael Abels BEST ORIGINAL SCORE FOR AN ANIMATED FILM GUILLERMO DEL TORO’S PINOCCHIO, music by Alexandre Desplat BEST ORIGINAL SCORE FOR A DOCUMENTARY POLAR BEAR, music by Harry Gregson-Williams BEST ORIGINAL SCORE FOR TELEVISION THE LORD OF THE RINGS: THE RINGS OF POWER, music by Bear McCreary, theme by Howard Shore BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA GOD OF WAR: RAGNARÖK, music by Bear McCreary BEST NEW ARCHIVAL RELEASE FRENZY, music by Ron Goodwin and Henry Mancini; album produced by Michael Matessino, liner notes by Deniz Cordell, album art direction by Nacho B. Govantes (Quartet) FILM MUSIC RECORD LABEL OF THE YEAR QUARTET RECORDS, Jose M. Benitez ROBERTO ASCHIERI SPECIAL AWARD FOR CONTRIBUTION TO FILM MUSIC MICHAEL MATESSINO KYLE RENICK SPECIAL AWARD ENNIO, THE MAESTRO, directed by Giuseppe Tornatore Tom Guernsey and Holko 2 Link to comment Share on other sites More sharing options...
Faleel 5,360 Posted February 23, 2023 Share Posted February 23, 2023 14 minutes ago, Jay said: BEST NEW ARCHIVAL RELEASE FRENZY, music by Ron Goodwin and Henry Mancini; album produced by Michael Matessino, liner notes by Deniz Cordell, album art direction by Nacho B. Govantes (Quartet) FILM MUSIC RECORD LABEL OF THE YEAR QUARTET RECORDS, Jose M. Benitez Lol, wut? Link to comment Share on other sites More sharing options...
Jay 37,374 Posted February 23, 2023 Share Posted February 23, 2023 Congratulations Mike Matessino! Bespin and Yavar Moradi 2 Link to comment Share on other sites More sharing options...
JNHFan2000 2,969 Posted February 23, 2023 Author Share Posted February 23, 2023 Disappointed by Composition of the year & animation. But besides that, I agree with all the nominees Link to comment Share on other sites More sharing options...
Jay 37,374 Posted February 23, 2023 Share Posted February 23, 2023 7 minutes ago, JNHFan2000 said: I agree with all the nominees You mean the winners? Erik Woods 1 Link to comment Share on other sites More sharing options...
JNHFan2000 2,969 Posted February 23, 2023 Author Share Posted February 23, 2023 Oh. Yeah Link to comment Share on other sites More sharing options...
Bespin 8,484 Posted February 23, 2023 Share Posted February 23, 2023 2 hours ago, Clockwork Angel said: Lol, wut? Same for me. I'm not a fan of Mancini at the point to get his only full-scale rejected score... But great archeological work by Mike Matessino! Link to comment Share on other sites More sharing options...
leeallen01 2,136 Posted February 23, 2023 Share Posted February 23, 2023 Happy for Bear. He's such a great guy. Also happy for Franglen. There are so many pieces from his Avatar Score that I would name composition of the year. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Recommended Posts
Create an account or sign in to comment
You need to be a member in order to leave a comment
Create an account
Sign up for a new account in our community. It's easy!
Register a new accountSign in
Already have an account? Sign in here.
Sign In Now