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No Oscar for 'Aviator' score


Bart

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Howard Shore's score for The Aviator will not be eligible for an Oscar, Daily Variety said Thursday.

The paper said the score, which has a won Golden Globe and been nominated for a British Academy of Films and Television Arts award, is one of several that have been disqualified for Oscar consideration by the academy's music branch executive committee. The academy has tougher restrictions on disqualification than other organizations that hand out movie awards.

The academy recently sent out a list of 81 eligible scores to voting members of the music branch. Besides The Aviator, the list also excluded Craig Armstrong's score for Ray, Harry Gregson-Williams' music for Shrek 2, James Newton Howard's music for Collateral and director Clint Eastwood's score for Million Dollar Baby.

Academy officials would not comment on the record, but sources told Variety Shore's music was disqualified under a rule prohibiting scores diluted by the use of tracked or pre-existing music. Shore's music in The Aviator accounts for no more than one-third of all the music in the film.

Eastwood's score failed to qualify because paperwork was submitted too late.

From BigNewsNetwork

Perhaps this makes the chances bigger for Williams to win!

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I don't get this rule. Shouldn't the Oscar for Best Original Score be determined by the effectiveness and quality of the music written for the film? Even if that score is only a small portion of the total use of music?

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I don't get this rule. Shouldn't the Oscar for Best Original Score be determined by the effectiveness and quality of the music written for the film? Even if that score is only a small portion of the total use of music?

Yes. But shouldn't the Oscar for acting be based on the actor's performance in the film in question, rather than their race or entire careers? Oh whoops.

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If a score is not the most prevalent music in the movie, I don't think it should have equal footing with those scores that are. And the Oscar are not politically influenced, the problem is they're often not artistically influenced. They often get it right, and a lot of the more contested awards given out are contested out of personal preference- like Titanic. I think it was great. Not 11 Oscars great, not better than LA Confidential, but I think it deserved a good deal of what it got. Alex, on the other hand, I'm sure sees this as the negligable Oscars giving another terrible Hollywood film an Oscar purely because of the hype. I think the almost unanimous uproar over Shakespeare in Love beating Saving Private Ryan proves that most of the Oscar's choices are tolerated by a lot of people, only the really egregious ones cause an uproar.

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To a certain extent, yes. It is a score that is supporting the film where the songs cannot. It is not a complete, full blooded motion picture score, and should not be equally concidered with those that are. Like the wins for The Little Murmaid, Aladdin or The Full Monty.

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WEll, at least Menken wrote both the songs and the score. It makes all the difference.

If the score of the aviator is not predominat enough, than maybe it shouldn't be nominated.

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Who's nominated is IMO besides the point. Aladdin's score didn't have nearly as important a part in it's film as Basic Instinct did. The Little Mermaid's score didn't have nearly as important a part as Born on The Fourth of July. The Full Monty's score barely had any importance at all in relation to the songs.

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How can you say the score had no importance in those disney films? Score...songs, you can't really make the distiction of one from the other...it was music composed for the movie and it carries the story imensly. The songs are also part of the score.

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I didn't say they had no importance, I said that they shared their place with the songs, and in those specific cases, are practicaly eclipsed by them. And the songs are specificaly not part of the dramatic score, they should not be nominated as part of the score. They are a beast onto themselves.

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No, he did not. He was nominated. That year 3 great scores were nominated- Harry Potter, A.I., FoTR. And A Beautiful Mind is a good score.

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I find it odd that no one has mentioned anything about the actual Aviator score in this thread thus far

Max-Who likes it, the score that is

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I think it's a great score. It plays really well on its own because Shore crafted it like a classical piece rather than the usual underscore. Anyone who says that cannot hear a theme in this score needs to re-assess their listening/music skills.

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The Academy,realising they screwed up in giving him 2 Oscars for LotR ,made up this rule specifically to disqualify his score for The Aviator.

K.M.

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Sounds like it....why couldn't they have brought this dumbass rule in to disqualify Menken's sub-par Disney crap in the late '80's early '90's. It makes me sick to think that hack has more statuettes on his mantle than Goldsmith, North, Herrmann, etc. etc.

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Regardless of the Aviator score being disallowed, the film should win at least three of the big oscars this time around if there's any justice in the world. I saw the film today and I was blown away. It really should take best picture, best director (about time for Scorsese!) and most certainly best actor for DiCapprio. I've never been a huge fan of DiCapprio's work after Gilbert Grape, but he gives an incredible performance in Aviator!

I even liked the score, and heaven knows I'm not a Howard Shore fan after the LOTR trilogy, as Stefan has mentioned on occasion. However I have to admit (grudgingly) that his score for Aviator works beautifully. The period music used in the film is also wonderfully selected. I must pick up the CD!

I've started off this year by seeing four excellent films in theatres: A Very Long Engagement, Finding Neverland, In Good Company, and now The Aviator. All are superb in different ways, but The Aviator is clearly the strongest IMO. Please let this be Scorsese's year. Politics aside (and let's face it, the Academy probably feel duty-bound to recognise Scorsese by this point) the film is quite simply excellent, and to me it's better than any winner of best-picture Oscar since Schindler's List.

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When all is said and done, bottom line is, JW's got a real shot at the Oscars this year. I've said it before, but if Shore won 2 Oscars for LOTR and Williams got none for HP, I would lose my faith in the Academy for good. I don't care whether it makes sense to compare those two series, JW deserves one for the Harry Potter-series. Period!!!

:(

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 I would love my faith in the Academy for good.  

Really?

I already corrected it. :(

Nothing can clean the stain left on your name. You are banned from this establishment! You, and your children, and your CHILDREN'S CHILDREN!..........for 3 months.

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 I would love my faith in the Academy for good.  

Really?

I already corrected it. :(

Nothing can clean the stain left on your name. You are banned from this establishment! You, and your children, and your CHILDREN'S CHILDREN!..........for 3 months.

I think you've spent too much time in this "establishment". :)

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You, and your children, and your CHILDREN'S CHILDREN!

And your children's children's children.

And your children's children's children's children.

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Yeah, sure. The Academy works in misterious ways.

Anyway, I'm a big fan of Menken's disney scores, although his best score of the buch, the Hunchback of Notre Dame, is paradoxly one of the less recognized.

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You, and your children, and your CHILDREN'S CHILDREN!

And your children's children's children.

And your children's children's children's children.

Isn't that from the Bible, you know in the part were they kill Christ?

No, you are incorrect. It is from Mel Gibson's film The Passion. And it is actually the scene after the bad guys give the good guy to the other bad guys for them to kill.

Morlock- who agrees with Merkel about Menken's best score

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Alan Menken deserved his score OScars. With little exception, the instrumental score was an extension of the song score. Many of the melodies in the instrumental score came from the song score, and done beautifully, kind of like what Williams did with "Home Alone," though it was the other way around.

And with "Patton," Fiery Angel, I think the length of the score doesn't matter. "The Aviator" score would be eligible, despite its brevity, if there weren't so many non-original songs written for the film. I actually screamed when Shore won the Golden Globe, not because of the fact that I didn't remember the score (because every scene practically had a period song attached to it), but because the score that was there didn't do much service to the film. If it did, we would remember it in the same way we remember the music for "Patton" (more on that score later).

However, after the music category became one entity again after it split in the late 90s, they reworded the rule to say that no score is eligible if the score is dominated -- overshadowed, if you will -- by the use of songs, original or not. So, that means Menken's score for "Home on the Range" is also not eligible. This is why the score to "Tarzan" and "South Park" weren't eligible in 1999. Here are the rules.

That's sad to hear about Eastwood not being eligible because the paperwork wasn't submitted in time. I heard bits and pieces of the score online and liked what I heard.

But now it does give Williams a bigger shot at getting nominated. As far as winning, we'll find out in the morning.

Jeff

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 Nothing can clean the stain left on your name. You are banned from this establishment! You, and your children, and your CHILDREN'S CHILDREN!..........for 3 months.

I hope everyone realizes that this is from "The Simpsons"

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 Nothing can clean the stain left on your name. You are banned from this establishment! You, and your children, and your CHILDREN'S CHILDREN!..........for 3 months.

I hope everyone realizes that this is from "The Simpsons"

from episode "Lisa the Iconoclast" (sp?)

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