Oscar Volley: Who will win Song & Score?

by Team Experience

NATHANIEL R: Hello Matt, Eurocheese, and our special guest Thomas Mizer, who has guest blogged here before and who is an Emmy-nominee as a lyricist for The Marvelous Mrs Maisel. We won't ask Tom to sound off on the Best Song nominees (too close to home) but we do need his input on Best Original Score. In fact, I personally need all of your input on Original Score. I recognize fully that Scores are way up there with Editing in how they can make or break a movie, but unlike with editing (which I am fairly well versed in), I am not particular adept at noticing what composers are doing or how they're doing it. I hate to admit this because I love Nicholas Britell's work (generally speaking) but I honestly didn't realize Don't Look Up had a score. I thought while watching it that it was mostly song cues and dialogue. So I need your collective help. Who are you rooting for and why and who do you think might win? 

I'm partial to The Power of the Dog among these five but then I tend to like the kind of score that feels like an additional character, even a meddling one, who keeps reentering the already tense rooms to ratchet up the tension even further. How about you special guest Tom Mizer? 

TOM MIZER: Thanks for inviting me in—and saving me from having to pick between the songwriters who are all people I respect, just might know, and hope to work with. (Though it would have been fun to have a reason to share my story of running into Diane Warren at a karaoke night in LA while one of my friends was, yes, singing one of her songs. Next time.)

I adore film music so this category is one of my favorites. Every script I write, I have a specific playlist of film scores playing to keep me in the right head space. And you’re right, they really can make or break a film. The toughest part for me is remembering not just to fall for scores that I think are simply gorgeously composed music, but also see the craft of scores that do heavy lifting in the film but i may not want to put on shuffle. Before I say anything else, I think the four of the five nominees this year are absolutely stellar and worthy winners. It’s a real forward thinking, exciting group.

But if I have to pick my favorite score of the year, it has to be Dune. The way it uses low tones and rhythm, more felt than heard, alternating with what sound like bellowing alien mating calls made me feel like i was getting the movie injected directly into my veins—which is essential when the film itself simmers for long, stately periods. The score is the siren call, the promise of the trip ahead and in our head. It is almost impossible to pull it apart from the sound design, which I loved, and yet there is unquestionably melody there, medieval and suddenly erupting with emotion. (Speaking of awesome/weird medieval sounds, if only The Green Knight were nominated here, too.) The way it insinuates into your brain without the aid of traditional ear worm, lyrical lines is very impressive. And Zimmer’s ability to weave together so many wildly different elements (choral chants, wailing guitars, pulsing percussion tracks) and make it feel cohesive and new is a thrill. But will it win? I’ll be curious to see if the recent unflattering article in Vanity Fair (which featured Hans Zimmer as the prime example of delegating composing work to an enormous staff) has any repercussions in voting. That’s a really complicated topic, that Zimmer seems to be addressing, maybe we can talk about more another time.

Do you all agree this is an impressively bold list of scores?

EUROCHEESE: When Nicholas Britell is the weak link, it's clearly a stellar line up. I'm thrilled that Hans Zimmer's work is likely to win him a second Oscar and that both wins will be for iconic, remarkable work. Thomas, I loved your description of Dune’s intermixed score and I left the theater feeling like the entire design kept me invested in such a way that the film’s length never dragged for me. I don't want to preemptively declare it the winner, though, considering more statues than expected for The Power of the Dog isn’t out of the question and Encanto is also on the rise. I expect that enthusiasm to create more waves in Original Song, though.

Speaking of which…

I was sure Beyoncé was going to waltz away with her Oscar early in the season, but it’s clear to me now that the showdown in Original Song will be between Billie Eilish and Lin Manuel Miranda. Obviously, this award would be a slam dunk for “We Don’t Talk About Bruno” if Disney hadn’t limited its nomination options – something I’m hoping they will question in the future. But will the love for Encanto be enough to drive an additional win here? I’m guessing Eilish will come out on top, but the race is far from over. She’d have my vote, since Annette’s brilliant “So May We Start” (easily my favorite part of that film) didn’t make the cut.

MATT ST CLAIR: I'm leaning towards "Dos Oruguitas" as the Best Original Song winner. For one, it's the heart of the movie and it'd be a way of rewarding not just the chart-topping soundtrack but Lin-Manuel Miranda who has had quite a year between his involvement on Encanto, Vivo, and In The Heights. Plus, his directorial debut tick, tick..Boom!. I guess Billie Eilish could win by default because it's a Bond theme song. But because she'll have plenty more chances to win an Oscar down the line, maybe this become Miranda's crowning moment? 

As for Original Score, it'll probably be Hans Zimmer unless they want to reward Jonny Greenwood since they obliviously loved The Power of the Dog and he's had a year between that and Spencer. I'd personally choose Greenwood.

TOM MIZER: Don’t underestimate Germaine Franco and her Encanto score. First, it’s beautiful, absolutely deserving work with a gorgeous, organic combination of classic Disney sweep and South American influences. This would be the score that ten year-old me would have choreographed a ballet to —and I mean that as the absolutely highest praise. Second, she is extremely well liked. I was just at the Society of Composers and Lyricists Awards and it was a lovely night, but the response to winners was warm though subdued. Until Germaine won, over an almost identical field. The ballroom erupted. Standing ovation. And she gave a generous, touching speech about her mother and female composers and what this meant to her. If the Oscar were voted on by just her music peers, she would win in a landslide.

As a side note, I wish my writing partner were here on this one because I’d love to study really deeply how intwined the songs and score are, really deep dive into the musical construction, but that’s beyond my musical knowledge. 

NATHANIEL R: The question of intertwining for Song and Score is why I have two separate score categories in my own awards, one for traditional original scores and the other for scores that are either song heavy or a mix of original scoring plus several other important themes or cues that aren't necessarily original -- a lot of movies fit this criteria and sometimes the original score gets credit for this. Remember Babel's divisive win despite having very few minutes of original score? Didn't they change the rule after that?  I remember wondering this year if Drive My Car was going to be ineligible because though it has wonderful original music there's not a lot of new material in comparison to the film's tremendous length.

Tom, thank you for mention that Vanity Fair article on scoring. I do wonder if that article will cost Zimmer the Oscar. Or, maybe the practice is well-known enough that voters will shrug their shoulders about it? I do think mutliple outcomes are possible. Part of me thinks, like you, that Encanto could surprise here. I don't think Britell or Iglesias can win (Parallel Mothers is just underdiscussed despite the Best Actress nomination) but the other three all feel quite possible.  And here's where I get angry again about this award being shunted off to the pre-show. It's so fucking rude. 

EUROCHEESE: Sidelining Score also highlights that pushing these categories to the side has nothing to do with making the show accessible. There are few film composers more famous than Hans Zimmer, and the battle for this award most likely comes down to a blockbuster, a smash hit animated film that is everywhere right now, and the Best Picture frontrunner. Regardless of who wins, I hope the disrespected winners speak out on the Academy's complete lack of taste in allowing this to happen on what should have been a monumental achievement in their lives. But I digress...

While I barely noticed the score in Don’t Look Up while watching it, the scores of the other films created such a defining tone that dictated the mood of each of their films. Encanto wasn’t my personal favorite among these, but the way it creates an ongoing, lively baseline keeps the film moving at an exciting pace, as if the film is dancing with us. The orchestral tension in Parallel Mothers puts the movie on edge and adds to its stakes. Greenwood’s score for The Power of the Dog speaks so beautifully to Wegner’s images, building a backdrop where we have context when we don’t have dialog. And then there’s Dune’s immersive sound experience; even with those killer images, can we imagine that film having the same impact without Zimmer backing it?

If I had the option to reward two scores instead of a Song winner, I might lean in that direction. Does anyone disagree? (Apologies for falling into the trap of pitting these categories against each other.)

MATT: Well, I don't think that sidelining Score is going to boost ratings because as other have said, they're trying to appease those who don't have any interest in watching the show anyway. So, they should keep it in the main telecast because it's a respectful thing to do and a score can be (pardon the pun) instrumental to a film's success. I mean, when we think of Jaws, we tend to think of the "Dun dun dun dun" 

Just give composers their due.

TOM: Amen. I would even venture to say that score is one of the “craft categories” that your average film goers absolutely get and love. I mean, how many high school bands are out there playing the Avengers theme or a Harry Potter suite?

Two quick side notes if I may? I love how the scores for Parallel Mothers and Power of the Dog make great companion pieces. Both take an inspiration (Spanish folk/pop and Western film music) and cross it with Bernard Herrmann style suspense writing to create an unsettling tension that cues us into darker goings on. And I was really impressed with how the score was used in the first  10 minutes of Don’t Look Up. Watch particularly in the sequence around the heroes getting on the military plane; the score record scratches off and on as we jump back and forth in time, as if there is a score for one movie (about Leo and JLaw) but not for the other (military and politics). It’s fun and unexpected and I only wish it continued to be that playful throughout. (And reiterate what was said earlier, I think Britell is one of the best in the business now. His score for Underground Railroad…)

MATT ST CLAIR: Yeah. Didn't think about the Herrmann shades in the Parallel Mothers score but it makes total sense now. Also, agree that Britell is indeed one of the best in the business. His score for Don't Look Up was one of the highlights of the movie for me. 

NATHANIEL: This is where I have to disagree a smidge to the surprise of other Almodóvar stans like me. I normally love Iglesias work and taken as a score apart from the movie it's another beauty. But I have to say the Hermann shades, felt slightly off for this movie which isn't really a thriller or a suspense movie. It doesn't have a bury the body or back from the dead  kind of moment like Volver so I was scratching my head a bit.

But let's get to song!

EUROCHEESE: I'm starting to come around on Miranda winning in Song - handing him the EGOT may be too tempting to pass up. It is a lovely composition, though I'd still prefer a win for "Bruno" or "Surface Pressure." It seems like poor Diane Warren will never get the win, but this is nowhere near her best work. I also found Belfast's "Down to Joy" completely forgettable. This year highlights how this category is out of touch with which songs make an impact in culture. (Or even in their movie)

TOM: Without having to wade into my vote, I’m curious what you all think of HOW the songs are used in the films — which should be a factor, right? For example, I liked the Bond theme fine when i first heard it but when I saw the movie I loved it. The way it connects lyrically to the prologue and feels to grow directly out of the tone set by that great opening sequence made things I wasn’t sure about (the quiet simmer without a big Shirley Bassey release) seem like smart, artistic choices. 

NATHANIEL: Context should be part of the "Best" decision always, no matter the film category. Which is why I struggle with the current song rules which no longer work against end-credit songs. They used to have to watch the song in context (from my understanding) at the bakeoffs and now they don't. In context that theoretically works against tacked-on songs because you're just staring at the credit scroll. Even some things that weren't nominated like the The Harder They Fall songs -- the ones submitted were not the ones that appear within the narrative, like the song Stagecoach Mary sings when we meet her at the saloon. This is why I'm mostly okay with the stranglehood either Bond films (which do use the songs for credit purposes but in fun visual ways!) or animated musicals can have in this category. At least the songs feel like part of the films! Even better if the songs thread into the scoring -- didn't they do that with Skyfall?

If the songs are played within the films rather than over credits it also gets rid of those uncomfortable Oscar ceremony moments where you feel like your hearing a song for the first time and you're like "oh, this is better than I thought. Shoulda voted for that!" (Hello, Harriet) 

Anyway. Final predictions for a little chart!

PREDICTIONS - SONG
"Dos Orugitas" - Nathaniel, Matt
"No Time To Die" - Tom, Eurocheese

PREDICTIONS - SCORE
Dune - Eurocheese, Tom, Nathaniel, Matt

But I want to say I don't feel confident about either of my predictions. Who does feel confident this year? 

Comments

[Frank Zappa]

Score
WILL WIN: Zimmer
SHOULD WIN: Any of them
COULD WIN: Greenwood
MISSING IN ACTION: Greenwood (again), Devonté Hynes

Song
WILL WIN: "No Time to Die"
SHOULD WIN: Any but "Somehow You Do" and "Be Alive"
COULD WIN: "Dos Oruguitas"
MISSING IN ACTION: "So May We Start"

[Arnaud Trouvé]

My only Oscar wish this year is for "Dos Oruguitas" to win.

[Arnaud Trouvé]

My only Oscar wish this year is for "Dos Oruguitas" to win.