Oscar Volley: Fresh nominees or familiar names for Best Original Score?

Team Experience is discussing each Oscar category as we head into the precursors. Here's Juan Carlos Ojano and Mark Brinkerhoff... 

CARLOS: I've learned my lesson about the Original score category. It defaults to usual suspects. On the one hand, their loyalty to certain composers gives the opportunity for films to be nominated even when they're not Best Picture nominees. They don't even have to be Best Picture-adjacent (Parallel Mothers, Isle of Dogs, Passengers). On the other the hand this category can be a lazy checklist of familiar names in the way other categories are a lazy checklist of Best Picture heavyweights. Are you feeling the same way?

MARK: Yes. Often times the  familiar “in the club” composers get shortlisted. Considering The Fablemans is positioned to score overall and considering his own track record, we can surely reserve one spot for John Williams...

Click to read more ...

Mahler's 5th - the secret destroyer in "Decision to Leave" and "Tár"

by Lynn Lee

Mahler’s Fifth Symphony is enjoying a bit of a renaissance these days, thanks to its prominent placement in not just one but two of the most fascinating films of the year, Park Chan-wook’s Decision to Leave and Todd Field’s Tár.  Not that it’s ever really been out of the public eye.  It’s been a staple of classical orchestras for decades, and its fourth movement – the dreamily romantic Adagietto, which cinephiles may recognize from Visconti’s Death in Venice – long ago reached a degree of mainstream popularity rarely accorded classical works.

Just because it’s a war horse, though, doesn’t mean it can’t be used in constantly different and surprising ways.  The Fifth – like all of Mahler’s symphonies, but perhaps even more so – contains multitudes...

Click to read more ...

April Foolish Oscar Predix Pt 2 - Screenplay, Scores, Song, Sound

Previously: Pt 1 Animated Features

A promo still from SPIRITED © Apple TV+

We're dropping the April Foolish Oscar Predictions daily for a week and that should take us through Cannes when the game shifts again with lots of new information to process. Excuse our sibilant sssssssss today but it's time for the two screenplay categories, and the three sound related categories.

Are There Any Musicals This Year?
Yes but not like last season. 2021 was shocking with 11 musicals released though only three turned into real Oscar players (Encanto, tick tick BOOM!, and West Side Story) This year there are half as many. We're getting a Nicholas Britell scored version of Carmen (directed by Mr Natalie Portman himself Benjamin Milipied), Apple TV+ is releasing Spirited, a new musical take of the constantly retold Scrooge story with Will Ferrell and Ryan Reynolds in the leading roles...

Click to read more ...

What's your favourite Elmer Bernstein score?

Happy Centennial to the composer Elmer Bernstein. Bernstein was born 100 years ago today in NYC to Ukrainian immigrant parents. As a teenager he hoped to become a concert pianist. Fate had different plans; He became a legendary film composer instead. His A list breakthrough came in the mid 50s with the back-to-back success of The Man with the Golden Arm (his first Oscar nomination) and Cecil B DeMille's The Ten Commandments. A year before his death in 2004 he was Oscar nominated for a 14th time for Far From Heaven (2002).  So many classic films on his resume. Consider...

• Sudden Fear (1952)
• The Man With the Golden Arm (1955)
• The Ten Commandments (1956)
• The Magnificent Seven (1960)
• To Kill a Mockingbird (1962)
• Thoroughly Modern Millie (1967) - Oscar win
• An American Werewolf in London (1981)
• The Grifters (1991)
• The Age of Innocence (1993)
• Far From Heaven (2002)

Do you have a favourite score from his work?

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? 

Click to read more ...