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The nominations this year seem very weak to me. It’s mostly indies and the shoo-ins. There’s a full list at JoBlo.com (that’s my first spot for movie news) but I’ll list below the music nominations, which are missing Danny’s deserving name.
Best Original Score
Alexandre Desplat, SYRIANA
James Newton Howard, KING KONG
Gustavo Santaolalla, BROKEBACK MOUNTAIN
Harry Gregson-Williams, THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE
John Williams, MEMOIRS OF A GEISHABest Original Song
“A Love That Will Never Grow Old” – BROKEBACK MOUNTAIN, Music by: Gustavo Santaolalla, Lyrics by: Bernie Taupin
“Christmas In Love” — CHRISTMAS IN LOVE, Music by: Tony Renis, Lyrics by: Marva Jan Marrow
“There’s Nothing Like A Show On Broadway” — THE PRODUCERS, Music & Lyrics by: Mel Brooks
“Travelin’ Thru” — TRANSAMERICA, Music & Lyrics by: Dolly Parton
“Wunderkind” — THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE, Music & Lyrics by: Alanis MorissetteIts not looking good for Oscar time! Although Johnny Depp did get nominated! Danny must be nominated for an Oscar for at least one if not both of his scores! It has to happen!
King Kong! It isn’t even out yet. How long has that score even been available to the voting public, anyway? What grade-A baloney.
I’m positive he’s still getting nominated at least for Best Song at the Oscars.
That lineup sure is weird. Syriana’s score gave me a headache, and I’m a big Desplat fan.
I just can’t buy that they nominated the 11th-hour King Kong score just out of quality. One, I heard it’s only decent (I’ve yet to take a listen yet) and two, I think the Hollywood Foreign Press is just getting used to nominating everything Peter Jackson. If Danny Elfman had scored that movie, or if The Frighteners came out post-LOTR, he would have definitely gotten a nomination. As for the other nominees, I figured that Narnia and Memoirs of a Geisha would get nominations because I’ve heard they’re goot material, but seeing Brokeback Mountain and Syriana on there just make me think the HFP people are just judging the scores based on the movies they came from, not the actual music. That’s only my score rant, and I won’t even bother ranting about the Best Song nominees because most of them, except for the song from The Producers, seem to have been plucked from total obscurity. Boy, am I pissed.
…but seeing Brokeback Mountain and Syriana on there just make me think the HFP people are just judging the scores based on the movies they came from, not the actual music.
I agree. I’m partly convinced that they just don’t give a shit, and are completely content with sleepwalking through their “jobs.”
King Kong is has it’s moments and it’s effective, but not outstanding.
Charlie and the Chocolate factory is extraordinary work.
11th hour Kong should be disqualified anyway…I realize people do the best under pressure, but over 2 hours of music written in weeks with 9 orchestrators isn’t worth sh#t. It’s ambience, not music.
The cover of all the papers in NY today are all Kong. They says it’s good but I don’t ever recall such and over the top marketing blitz. Talk about fear of failure.I don’t know what they are worried about.
Maybe I’m just bitter cuz of Shore’s lost score.
Hah! But you haven’t even heard the score. And he wasn’t rejected from Narnia. What are you talking about?
Sigh. We are talking about the nominations and Narnia is nominated so I am just saying it is a good score. I haven’t heard Shores Kong score but I am happy he got replaced because I happen to not like him even though he’s Canadian.
…I am happy he got replaced because I happen to not like him even though he’s Canadian.
Not me. I saw the movie yesterday, and I can’t believe how banal and insipid the score was. And there was so much for Howard to work with – giant bugs, bats, dinosaurs, tribal sacrifices. (A rare miss.)
I don’t know who’s to blame.
It really speaks volumes about where contemporary film scores are going when the King Kong score from 1933 is more exciting than then one in 2005.
JN Howard only had three weeks to write the score to King Kong. I saw it and thought that it wasnt that bad for the short time span he had to write the music.
Its funny because Howard Shore was in King Kong! It was kinda sad to me! He was the conductor of that orchestra in the theatre! Sad!
I’ve always thought Shore’s Kong score would be great too, largely because of the first two Lord of the Rings. I thought of exotic stuff like in the Moria sequence. I can’t imagine what PJ’s problem was his music.
After seeing the movie there isn’t anything more to admire on JNH’s score, and the soundtrack CD really isn’t missing anything great. The bug scene music, like all of JNH’s score, it’s effective, but nothing extraordinary. It’s not an overwhelming experience, is anyone really impressed by the score? I don’t think it’s one of the best scores of the year. Certainly not better than anything Danny did this year.
It was great to hear Max Steiner’s music in Kong’s Show. They used the Fanfare, main titles, and Jungle Music. The movie itself is like an expanded version of the orginal, but I felt the emotionally satisfying Kong scenes lost some impact on the film thanks to all the other generous adventures on Skull Island.
Wow, arn’t we all tissy
?I, as always, am not surprised. Elfman has never big big at award shows, and I doubt he ever will be. He was overlooked countless times for scores that redefined genres, so why would he get nominated now? We all know who the great composers are, and just because Elfman doesn’t get nominated for something doesn’t mean that he is a bad composer, just that the HFP and the Academy have thier favorites, and he isn’t on that list.
Anyhoo, I REALLY hope that Gregson-Williams score doesn’t win. Yes, it’s a fantastic score, but when it came to matching the film, it was a 50/50 shot. It’s a period film yet there where all these electronics and some weird cut up songish piece. All in all it totally detracted me from the film, and that doesn’t make a good score. It’s a pitty because when he hit it right, it was brilliant.
As for JNH, that is really no surprise. Kong didn’t stand out as being one of the best scores I have ever heard, but it worked very well with the film. There was almost wall to wall music there, and the fact that JNH could even write anything near that in 3 weeks is amazing. I say bravo, he deserves some sort of recognition for it. And I couldn’t care less that Shore’s score got tossed. I’m sorry but LOTR was a big exception in my book, and I have never really liked his music. He is a good composer, but no one should kiss his ass because he wrote that one good score (I count all three as one).
Williams… wow, there is a shocker. John Williams crap out a score in 2 days and still get nominated. But fortunatly, most of those nominations are deserved. He really is one of the greatest living composers.
Ok, that is my rant, and as a disclaimer all that is said is strictly my opinion. Just because I don’t like Howard Shore doesn’t mean you can’t like him either. So there
Knight (And I would agree that sometimes scores only get nominated because of the film they go to:) )
> Williams… wow, there is a shocker. John Williams
> crap out a score in 2 days and still get
> nominated.Or it could just be that he’s still at the top of his game. MEMOIRS OF A GEISHA is a wonderful listening experience, far more classy than a lot of other contemporary scores in a similiar idiom.
Perhas you missed the rest of that post:
“But fortunatly, most of those nominations are deserved. He really is one of the greatest living composers.”
I’m just saying, we all know Williams is a fav at award shows
.Knight
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