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I just saw the nominees list, and seriously, I don’t get it. There is NOT ONE single score in their list that I actualy liked… I was really hoping they would nominee Elfman for Charlotte’s Web, but it’s not the case…
Unfortunately the Academy is becoming more and more “Artsy” with their pics. They want movies that are more groundbreaking now in its overall story and/or characters instead of who does well at the Box-Office. Can anyone honestly say that they have seen or heared of half of the movies nominated in any category despite a handful. Unfortunately for us, Danny does movies the he likes and makes scored to the films to make us happy, therefore not “Oscar Worthy” which i think is complete B.S.
FFC
I can’t believe James Newton Howard’s “Lady in the Water” wasn’t nominated. The movie was a stinker, but the score was beautiful. But now Desplat and Santaolalla seem to be the Academy’s new favorites despite their unimpressive scores (granted, I haven’t heard any of the nominated scores, but I can probably take a good guess at how they sound). I’m not a fan of Thomas Newman and I don’t know what Philip Glass’ nominated score sounded like, but I’ve heard the most praise for Javier Navarrete’s “Pan’s Labyrinth” score, so I suppose I’ll support that one? Anyway, the Oscars suck.
Unfortunately the Academy is becoming more and more “Artsy” with their pics. They want movies that are more groundbreaking now…
I know. Maybe Hollywood should start making their films more groundbreaking then?
Considering that the only Elfman scored film released in 2006 that featured original music (thus negating DEEP SEA 3D) was CHARLOTTE’S WEB, a film that wasn’t terribly impressive, I’m not too shocked by its lack of a nomination. I’m thrilled to see Newman nominated for a score that has freed him from the esoteric percussion that every director in Hollywood has him and every other composer temp. Here’s hoping future assignments will allow him that rare freedom. Maybe he’ll be allowed to go nuts if he scores WALL-E.
I wouldn’t call Desplat an Academy favorite since this is his first nomination. It should be noted that Elfman has praised the music from THE QUEEN (in FSMOnline, I believe). And with all due respect to Mr. Santaolalla, he reminds me of an acoustic version of Vangelis, which is NOT a compliment.
I haven’t heard the Glass score, but even so my money is on Pan’s Labyrinth. I thought it was a good score. Since WIlliams isn’t nominated this year, they’ll probably give it to the less recognized guy, so I think Navarrete has a good chance., considering the hummable (literally) melody that permeates his score. And we’ll see is Yo Yo Ma does another medley or tribute of some sort…. bleh…
I know he gets nominated a lot (every time he writes something for that year of eligibility), but when was the last time that John Williams actually won an Oscar?
I just watched “The Right Stuff” for the first time and really loved Bill Conti’s Oscar-winning score. I listened to that score and then thought of Santaolalla’s Oscar-winning “Brokeback Mountain.” Are they even remotely close in quality? I’m still not over his win last year, I thought it was an incredibly unremarkable score.
To answer your question Natrebro, Williams won his most recent Oscar in 1994 for Schindler’s List. Well deserved.
I was going to mention that Ryan, but I thought about it and said, “why ruin the illusion of originality…” Still it works in the movie.
navarrete’s “pan’s labyrinth” score is a masterpiece! i was so thrilled to see it nominated. for those of you elfman fans, if you haven’t heard this score, do so right away (preferably within the film). i think you’ll be very pleased with it, it’s right up any elfman fan’s alley.
as for the film itself, i was simply blown away by the power of it. i can easily argue that it is one of the finer accomplishments in filmmaking of recent memory, and is my pick for the best film of the year… and most probably of the decade so far. you can take any scene from it and analyze it to no end; the use of music, sound, imagery, editing, structure, and performance all work together in bringing the genius of the director’s vision to absolute light… every piece fits, and stands alone as a tribute to the art of filmmaking. i have always loved the cinema, but should my love ever dwindle, there are those films that would rekindle my faith: dreyer’s “the passion of joan of arc,” renoir’s “the rules of the game,” disney’s “pinocchio,” kurosawa’s “rashomon,” fellini’s “8 1/2,” kubrick’s “a clockwork orange,” scorsese’s “raging bull,” stone’s “natural born killers,” and now del toro’s “pan’s labyrinth.”
The entire score doesn’t really remind me of Elfman, but “The River” is a helluva lot like DOLORES CLAIBORNE.
Ryan
I really hope Pans Labryinth wins, I thought the score was so amazing, maybe a little tiny bit Elflike (hehehehe) but not all at the same time? It was so haunting and majestic, the movie wouldnt have been the same without it. I know what I will be purchasing ASAP
just saw “notes on a scandal” last night, and i must say, i was very disappointed in the score. i’m a huge fan of glass, particularly his scores to “the hours” and “kundun,” both of which i think he deserved oscars for. but this time, i felt the music pushed me away rather than brought me in. it was overpowering at times, a little too bombastic, and was hitting the emotions a bit too heavily. i was much more impressed with his score to “the illusionist,” also this year.
if i were voting, i’d go with “pan’s labyrinth.” and “the queen” score would be my runner-up.hmm
i doubt anyone will read this as its an old thread but i feel compelled to speak on this “oscars” issue
its a joke, all award ceremonies are a joke. (the whole idea is to legitimise those giving out the awards, not recognising those who are awarded, and of course its about selling product, films, music, paint, shoes, guns, tanks, wars, opinions, financial instruments, pensions, food, you get the picture)
and when did art become a competition?, where is the finishing line? what are the criteria? who is qualified to judge? whats it all for?
the idea that a fan of elfman should be upset that he is not nominated for an award is unfortunate (i empathise however, im trying to criticise constructively)
its the wish to see ones tastes confirmed as valid or relevant/important, its an expression of doubt not certainty, a weakness not a strength.
if you like elfmans music then like it regardless of what anyone else thinks.
and in general, avoid reverence for those you admire, its a cop out. (its a way of putting oneself down, and a way of coping with “failure” when “failure” is nothing to fear)
I can’t believe anyone could argue the Oscar’s as bad because they choose to honor artistic filmmaking. That’s the reason why it’s the greatest awards ceremony. When Black Eyed Peas and Emenim get grammy’s for the year’s “Best Songs” or “Best Artist” you have to realize that THAT award is not based on talent. Danny Elfman is by far my favorite score maker, but it’s not that his movie choices are bad. Charlotte’s Web was a fantastic score, but not the year’s best. He definately deserves more nominations, but nearly all of the movies he scores gets nominated at least for something else (Sleepy Hollow, Nightmare Before Christmas, Corpse Bride, Charlie and the Chocolate Factory, Big Fish, Spiderman, Edward Scissorhands, etc.)
His award will come! And when it does I’m sure it’ll be well deserved.
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