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Field 21 – Film/TV/Visual Media
Category 78 – Best Score Soundtrack Album For A Motion Picture, Television Or Other Visual Media
(Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series or other visual media.)• A Beautiful Mind
James Horner, composer (James Horner)
[Decca Records]• Harry Potter And The Sorcerer’s Stone
John Williams, composer (John Williams)
[Warner Sunset Records]• The Lord Of The Rings – The Fellowship Of The Ring
Howard Shore, composer (Howard Shore)
[Reprise Records]• Monsters, Inc.
Randy Newman, composer (Randy Newman)
[Walt Disney Records]• Spider-Man
Danny Elfman, composer (Danny Elfman)
[Sony Music Soundtrax/Columbia Records]That is nice to see!
Nice going, Elfman! (Although I doubt if he’s reading this…)
-E (Reza – *you’re* the Elfman, aren’t you? Lol…)
PS: Another Grammy category: best-looking film score composer (male or female)
Haha…yeah, I bet “People” would be all over that one…After posting it, I daydreamed meeting with Danny for 15 minutes!
It made me late for work this morning =þAfter posting it, I daydreamed meeting with Danny for 15 minutes!
It made me late for work this morning =þAfter posting it, I daydreamed meeting with Danny for 15 minutes!
It made me late for work this morning =þOOPS! Sorry for that
OOPS! Sorry for that
Echo? (ECHO! Echo! echo!)
Nice to see Elfman getting some credit!
Knight (Reza, you have some serious mental problems hehehe)
Oh, and if James Horner got anything for that score, I would be really mad, because it is NOT original (he used the themes and such from his other film scores).
Knight (But it did sound ok, not as good as the original though)
“…he used the themes and such from his other film scores)”.
Oh, I’m willing to debate that there were any “themes” in A Beautiful Mind.
I enjoy “Spider-man” much more than “POTA” (although I *do* like both scores, I just have a favorite)…everyone I’ve forced it upon has really enjoyed it…maybe that’s good news!
-E (it’s way too early for me to be up and awake)
I was glad to see he got nominated. I don’t know how the grammy’s work, but if they are even half as political as the oscar’s..he doesn’t have a shot in hell. And politics aside, i think he’s got some legitimate stiff competition. All of those scores are the best efforts by the biggest names. I’m looking forward to see what sort of rabbit the oscars pull out of their hats.
…hopefully a rabbit bitten by a genetically altered spider
…hopefully a rabbit bitten by a genetically altered spider
first one was mine, brother’s name on it, dam
It’d be nice if Danny won an official Oscar–although he’s won several, over the years, in my own little world….(Oscar looks like Edward, in my mind–or lack thereof–and it’s a much needed improvement)!
Still, I don’t place much value on awards, what with society being screwed up more often than not….(Talent? Now why would they want to go and give an award to someone who has talent? That’s just crazy)!
in 1990, the least the academy could have done was give edward a nomination, that would have probly been respectful
Batman won a Grammy…don’t see why Spiderman can’t. From what I understand, it’s not QUITE the same level of snobbery over at the Grammy voting booths.
And yeah, I was fully expecting an Oscar nomination for Edward Scissorhands, one of the most beautiful scores of its year. Must have been back when his fellow composers were trying to snub him the hardest.
If they wanted to snub him, they’d give him an oscar.
Edward was fantastic and worthy of a nomination in its year, but hey…the oscars are super political. I can only imagine at the time he was viewed as the new guy and hadn’t paid his dues? maybe? shouldn’t matter, but I can speculate it works like that. But now it’s 2003 for crissakes..coming up on 20 years of doing his thing, HIS thing, doesn’t respect and recognition from his peers come eventually? Well, I really don’t hope for much from the academy, but maybe the Grammies will come through for him…it’s not only his peers voting, so maybe it’s people really voting on what they believe to be the best original score of the year. after all, they did recognize Batman…they can’t all be dumb (despite their terrible pathetic show)
I have nothing but respect and admiration for the classic greats, John Williams, and Jerry Goldsmith, mostly who receive the most oscar nominations of any other composers, but these two men have’nt really delivered in the last 5 or so years and once they’ve passed their prime, they become senile old farts reapeating their styles, ie: Hook/Harry Potter, Rambo/Sum of All Fears, its rather pathetic actually. are we just supposed to wait for them and die, so that elfman can eventually shine, its not fair. and wen elfman was nominated, it was 2 nods in the same year and he didnt even win, titanic won ofcourse, but c’mon, horner fans aside, that rose theme was beaten to death, how many times can you switch on the radio and hear “descent into mystery” or the “breakfast machine”, NEVER! so in my opinion the academy can go to hell, and btw i wasnt wishing the above mentioned composers death, just simply stating a point, eh, back to my dinner. complaining really builds up an appetite
Robert, I too think that Elfman is a lot better than those two composers are now, on a consistent basis, but I don’t think you can dismiss them just on the point that they are old. Sure their styles are going to sound similar and recycled. When you have careers as long as theirs it’s bound to happen, but who’s to say that when Elfman scoring in another 10 years that his music won’t become predictable. I really like Williams’ score for Star Wars Episode 2 – AOTC because he took on the challenge of taking “Star Wars music” into a more percussive area (timpani not withstanding). And you have to agree that his score for Catch Me If You Can is nothing like his past 5 scores (weather you like it, like me, or not) – it’s more like his scores from the 60’s than anything more recent. Goldsmith is another animal, the last score of his that I remember playing more than one time through on first listen was 13th Warrior and that sounded close to The Mummy (his previous score). But with him working with Crichton (I think his is producing) again I have a lot of faith in Timeline. I say bring it on! Elfman surprises me more consistently, but he has a smaller reputation to live up to than the old masters, now doesn’t he?
Just a few thoughts from Nat
Did you have to mention Titanic? Nothing against the composer, really–just the movie in general….not enough death, and too much romance! (Then again, I never really saw the thing)….
ur not missing much
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