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Fuck it, what a shame. I really believed in Charlie and the Chocolate Factory. Inventive and impressionable work by Danny, and only something he could do. And “Remains of the Day” would have been cool for Best Song. I thought Johnny would get the nom for Geisha. I want to see Munich. I haven’t heard these other guys, so I hope they deserve the nominations. Pride and Prejudice; Christ, it would take Elfman scoring it for me to even be intertested in a Jane Austin movie.
Best Score Noms:
“Brokeback Mountain” (Focus Features) Gustavo Santaolalla
“The Constant Gardener” (Focus Features) Alberto Iglesias
“Memoirs of a Geisha” (Sony Pictures Releasing) John Williams
“Munich” (Universal and DreamWorks) John Williams
“Pride & Prejudice” (Focus Features) Dario MarianelliBest Song Noms:
“In the Deep” from “Crash” (Lions Gate)
Music by Kathleen “Bird” York and Michael Becker
Lyric by Kathleen “Bird” York
“It’s Hard Out Here for a Pimp” from“Hustle & Flow” (Paramount Classics, MTV Films and New Deal Entertainment)
Music and Lyric by Jordan Houston, Cedric Coleman and Paul Beauregard
“Travelin’ Thru” from “Transamerica” (The Weinstein Company and IFC Films)
Music and Lyric by Dolly PartonIt just means that Danny hasn’t had the initiative to produce it and hasn’t been asked,
but if someone like the racord label asked him to do such a compilation again he would. In the meantime we’re all stuck waiting. Now wait to see what happens with Serenada Schizophrana and Deep Sea 3D too. All this stuff keeps piling up.Congratulations to Danny for being recognized for a remarkable score.
And congrats to the Phoenix Film Critics for having the good conscience.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.
Hmmm. I hate to bring up the Stipko site, but back in November the webmaster was defending the fact about his close relationship with Oingo Boingo by saying something like how he knew “Danny is starting Web on Monday”.
At least we managed to squeeze out a robust and long thread about “number twos” without anybody soiling it with toilet humor. If you squat down and just enjoy the reading material here, by the time you finish it’s very satisfying. I appreciate what everyone has left here even though when I look at it I can see our tastes are different; and maybe some are even a little nutty or twisted. It’s natural, we’re only human.
Hans Zimmer. I really liked Gladiator and still love that score, but hated Hannibal and Batman Begins. I still haven’t seen or heard King Arthur yet. Fans feel very passionately about their favorite composers and James Newton Howard is one who hasn’t really captivated me, so I can’t relate to some people’s enthusiasm for him. But I did like Signs. I’m not sore about having king Kong in my collection, I mixed my favorite parts into a 15 minute suite and have really liked that version, but the album is fairly weak. Since the movie is three hours long it will be interesting to hear the rest of the music.
One guy who I used to really like was Alan Silvestri. Predator kicks ass. But he doesn’t do many projects I’m interested in.
King Kong is has it’s moments and it’s effective, but not outstanding.
Charlie and the Chocolate factory is extraordinary work.
Wow, big delay. I wonder how Danny will work with this.
It would be cool if he could squeeze in another feature film, I’m going to be really anxious to hear another action or thriller score from Danny over the next year.
heh-heh.
Yeah, I really didn’t like the “Niles Frasier” voice of Abe Sapien in Hellboy, and I’ve always hated the voices for Beast in the cartoons, but Kelsey should be pretty cool. The Beast definitely looks great.
http://www.apple.com/trailers/fox/x3/
Check out the Beast (Kelsey Grammar).
I like these tracks:
Defeat is Always Momentary
Beautiful
The Empire State Building — Nice work with the theme.
Beauty Killed the Beast IV — first two and a half minutes. I can see this, very compelling.
The mysterious theme heard first on King Kong is very intriguing. Something frightening and fantastic waits on the other side.
Kong’s theme reveals his great character in Tooth and Claw, first very affirmative and macho, then triumphant. And very endearing and senitive at the end. Truly moving by the end of the score. On The Empire State Building it’s fully realised as grandeur, then sadly turned very vulnerable.
Over 12 hours with the Extended DVDs even, which I used to own.
I’ll admit I loved The Fellowship of the Ring and didn’t want that one to end, but I failed to become a Ringer after Two Towers.
I Just got the King Kong album. Wonder how long before bootlegs of Shore’s score become available.
DVD with Alternate Score by Howard Shore…. My precious.
God damn, the Grammy’s suck.
My heart is not in this one at all for Danny. The nominations seem so weak. I would be more excited if he found a Scooby Doo tattoo in a box of Cracker Jacks.When is Ray going to stop getting nominated? And for score? Good to see everyone has an equel chance to get nominated and that drawing names out of hats hasn’t completely gone out of style.
The Incredibles is still eligible. God.
Nominations for Best Score Soundtrack Album:
• The Aviator
Howard Shore, composer
[Decca]• The Incredibles
Michael Giacchino, composer
[Walt Disney Records]• Million Dollar Baby
Clint Eastwood, composer (My head just exploded)
[Varèse Sarabande Records]• Ray
Craig Armstrong, composer
[Atlantic/Rhino/WMG Soundtracks]• Star Wars Episode III – Revenge Of The Sith
(And the winner is…) John Williams, composer
[Sony Classical /Sony Music Soundtrax]Then there’s this category…
Category 83 – Best Instrumental Composition
(A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.)• Anakin’s Betrayal
John Williams, composer (John Williams & The London Symphony Orchestra and
London Voices)
Track from: Star Wars Episode III – Revenge Of The Sith – Soundtrack
[Sony Classical /Sony Music Soundtrax]• The Ferry Scene
John Williams, composer (John Williams)
Track from: War Of The Worlds – Soundtrack
[Decca]• The Incredits
Michael Giacchino, composer (Various Artists)
Track from: The Incredibles – Soundtrack
[Walt Disney Records]• Into The Light
Billy Childs, composer (Billy Childs Ensemble)
Track from: Lyric
[Lunacy Music/Artistshare]• Journey Home
Maria Schneider, composer (Dana Landry)
Track from: Journey Home
[Summit Records, Inc.]Sith is a great score and all of Johnny’s Star Wars scores stand apart from eachother distinctly. But because he’s won awards for the original Trilogy the Academy takes Star Wars scores for granted.
I’d like to see the discs that would be passed out for Sith to be considered as a nominee since the soundtrack album is a cheap presentation with an opening track that’s been mutilated into an almost generic Star Wars medley.
Listened to three tracks last night. I really like the sensitive stuff I heard for Kong in the Empire State Building track and in the four-minute preview of the film. Thought the two action action cues were very generic.
I fear the movie’s length is excessive, but I love the original film and am anxious to see it. From the extremely drawn-out and overly sentimental ending of Return of the King it’s apparent Peter Jackson can be very self-undulgent and no one reels him in. I can easily imagine Jackson very obviously milking Kong’s death and making eyes roll again.
The original film was about 100 minutes, Dino DeLaurentis’ remake was a bit over two hours. It’s a very adventurous story and it’ll be exciting to see what they’ve done with it,
but I imagine there’s at least 30 minutes that nobody would miss. Early reviews indicate the arrival at Skull Island doesn’t even occur until the second hour.Of course I’ll be there, front row opening night.
You don’t say.
But it’s no thanks to “awards people”, it’s because Elfman fans voted for him.
There was alot of last-minute campaigning, see the earlier thread here.
Williams won Best Soundtrack with an incredible 57% of votes thanks to weak competition. Had Charlie and the Chocolate Factory been nominated it would be a different story. He may still have won, but not by that much. I voted for Sith as Best Soundtrack out of the three choices given by XM, but I believe strongly in Elfman’s Charlie.
I make examples with Charlie and the Chocolate Factory because I find that Corpse Bride is usually measured against and under Nightmare Before Christmas. I hope Charlie is nominated for a Golden Globe and an Oscar. I think such an original, creative, dynamic, and expressive score stands out. It represents Danny Elfman very well, he deserves recognition for his excellence and what he uniquely brings to a score, and this is a good one for that.
I loved the Corpse Bride score, including the songs, but find many people are too narrow-minded to appreciate it distinctly from NMBC. I wouldn’t want to see both scores nominated for an award and cancel eachother out. I’m putting odds on Charlie horse, but who knows what will be nominated. I just hope Danny doesn’t get a flipped palette like Giacomo did at the Belmont Stakes this year. Poor guy.
Well there’s one guy who’s been very impressionable with me since I was a kid, long before Danny was scoring the big films. John Williams. Star Wars, Superman, E.T. Those are still my favorites of his, and always impressive. In War of the Worlds I really liked his simple rhythmic tripod motif, it was so mysterious, menacing and cool.
Another big favorite of mine is Akira Ifukube who scored most of the Godzilla films and other Toho Eiga Kaiju monster movies. I watched the first movie several years ago and his themes kicked ass. He’s a big part of the reason I got addicted to Godzilla, there’s all this great music, and like Elfman he did some of the coolest marches ever. His music can be very infectious and thrilling, then he’s also got some extremely beautiful themes as well. Godzilla’s themes alone range from the heroic march and the destructive rampage, to the very compelling tragic themes. In Mothra vs. Godzilla’s Sacred Springs scene there’s one of the loveliest laments I’ve ever heard. I’m talking emotion and melody as exquisite as Duke Ellington’s Black Beauty.
There are some other composers I really like: Bernard Herrmann, Jerry Goldsmith and Max Steiner. Elliot Goldenthal and Marco Beltrami I’m always interested in. Then there are also composers who’ve done a few things I really like.
James Horner’s Rocketeer is another one of my old tapes that got played thin. Still one of my favorites, and a great movie. Howard Shore’s first Lord of the Rings score was awesome. His Silence of the Lambs was one of the first scores I ever owned on CD, still have the cardboard box for that and Danny’s Darkman. Elfman’s Red Dragon score sometimes evoked Silence of the Lambs for me, they’re very compatible.
Wanting to turn a stupid accidental double post into something useful…
I found some interesting details about what to expect in the film courtesy of the film-makers:
For what little it’s worth, the IMAX site claims it will be an “original score.”
http://www.imax.com/ImaxWeb/filmDetail.do?type=comingSoon&movieID=code__.__20
