Original Score Exclusions

For the films of 2019
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Sabin
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Re: Original Score Exclusions

Post by Sabin »

rolotomasi99 wrote
Your line-up looks pretty solid.
Why thank you. I wish I could take credit. It's pretty much everyone's lineup. The Globes picked Daniel Pemberton for Motherless Brooklyn over The Last Skywalker, but it's hard to imagine a lineup without John Williams. He's managed nominations for The Last Jedi and The Force Awakens so why bet against him again?
rolotomasi99 wrote
I would say do not count out Michael Giacchino (Jojo Rabbit) and Marco Beltrami with Buck Sanders (Ford v Ferrari) yet.
I'd agree with you if I hadn't seen the films. I don't think there's anything memorable about either score and I think both composers are fantastic. Marco Beltrami getting a nomination for 3:10 to Yuma was one of my happiest surprises of its year.

Since responding, I've revisited both of the scores and I agree with you especially on Michael Giacchino. I've had some doubts about Randy Newman's candidacy. His music for Marriage Story is beautiful but it doesn't quite fit the film. I found myself admiring it from afar.
rolotomasi99 wrote
If we wanted to predict an out-of-nowhere nomination, perhaps Jaeil Jung (Parasite) could pop up. I know the movie used some classical pieces, but the Variety article did not mention it was disqualified.
That's a good one.

Terrence Blanchard for Harriet as well. I haven't seen the film but he had his breakthrough last yea for BlacKkKlansman.
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rolotomasi99
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Re: Original Score Exclusions

Post by rolotomasi99 »

Sabin wrote:I'm not sure if Max Richter was going to break through this year for Ad Astra but he's certainly getting a lot closer. Recent history in this category has been a mix of new kids on the block with tried and true favorites. This year already looks like a battle between Thomas Newman on his 15th nomination and Hildur Guðnadóttir for (seemingly everyone's favorite score this year) Joker. I'd imagine Alexandre Desplat (Little Women), Randy Newman (Marriage Story), and John Williams (The Rise of Skywalker) might fill the ranks. Richter was a possibility but it seems like they like the new kids paired with a more Academy friendly film.
Your line-up looks pretty solid. I would say do not count out Michael Giacchino (Jojo Rabbit) and Marco Beltrami with Buck Sanders (Ford v Ferrari) yet.

If we wanted to predict an out-of-nowhere nomination, perhaps Jaeil Jung (Parasite) could pop up. I know the movie used some classical pieces, but the Variety article did not mention it was disqualified.
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Sabin
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Re: Original Score Exclusions

Post by Sabin »

I would agree.

I'm not sure if Max Richter was going to break through this year for Ad Astra but he's certainly getting a lot closer. Recent history in this category has been a mix of new kids on the block with tried and true favorites. This year already looks like a battle between Thomas Newman on his 15th nomination and Hildur Guðnadóttir for (seemingly everyone's favorite score this year) Joker. I'd imagine Alexandre Desplat (Little Women), Randy Newman (Marriage Story), and John Williams (The Rise of Skywalker) might fill the ranks. Richter was a possibility but it seems like they like the new kids paired with a more Academy friendly film.
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Re: Original Score Exclusions

Post by Heksagon »

Sabin wrote:https://www.indiewire.com/2019/12/capta ... 202195927/
“Ad Astra,” despite having one of the year’s most beautiful scores courtesy of “The Leftovers” music scribe and veteran classical composer Max Richter, was disqualified. While Richter wrote the bulk of the score, Lorne Balfe does have a credit for writing additional music, and an Academy rule states “two credited composers [must] function as equal collaborators, each contributing fully to the original dramatic underscore.” Balfe wrote the score later on in post-production, and never actually collaborated with Richter..
That's one hell of a dumb rule :roll:
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Re: Original Score Exclusions

Post by Okri »

What's interesting about Ad Astra is that the contributions from the two really work in tandem such that you'd guess they had collaborated more closely. Right now, it's easily my favourite score of the year.
Sabin
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Original Score Exclusions

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https://www.indiewire.com/2019/12/capta ... 202195927/


As the Academy prepares for its rush of Oscar shortlist announcements coming on Monday, December 16, a handful of contenders in the Best Original Score and Best Original Song categories have already been eliminated.

Trade publication Variety got an early look at the eligibility lists for these categories. On the list of 170 eligible scores, missing are “Captain Marvel” from composer Pinar Toprak, “The Irishman” from Robbie Robertson, “The Two Popes” from Bryce Dessner, “Knives Out” from Nathan Johnson (whom IndieWire highlighted at the recent Consider This FYC Brunch), “A Hidden Life” from James Newton Howard, and “Ad Astra” from Max Richter and Lorne Balfe. Notably missing from the list of 75 Best Original Song contenders is Regina Spektor’s “One Little Soldier” from “Bombshell.”

Sources told Variety that an “administrative mixup” was the cause of “Knives Out” no-show status on the list, as was the case for “One Little Soldier.” And it turns out that “Captain Marvel,” despite featuring a female composer on a billion-dollar-grossing, female-led superhero film, wasn’t submitted at all. It’s said that Disney has chosen to chase more Oscars for “Avengers: Endgame” over the Brie Larson starrer.

A music branch rule eliminates scores “diminished in impact by the predominant use of songs or any music not composed specifically for the film by the submitting composer.” That’s the case for “The Two Popes” and “The Irishman,” two Netflix titles that prominently feature licensed period songs over original musical material. Robertson’s score did earn a Critics’ Choice Award nomination on Sunday, however.

And don’t look for Quentin Tarantino’s “Once Upon a Time in Hollywood,” which relies entirely on a soundtrack of classic oldies.

Meanwhile, James Newton Howard’s “A Hidden Life” score is, in the Academy’s eyes, overshadowed by Terrence Malick’s use of classical music and employment of other composers to add the finishing touches to his opus.

“Ad Astra,” despite having one of the year’s most beautiful scores courtesy of “The Leftovers” music scribe and veteran classical composer Max Richter, was disqualified. While Richter wrote the bulk of the score, Lorne Balfe does have a credit for writing additional music, and an Academy rule states “two credited composers [must] function as equal collaborators, each contributing fully to the original dramatic underscore.” Balfe wrote the score later on in post-production, and never actually collaborated with Richter.

The 2020 Academy Award nominations will be announced on January 13.
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