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2013 World Soundtrack Academy Awards

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  • outsider
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    #109353

    FILM COMPOSER OF THE YEAR
    Award can be presented in respect of one film or in respect of a body of work in the year

    Mychael Danna
    (Life of Pi)

    Alexandre Desplat
    (Argo, Reality, Renoir, Rise of the Guardians, Zero Dark Thirty)

    Danny Elfman
    (Epic, Frankenweenie, Hitchcock, Oz The Great and Powerful, Promised Land, Silver Linings Playbook)

    James Newton Howard
    (After Earth, The Bourne Legacy)

    Thomas Newman
    (Side Effects, Skyfall)

    BEST ORIGINAL FILM SCORE OF THE YEAR

    Anna Karenina by Dario Marianelli
    The Hobbit: an Unexpected Journey by Howard Shore
    Life of Pi by Mychael Danna
    The Master by Jonny Greenwood
    Skyfall by Thomas Newman

    BEST ORIGINAL SONG WRITTEN DIRECTLY FOR A FILM

    The Bathtub
    from “Beasts of the Southern Wild”
    music & Lyrics by Dan Romer & Benh Zeitlin
    performed by The Lost Bayou Ramblers

    Young & Beautiful
    from “The Great Gatsby”
    music & lyrics by Lana Del Rey & Rick Nowels
    performed by Lana Del Rey

    Pi’s Lullaby
    from “Life of Pi”
    music & lyrics by Mychael Danna and Bombay Jayashri
    performed by Bombay Jayashri

    Oblivion
    from: “Oblivion”
    music & lyrics by Anthony Gonzalez and Susanne Sundfør
    performed by M83 feat. Susanne Sundfør

    Skyfall
    from “Skyfall”
    music & lyrics by Adele & Paul Epworth
    performed by Adele

    Lifetime Achievement Award for Riz Ortolani
    This year’s Lifetime Achievement Award to be presented during the award ceremony of the WSA concert goes to the Italian composer Riz Ortolani, born in 1931 in Pesaro, Italy. Together with Ennio Morricone and the late Carlo Rustichelli and Nino Rota, Ortolani is one of the greats of Italian film music from the golden era of Italian cinema. While the best-known titles from his filmography may be entrenched in the Sixties and Seventies, in recent years, he has once again become a ‘cult’ composer thanks to Quentin Tarantino. Nicolas Winding Refn also played his part in the Ortolani revival. In his stylish thriller ‘Drive’, he introduced the most hypnotising song by the composer (performed by Ortolani’s muse Katyna Ranieri) to new audiences: Oh My Love, originally written for the notorious exploitation classic ‘Goodbye Uncle Tom’ (1971) by G. Jacopetti.

    You can vote for the Public Choice Award on the following page
    http://www.worldsoundtrackacademy.com/awards2.cgi

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    babypook
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    #109355

    Thanks for posting this. I actually have no issues with their choices. That rarely happens for me.

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    JOSE
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    Nov 5th, 2010
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    #109356

    what a collection of songs… i hope grammys will go for the same way. All them very worthy.

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    Bill Buchanan
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    #109357

    Any list of best original scores of 2012 that doesn’t include Cloud Atlas is clearly at fault.

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    babypook
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    #109358

    Any list of best original scores of 2012 that doesn’t include Cloud Atlas is clearly at fault.

     Agreed. Any list that excludes Cloud Atlas in a myriad of categories is ‘clearly at fault’ imo. 

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    Riley
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    #109359

    Where is Beasts of the Southern Wild in score?  Why did they recognize it in song instead?

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    babypook
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    #109360

    Where is Beasts of the Southern Wild in score?  Why did they recognize it in song instead?

    I took a gander at those other, “celebrity” names nominated and thought, uh-huh. No room for one of the best scores of the year I guess.  

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    BrokenFan
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    #109361

    Am I the only one who’s sort of tired of Skyfall? 

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    Laactingnyc
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    #109362

    The best scores for the year were

    1. The Master
    2. Beasts of the Southern Wilf
    3. Life of Pi
    4. Anna Karenina
    5. Lincoln 

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    KT
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    #109363

    If we are talking about the best scored films of last year, Zero Dark Thirty should be there.  Expert use of music within the visual storytelling to build suspense and add to what we weren’t seeing visually.  And at the end, the “Maya on Plane” track is fantastic, it shattered me the first time I saw the film (though I do admit Desplat used a very similar cue in The Ides of March…):
    http://www.youtube.com/watch?v=RtB99IjVZj4

    In Life of Pi, one scene for me was enough for a nomination: when Pi wakes in the morning and the sun rises.  This was a fantastic use of 3D and computer generated effects, but it was the score that helped emphasize the moment for the character, a spiritual awakening.  “First Night, First Day” (especially after 0:50 with the female solo): http://www.youtube.com/watch?v=rskl4qocXc0

    The Hobbit should not have been nominated here.  That scored was fucked with.  Not only was music used to an obnoxious extent in the film (I could’ve shot someone if the Shire theme was used one more time, every single time they wanted to emphasize a “character” moment), but many fans were also upset that Jackson pulled very specific themes from Lord of the Rings (i.e. the Gondor and Nazgul themes) over Shore’s music, which you can still hear on the soundtrack.

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    Kevin
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    #109364

    If we are talking about the best scored films of last year, Zero Dark Thirty should be there.  Expert use of music within the visual storytelling to build suspense and add to what we weren’t seeing visually.  And at the end, the “Maya on Plane” track is fantastic, it shattered me the first time I saw the film (though I do admit Desplat used a very similar cue in The Ides of March…):
    http://www.youtube.com/watch?v=RtB99IjVZj4%5B/quote%5D

    This is exactly what I was thinking.  Desplat added another layer onto that film with the score.  I was surprised he didn’t get much awards recognition from it.  This is one of the only scores I got and now listen to regularly. 

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    Riley
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    #109365

    I was writing up a big post, but suffice it to say: ugh, that “controversy” killed Zero Dark Thirty (95 on Metacritic)

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    KT
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    #109366

    ^^ I always copy my posts before I submit.  Sometimes too if you have to log in again, you can use back in the internet browser and if you don’t touch the cursor before the page loads your post will still be in the box on the bottom.

    I have so much respect for Kathryn Bigelow for her direction of Zero Dark Thirty.  It was a real shame to see what she was put through and how so very few people in the industry spoke out to defend her….it was as if all the people who had her back for The Hurt Locker, all the grandstanding praise, bigshots coming out of nowhere saying they were fans of her just disappeared.  Even the directors that were nominated didn’t have the decency to publicly praise her work and were too worried about winning.  I’m very excited to see what her next project is, and if she will continue to work with Boal.  Actually, unlike other directors, like Scorsese for instance who has already proven himself and his recent work hasn’t really excited me, I think there’s so much potential and fascinating projects that could come from Kathryn Bigelow.  Zero Dark Thirty was a directorial triumph, and I believe it was her guiding hand that helped make Desplat’s score so effective.

    There’s a fundamental difference people don’t realize between best score and best music.  Music is judged by whether you like the piece or not.  Scoring is how music is put to the film, how it is used, and that is the title of the award above: “best original film score.”   There’s a difference.  A good example might be Vertigo; the fantastic score by Bernard Herrman adds another dimension to the film capturing the director’s vision and making an impression of inescapeable obsession on the viewer.  The Academy failed to nominate it.  Another example that infuriates me.  Chariots of Fire beat Raiders of the Lost Ark for the Best Score Oscar.  Chariots is a popular song by Vangelis, that’s it; the scoring is not noteworthy in the slightest.  Raiders, however, is an example of one of John Williams’ best scores, with the incredibly dramatic opening sequence and the killer Map Room: Dawn scene—and that’s not even mentioning the famous main theme.

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    babypook
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    #109367

    Am I the only one who’s sort of tired of Skyfall? 

    Here ya go Booga.

    http://www.youtube.com/watch?feature=player_detailpage&v=StJLvbPIvTw   

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    BrokenFan
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    #109368

    lol Thanks Pook, but I can’t watch it apparently. I’ll just listen to it on my ipod. 

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