2015 Oscar for Best Score

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  • FreemanGriffin
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    #210294

    I am extremely disappointed that the scores for Creed and The Danish Girl are missing from this list of nominees. They both were extraordinary and Oscar-worthy.

    In 5th place, Sicario. It’s functional and that is all. Why is it nominated? There were so many more worthy scores!

    In 4th place, Bridge Of Spies. Functional and enjoyable, but not really Oscar-worthy imo. Excellent but not superb.

    In 3rd place, Star Wars: The Force Awakens. Stirring and always interesting, just not the best of the five nominees. They love John Williams, we all do, but not this year.

    In 2nd place, Carol. A lovely score for a lovely film.

    in 1st place, miles ahead of all the other contenders, Ennio Morricone’s score for The Hateful Eight. This is the winner. Morricone did such memorable work back in the 1960’s on the spaghetti westerns, A Fistful Of Dollars, The Good, the Bad & the Ugly, and Once Upon a Time in the West. This score is on that level of greatness. My only complaint is that i wish there was MORE of his music in the film. Superb!

    I am predicting The Hateful Eight to win this category.

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    babypook
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    #210296

    If they dont give this to Ennio Morricone, I will put my foot through my television set.

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    Asgaroth
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    #210297

    Anyone but Williams. His score doesn’t even deserve to be nominated. It’s just a recyling from the 77’s original. Nothing new, nothing special, nothing memorable. It’s just there because it’s Williams in a Star Wars movie.

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    Denis
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    #210298

    My favorite was The Danish Girl’s and Inside Out, however, I hope Morricone wins.

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    Wombat988
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    #210299

    I’m glad that The Danish Girl wasn’t nominated. Alexandre Desplat has written much better, and I found this score to be rather uninspired. It was just sort of… there.

    I have mixed feelings about Morricone. The Hateful Eight is my favourite of the nominees, but so much of it is just taken from previous film scores for other films. It works incredibly well in The Hateful Eight, but it just irks me a little.

    I would have liked to see Mad Max and Inside Out nominated here. 

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    ADouble
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    #210300

    It’s got to be Morricone. The Hateful Eight score is absolutely wonderful, and this is a rare instance where I would be totally fine with someone winning as a Lifetime Achievement Award just because it’s Ennio friggin Morricone.

    It’s a shame Mad Max missed here, but not terribly shocking. 

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    agro
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    #210301

    My bet on The Hateful Eight  

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    Riley
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    #210302

    The Hateful Eight and The Force Awakens are both sentimental choices.  The academy does seem to prefer The Force Awakens to The Hateful Eight, but Ennio Morricone seems to have the momentum and potential to sweep through the Globes (check), BAFTA (where he is five for five) and Critics’ Choice (where The Force Awakens was not considered for a nomination).

    I must say that this was a disappointing year for film scores.  It is too bad that The Danish Girl and Inside Out did not get in, but I would not be rooting for them in most years, so I am not crushed that they missed.

    Mad Max and The Revenant got into the same ten categories, but The Revenant got two acting nominations where Mad Max never stood a chance.  I was surprised by the costume nominations for both of them, so it is a bit curious that neither of them is nominated here.  But The Revenant was ineligible, so does the snub of Mad Max here indicate just a little bit of weakness opposite The Revenant?  By the way, out of all of the stupid rules that the academy has, a score not being eligible if it credited to a composing duo has to be the stupidest.

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    JOHN
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    #210303

    Mad Max should have been nominated for best score. 

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    JOHN
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    #210304

    The Hateful Eight and The Force Awakens are both sentimental choices.  The academy does seem to prefer The Force Awakens to The Hateful Eight, but Ennio Morricone seems to have the momentum and potential to sweep through the Globes (check), BAFTA (where he is five for five) and Critics’ Choice (where The Force Awakens was not considered for a nomination).

    I must say that this was a disappointing year for film scores.  It is too bad that The Danish Girl and Inside Out did not get in, but I would not be rooting for them in most years, so I am not crushed that they missed.

    Mad Max and The Revenant got into the same ten categories, but The Revenant got two acting nominations where Mad Max never stood a chance.  I was surprised by the costume nominations for both of them, so it is a bit curious that neither of them is nominated here.  But The Revenant was ineligible, so does the snub of Mad Max here indicate just a little bit of weakness opposite The Revenant.  By the way, out of all of the stupid rules that the academy has, a score not being eligible if it credited to a composing duo has to be the stupidest.

    I think TFA took Mad Max spot. The composers nominated for Best Score have been nominated before. This branch doesn’t welcome new people very often, and this is the first time Junkie XL the composer for the Mad Max has been in awards conversation. 

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    Eddy Q
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    #210305

    Despite the fact that the best part of The Hateful Eight score is not original (the masterful fugue written for The Thing but not used in it: link below), I still think Morricone deserves to win on his own merits rather than merely a sentimental win. The theme is so simple yet the way he develops and sustains it, with the accompanying cross-rhythms and tritonal harmony, is brilliant. I also really like the Carol score though, and wouldn’t be too disappointed if that won instead, though I don’t think it will.

    I thought The Danish Girl and Inside Out would be in for sure. Now I remember that Giacchino also missed out for The Incredibles, which was very odd. I’m not too sorry to see Desplat miss out this time; I’m not that big a fan of him generally, outside of his work for Wes Anderson. 

    The true best score this year was the one by Cat’s Eyes for The Duke of Burgundy (GoldDerby Awards FYC), but obviously that never had a chance. I’m not even 100% sure that film was eligible.

    Morricone: ‘Bestiality’ from The Thing: https://www.youtube.com/watch?v=w9_yNuPIWEU&index=4&list=PL0828E3D6929DFDB6

     

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    DominicCobb
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    #210306

    The Force Awakens is easily the best score I heard this year and one of Williams’s best in years.

    The Hateful Eight is great too, but a little one note (and Morricone didn’t get to finish it). I’ll probably be rooting for him because he’s never won.

    Haven’t heard Carol yet but I’m sure it’s good.

    Sicario is pretty effective, though there’s not really much going on.

    Bridge of Spies is not that great, honestly.

    Inside Out, Mad Max, The Revenant all would have been worthy nominees.

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    Damiansport1
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    #210307

    Inside Out got robbed here

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    Paul Rankin
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    #210308

    I’m going with Bridge Of Spies here seeing as how it’s the only Best Picture nominee in this category. In the past 15 years only one non-Best Picture nominee, Frida in 2002, has won Original Score.

    Hope everyone is doing well. 

    First Place- 2015 DGA Awards
    First Place- 2015 Razzie Award Nominations
    First Place- 2015 Academy Of Country Music Awards

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    DominicCobb
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    #210309

    I’m going with Bridge Of Spies here seeing as how it’s the only Best Picture nominee in this category. In the past 15 years only one non-Best Picture nominee, Frida in 2002, has won Original Score.

    Hope everyone is doing well. 

    Hadn’t considered this. I do think we may be overestimating Morricone as a frontrunner. Just because he hasn’t won yet doesn’t mean the voters will bite on his narrative. Voters don’t really care about overdue narratives in below the line categories. Ask Roger Deakins or Kevin O’Connell.

    Ironically, Thomas Newman is himself overdue for an Oscar. But I still doubt they’ll give it to Bridge of Spies. Usually (not always), the award goes to a film with at least one other award. This year is weird though because none of these films are necessarily assured another award (oddly enough, base it on this and Carol and Star Wars are the most likely). Point being, we can overthink this all we want but the simple truth is if Morricone’s got the momentum, he’ll probably take it. 

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