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Was ARRIVAL deemed ineligible for Best Score at the Oscars?

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  • FreemanGriffin
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    #1201984777

    I went to change my predictions and include Arrival but found that it was missing. is this another Whiplash/Birdman ruling situation? it was nominated for Best Score at the BAFTA’s… I might have missed this information??? If it is eligible I expect it to be nominated…

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    Andrew Carden
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    #1201984782

    Yes, unfortunately.

    For the finest in film reviews and awards analysis, please visit me at The Awards Connection!

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    Riley
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    #1201984828

    Too much Max Richter at the climax.

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    Filmatelist
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    #1201984840

    “The reason is due to director Denis Villeneuve’s inclusion of the Max Richter piece ‘On the Nature of Daylight’ at several pivotal moments in the film. The Academy ruled unanimously that the preexisting songs would influence voters in judging Jóhannsson’s score, a conflict cited in Rule 15 II E of the Academy’s guidelines. They ruled in the same fashion on Lesley Barber’s score to Kenneth Lonergan’s Manchester By The Sea.”

    Cite

    • This reply was modified 9 months, 2 weeks ago by  Filmatelist.
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    Noé
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    #1201985048

    “A Paramount source said original compositions constitute 86% of the film’s soundtrack. There is no appeals process and the branch’s decisions on these matters are final.”

    I want to slap the Academy’s music branch for being that obstinate and for take care of their stupid voters. Because, you know, there’s no way their voters couldn’t be influenced by the use of one (1) pre-existent track while considering a whole score. They’re that dumb.

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    Eddy Q
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    #1201985053

    You see, if it were only the music branch deciding the winners then they wouldn’t have to be so stringent with the rules. But most people watching Arrival will have no idea that the Max Richter music wasn’t written for the film. There Will Be Blood was ruled out for similar reasons, although in that case the non-original music was by the same composer, and seamlessly woven into the fabric of the score. There was more of Jonny Greenwood’s pre-published music in that film than most people realise, and a few of the original tracks on the commercial soundtrack were omitted from the film. The original music remaining in the finished film is frankly win-worthy in itself, but most people wouldn’t have known which parts to listen out for in assessing the original score. The branch’s rules are frustrating, but I do sympathise with them a little. I wonder if they were paranoid that some ignoramuses in the Academy wouldn’t recognise the classical music in Birdman and vote for it as Best Original Score!

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    Riley
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    #1201985069

    Not entirely sure how The Hateful Eight got by with all of the pre-existing music from Ennio Morricone, but I guess Weinstein really wanted it.

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    Filmatelist
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    #1201985878

    You see, if it were only the music branch deciding the winners then they wouldn’t have to be so stringent with the rules. But most people watching Arrival will have no idea that the Max Richter music wasn’t written for the film. There Will Be Blood was ruled out for similar reasons, although in that case the non-original music was by the same composer, and seamlessly woven into the fabric of the score. There was more of Jonny Greenwood’s pre-published music in that film than most people realise, and a few of the original tracks on the commercial soundtrack were omitted from the film. The original music remaining in the finished film is frankly win-worthy in itself, but most people wouldn’t have known which parts to listen out for in assessing the original score. The branch’s rules are frustrating, but I do sympathise with them a little. I wonder if they were paranoid that some ignoramuses in the Academy wouldn’t recognise the classical music in Birdman and vote for it as Best Original Score!

    Why not?  There’s a lot of Holst in THE RIGHT STUFF and a supreme amount of Vivaldi in A LITTLE ROMANCE and of course, this whole business got started with ‘ROUND MIDNIGHT.  I suspect even BRIDGE ON THE RIVER KWAI won more for “Colonel Bogey” than for Malcolm Arnold’s work, as good as it was.  People remember the music that they associate with the key emotional scenes, and when that isn’t original, the overall percentages hardly seem to matter.

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    aahoto
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    #1201986044

    Ridiculous it was ruled ineligible. But of course using Grieg’s “In the Hall of the Mountain King” for The Social Network was totally fine and Reznor and Ross won the Best Original Score category…

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    Riley
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    #1201986068

    Up and The Artist incorporated famous existing pieces as well.

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    PJ Edwards
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    #1201986106

    Arrival totally would have hit Iscars too. It got GG-BFCA-BAFTA. Only La La Land and Lion did that.

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    Eddy Q
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    #1201986155

    Ridiculous it was ruled ineligible. But of course using Grieg’s “In the Hall of the Mountain King” for The Social Network was totally fine and Reznor and Ross won the Best Original Score category…

    That was an arrangement though, plus it was only in one brief but memorable scene.

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    Noé
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    #1201986844

    It’s arbitrary. Not being able to appeal makes it worse.

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    Lucas A
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    #1201986870

    Up and The Artist incorporated famous existing pieces as well.

    Well this ruling seems specifically directed at The Artist, which won using a pre-existing track in the climatic scene.

    They’re also probably trying to discourage studios from using non-original tracks (especially at pivotal moments) so that composers get more creative license.

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    Riley
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    #1201988775

    Saw Arrival and I applaud the academy’s ruling. Jóhann Jóhannsson’s score was fine, but the Max Richter piece is the only music that anyone will remember. Playing at the beginning and end, it essentially is the film’s theme and I expect would play if the film wins sound editing or visual effects, which is not the case with the pieces that were incorporated into the middles of Up, The Social Network and The Artist. This unanimously-decided disqualification was totally just.

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