April 27, 2015 at 3:08 pm #186174
At work I often listen to music, especially film scores, and I realized that some of my favorites over the years had failed to be recognized by the Academy. What are some of your favorite film scores that Oscar did not agree with? I was orginally going to narrow this topic down to the last decade (or the 2000s-now), but why not go all-time? I’ll kick it off with 5 of my favorites:
‘The Fountain’, Clint Mansell
GORGEOUS. This haunting, moody, and powerful score is frankly one of Oscar’s biggest oversights. This is my favorite score by Mansell, which is saying a lot.
‘Cloud Atlas’, Tom Tykwer, Reinhold Heil, and Johnny Klimek
This is one of my personal favorite scores of all time. “All Boundaries Are Conventions”, “Death Is Only a Door”, and “The Cloud Atlas Sextet”, are all stunningly beautiful, while tracks like “Chasing Luisa Rey” and “Escape” are heart poundingly epic.
‘Never Let Me Go’, Rachel Portman
Here is another stunner that in hindsight seems like it was a mistake that it was not a nominee. Portman’s achingly tender score perfectly captures the melancholy mood of the film.
‘There Will Be Blood’, Johnny Greenwood
This is probably my favorite score to any Paul Thomas Anderson film (though ‘The Master’ has another great Greenwood score), and it’s a real shame that this wasn’t nominated because of silly rules. I think this would have been a contender for the win had it been nominated.
‘Eternal Sunshine of the Spotless Mind’, Jon Brion
This one I think is highly underrated. ‘Eternal Sunshine’ might be my favorite film of all time (certainly my favorite of the ’00s decade), and this score has stuck with me just as much as the actual film, screenplay, and performances have.April 27, 2015 at 3:22 pm #186176
Dragonheart (composed by Randy Edelman) — http://www.youtube.com/watch?v=tWMh-S7H5yg
^ this score is used a lot for film montages (very epic sounding)
Moneyball (composed by Mychael Danna) — http://www.youtube.com/watch?v=5XmH9HAY8W8
^ the Academy even used a piece of the score for its Best Picture montageApril 27, 2015 at 3:25 pm #186177
^OMG, that ‘Dragonheart’ theme! I had no idea that score was from that film… Yes, I hear that one a lot, it’s so sweeping and epic, perfect for trailers/montages.April 27, 2015 at 3:58 pm #186178
Pirates of the Caribbean has one of the most exciting and recognizeable scores but no recognition.Marcus Snowden (The Artist Formerly Known as msnowden1)ParticipantApril 27, 2015 at 4:14 pm #186179
Hands down, it’s gotta be Jonny Greenwood’s score for There Will Be Blood. Screw the rules that the Academy has regarding film scores. I think that it would have won had it been nominated.April 27, 2015 at 4:33 pm #186180
Hands down, it’s gotta be Jonny Greenwood’s score for There Will Be Blood. Screw the rules that the Academy has regarding film scores. I think that it would have won had it been nominated.
Agreed!April 27, 2015 at 4:40 pm #186181
The Assassination of Jesse James by the Coward Robert Ford: https://www.youtube.com/watch?v=pJfXlNRPn5c
Tender, heartbreaking work by Nick Cave and Warren Ellis. Really helps to accentuate the fragility of both of its titular characters, not to mention their tragic fates.
Man of Steel: https://www.youtube.com/watch?v=KFr3ih6Xu_8
It’s unfortunate that my apathy for Man of Steel grows more apathetic with each passing day, because I think that Zimmer really tapped into something special with this, or at the very least in the track that I linked. You really get a sense at the joy and optimism that embody the Superman character. Even two years later, I still am enamored with it, to the point that I’ll often revisit the Man of Steel trailer just to hear it play along with the dialogue. It does more than enough to live up to the iconic John Williams ballad that preceded it.
Miller’s Crossing: https://www.youtube.com/watch?v=5pUlWsUzOPU
Carter Burwell is probably the epitome of snubs, with my favorite of his scores coming from this.
Tron: Legacy: https://www.youtube.com/watch?v=rDxbK7IcaXA
I didn’t even like the movie that much, but Daft Punk’s contributions really stood out.
Under the Skin: https://www.youtube.com/watch?v=hCGGmKTE2n8
A recent one, but Levi’s cues have a profound impact on the rest of the film, suggesting the line between curiousity and fear that dominates the proceedings.
Upstream Color: https://www.youtube.com/watch?v=MFY1Kahq5SQ
Hey! Remember this little gem? This might be my go-to soundtrack when I’m feeling in the mood to be meditative. It’s a piercing melody, both intimate and soothing.April 27, 2015 at 4:58 pm #186182
^Those are all terrific mentions. ‘Under The Skin’ has a score that just sticks with you.April 27, 2015 at 4:58 pm #186183
Back to the Future. Truly amazing, spectacular, legendary score and the Oscars ignored it. One of the biggest snubs EVER!
FYC: Ready Player One. Sound Editing, Sound Mixing, Visual Effects, Original Score, Production Design, Director and BEST PICTURE (make it happen Oscars!!)April 27, 2015 at 5:28 pm #186184
I listen to the score for Mary and Max all the time. One of my personal favourite scores, from a movie that too few people have seen. Another one is the score to The Great Beauty, which (while I still don’t think it should have beaten The Hunt for Foreign film) had one of the most fantastic scores I’ve heard in years.April 27, 2015 at 5:35 pm #186185
“Gone Girl” by Trent Reznor and Atticus Ross
Maybe it was because it sounded a lot like the winning score from “The Social Network.” Maybe it was because Gone GIrl was almost entirely panned by the Oscars (with the exception of Rosamund Pike’s brilliant performance). Regardless, I think it should’ve been nominated. Great score that perfectly fit the film’s tone and significantly enhanced the pacing and the tension of the film. If you listen to both scores from Gone Girl and the Social Network, it is obvious that both are very different from each other. “What Have We Done to Each Other?” which opens Gone Girl is particularly excellent.
https://www.youtube.com/watch?v=3WZtrkkcH9M&spfreload=10 April 27, 2015 at 5:51 pm #186186
Some of the most egregious ones I can remember:
Ravi Shankar for “The Apu Trilogy”
Ennio Morricone for “Navajo Joe”
Joe Hisaishi for “My Neighbor Totoro,” “Princess Mononoke,” “Spirited Away,” “Howl’s Moving Castle,” “The Wind Rises” and “The Tale of the Princess Kaguya”
Angelo Badalamenti for “Twin Peaks: Fire Walk with Me”
Zbigniew Preisner for “Damage,” “Three Colors Trilogy”
John Williams for “Jurassic Park”
A.R. Rahman for “Dil Se…”
Yann Tiersen for “Amélie”
Shigeru Umebayashi for “2046”April 27, 2015 at 7:16 pm #186187
^I forgot Jurassic Park wasn’t nominated. John Williams’ best Score in my opinion. And that’s saying something.April 27, 2015 at 9:27 pm #186188
Williams wasn’t nominated for ‘Jurassic Park’?! WTF?! I always thought that he was.
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