Thursday
Sep132012
Complete the Tuneful Sentence
Thursday, September 13, 2012 at 6:16PM 
"My favorite score of the year (thus far) is _____________ because ______________ . Oscar's music branch______________."
I'll start. My favorite score of the year thus far is for Cosmopolis because it's absolutely addictive, sinister, and sinuous. Oscar's music branch should listen to it but they only seem to like Howard Shore when he's scoring Lord of the Rings.
Your turn! Go...
tagged Cosmopolis, complete the sentence, composers
Cosmopolis, complete the sentence, composers
Reader Comments (10)
My favorite score of the year (thus far) is Brave because Patrick Doyle can do no wrong . Oscar's music branch will suffer if ignores it."
My favorite score of the year (thus far) is Alexandre Desplat's MOONRISE KINGDOM because of the way he holds up a mirror to the Benjamin Britten piece at the heart of that film, echoing its fascination with orchestration while providing a fairy tale feel that would not otherwise have ben there. Oscar's music branch will be entirely consistent with itself, and ignore it."
It hasn't been a great year for scoring though, it must be said, for a film with 6 variations on a slender theme to get my nod.
Beasts of the Southern Wild.
Without question.
That operatic, beautiful finale was enough to elevate the film for me, which I wasn't much a fan of. And throughout, there's this gorgeous subtle rise of action; it's the first score I've heard in a while that was its own work of art, but it didn't distract from the story at hand. Went with it, beat by beat, shining and serving its purpose all at once.
My favorite score of the year (thus far) is Beasts of the Southern Wild because it's just as swampy and gorgeous as the film in which it seems to have magically found itself. Oscar's music branch should see that it's a big piece of a little universe, and that makes it right (to be nominated).
My favorite score of the year (thus far) is Haywire, because its jazzy rhythms smartly pay tribute to past spy movies without feeling like it's just copying them. Oscar's music branch can't remember all the way back to January, so they will almost certainly not nominate it..
My favorite score so far is 'Beasts of the Southern Wild', as it complimented the film perfectly and poignantly. The music branch will probably ignore it, unless the movie gets a ton of nominations.
My favorite score of the year (thus far) is Mark Suozzo and Adam Schlesinge's work on DAMSELS IN DISTRESS because it's catchy, ebullient, fun and completely in touch with its zany film. Oscar's music branch would also do well to remember The Sambola! International Dance Craze, one of the best original songs of the year (thus far).
My favorite score of the year is "The Best Exotic Marigold Hotel" because it's the best (Thomas) Newman score in years. Oscar brach should nominate this because they love to nominate him (but just to nominate him).
Desplat's Moonrise Kingdom? Really? It's not even a score, just the same piece in different versions... Do people really really listen to the scores? I mean, do you sit and listen carefully to the CDs? I apologize, maybe it's because I often experience torture with so called cool music.
My favorite score of the year (thus far) is Alexandre Desplat's for "Moonrise Kingdom" because it is a nice mix of the playful and serious and perfectly matches Wes Anderson's style. Oscar's music branch will probably appreciate it enough to nominate it. They love Desplat.
"Desplat's Moonrise Kingdom? Really? It's not even a score, just the same piece in different versions... Do people really really listen to the scores? I mean, do you sit and listen carefully to the CDs? I apologize, maybe it's because I often experience torture with so called cool music."
I used to run a review website of score CDs, so it's an area I know a little too well, arguably. But I always think the purpose of awards is to recognise how the music helped the film in its goals, and did it do it in an interesting way. Whether it's a good album is another matter. Some of the best films in history have obsessive soundtracks that never escape 1-2 tracks (In the Mood for Love, Pierrot le Fou, Chungking Express), so thin material isn't the issue if it's the right choice. This year I haven't had much music stand out in the film, but I liked what Desplat's slender not-even-a-theme did to the feel of MK in the 5-6 scenes it appeared.. it felt like it did the most with the least. And it was a creative mirror to Britten's guide to orchestration, using many of the instruments that Britten didn't cover. Good music scenes: that first travelling montage and the wedding scene jump to mind.
Having said that, I wish I could muster a better example for 2012.