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Tag: Best Original Score Oscar (1-7 of 7)

Oscars announce 114 films advancing in Best Original Score category

The Academy has announced 114 film scores eligible for the Best Original Score at the 87th Oscars, including Gone Girl, Big Hero 6, The Fault in Our Stars, and more.  The nominees will be announced on Jan. 15. READ FULL STORY

Oscars 2014: How Steven Price created a 3-D score for 'Gravity'

Steven Price was only supposed to work on Gravity for three weeks.

The team brought him in for a quick fix. There was a screening approaching quickly and the film still didn’t have a score, so they asked Price — best known for his work as a music editor at that point — to come in. “I thought I was going to go in just to kind of help them throw things together,” he told EW. “And then I met Alfonso.” READ FULL STORY

Kim Novak slams 'The Artist' for using 'Vertigo' theme; 'Artist' director Michel Hazanavicius responds

Vertigo star Kim Novak, 73, isn’t happy that Oscar favorite The Artist uses sections of Bernard Herrmann’s iconic love theme from Vertigo in its score. The Artist‘s composer Ludovic Bource borrows heavily from the Hitchcock classic, and although the film does credit Herrmann, Novak still feels that the insertion of Vertigo‘s famous music into The Artist is “cheating.”

To express her anger, the actress took out a full-page ad in today’s edition of trade publication Variety, which reads:

FROM THE DESK OF
KIM NOVAK

I WANT TO REPORT A RAPE.

I FEEL AS IF MY BODY—OR, AT LEAST MY BODY OF WORK—HAS BEEN VIOLATED BY THE MOVIE, “THE ARTIST.”

The film could and should have been able to stand on its own without depending upon Bernard Herrmann’s score from Alfred Hitchcock’s VERTIGO to provide it  more drama. Much of VERTIGO‘s music was written during, not after, filming—that was the way Hitchcock worked. The Love Theme was woven musically in with the puzzle pieces of the storyline. In my opinion, the combined efforts of the composer, director, Jimmy Stewart, and myself were all violated.

I AM THE ONLY ONE WHO CAN SPEAK NOW. They didn’t need to use what I consider to be on of the most important love scenes in motion picture history by playing the VERTIGO score and using emotions it engenders as if it were their own. Even though they gave a small credit to Bernard Herrmann at the end, I believe this to be cheating, at the very least. Shame on them!

IT IS MORALLY WRONG FOR THE ARTISTRY OF OUR INDUSTRY TO USE AND ABUSE FAMOUS PIECES OF WORK TO GAIN ATTENTION AND APPLAUSE FOR OTHER THAN WHAT THEY WERE INTENDED. IT IS ESSENTIAL TO SAFEGUARD OUR SPECIAL BODIES OF WORK FOR POSTERITY, WITH THEIR ORIGINAL AND INDIVIDUAL IDENTITIES INTACT AND PROTECTED.

Kim Novak

Well, it appears that negative ad-campaigns aren’t just for to political elections anymore! In response to Novak’s decisively harsh words, The Artist‘s director, Michael Hazanavicius, has just released a statement of his own:

The Artist was made as a love letter to cinema, and grew out of my (and all of my cast and crew’s) admiration and respect for movies throughout history.  It was inspired by the work of Hitchcock, Lang, Ford, Lubitsch, Murnau and Wilder. I love Bernard Hermann and his music has been used in many different films and I’m very pleased to have it in mine. I respect Kim Novak greatly and I’m sorry to hear she disagrees.

What do you make of this sudden battle of words? Do you think Kim Novak’s cry may actually hurt The Artist‘s Oscar chances (it is eligible for Best Original Score), or is it just a rant that will blow over? Did you notice the film’s use of Vertigo‘s music while you were watching?

The director of 'The King's Speech' owes his DGA award to two other guys

Ludwig-van-Beethoven-Kings-SpeechImage Credit: Laurie Sparham; Everett CollectionAs Bertie — er, King George VI — might say, I’m gobsmacked that Tom Hooper won this year’s top award from the Directors Guild of America over David Fincher. Hooper also won the award over Christopher Nolan. And also over Debra Granik, Darren Aronofsky, Lisa Cholodenko, Danny Boyle, Roman Polanski, and Ben Affleck. Don’t get me wrong, the director of The King’s Speech did a fine job assembling a sturdy, effective drama out of familiar, good-quality components. But by my lights, any one of those also-rans did more interesting, READ FULL STORY

Trent Reznor reacts to Best Score nomination for 'The Social Network'

Trent-ReznorImage Credit: Kevin Winter/Getty ImagesNine Inch Nails frontman Trent Reznor is giving himself props for his Best Score nomination for The Social Network, as much as it strains him to do so. “It’s not in my nature to sit back and pat myself on the back, but I’m making myself pause and actually enjoy the moment and say, you know, I really think we did good work on this,” the musician, who is nominated alongside Atticus Ross, tells EW. “And it feels nice to see it be appreciated by an institution that knows what it’s talking about. It feels nice, it really does.” READ FULL STORY

Oscar nominations are in: 'The King's Speech' rules with 12 nods

oscar-awardImage Credit: Neilson Barnard/Getty ImagesThe Academy of Motion Pictures Arts & Sciences unveiled its nominations for the 83rd annual Academy Awards. The King’s Speech led the way with 12 nominations, and the Coen brothers’ western, True Grit, scored 10. Check out the list below, follow-up with Dave Karger‘s take, then head over to PopWatch to let us know who you think got snubbed.

BEST PICTURE
127 Hours
Black Swan
The Fighter
Inception
The Kids Are All Right
The King’s Speech
The Social Network
Toy Story 3
True Grit
Winter’s Bone READ FULL STORY

'The Social Network': What's its toughest Oscar competition?

Eisenberg: Merrick Morton

With glowing reviews and impressive box office, The Social Network will without a doubt be an Academy Award nominee in several major categories: Best Picture, Best Director, and Best Adapted Screenplay are slam dunks even at this early date. But what will its toughest competition be? Let’s look at it race by race.

Best Picture I feel confident that we’ve now seen at least half of the 10 eventual Oscar nominees, now that Inception, The Kids Are All Right, Toy Story 3, and The Social Network have reached theaters and The King’s Speech, Hereafter, and 127 Hours have each played a festival or two. Of that list, The King’s Speech strikes me as the strongest overall contender. I also have a hunch that the Coen brothers’ version of True Grit could end up as a major player.

Best Director David Fincher’s been nominated once before, for The Curious Case of Benjamin Button. He lost to Slumdog Millionaire‘s Danny Boyle, who could enter the race again this year for 127 Hours. But Fincher doesn’t need to worry about Boyle for the win. Besides The King’s Speech filmmaker Tom Hooper, Inception‘s Christopher Nolan and Joel and Ethen Coen for True Grit seem like top contenders. Again, it’s very early, but I could even see the Academy giving Best Picture to something more traditional like The King’s Speech and recognizing someone like Fincher in the directing category.

Best Actor It’s easy to look at Jesse Eisenberg’s turn and say that he’s doing the same deadpan brainiac thing he’s done before, but I really hope the actors’ branch recognizes what a phenomenal performance he gives. The more the film takes off overall, the better his chances are—but beating the likes of Colin Firth (The King’s Speech), Robert Duvall (Get Low), Javier Bardem (Biutiful), and James Franco (127 Hours) will be difficult.

Best Supporting Actor I’ve already written about the decision to mount three supporting actor campaigns for The Social Network. I’d say Andrew Garfield is the film’s strongest shot at a nod here, though he’d face a slew of comparative veterans: Geoffrey Rush is a lock for The King’s Speech, while I’d say The Fighter‘s Christian Bale and The Kids Are All Right‘s Mark Ruffalo are also deserving of inclusion. Then there’s Matt Damon, who could be a Academy-friendly scene stealer in True Grit.

Best Adapted Screenplay I’d call Aaron Sorkin the clear frontrunner in this race; interestingly, though he’s won an Emmy for writing The West Wing and has also earned three Golden Globe nods in the screenplay category, he’s never been nominated for an Oscar. Perhaps the two other top adapted contenders are past winners in the original screenplay category: Toy Story 3‘s Michael Arndt (who won for Little Miss Sunshine), and the Coens (who have actually been victorious in both screenplay races). Thankfully for Sorkin, The King’s Speech and The Kids Are All Right will both compete in the original screenplay race.

Best Original Score It’s been exciting to see the Academy’s music branch embrace contemporary artists (A.R. Rahman, Eminem) over the past decade. Can we now dream that Trent Reznor and Atticus Ross’ uniquely hypnotic Social Network score could actually get nominated? Please yes. If media attention determined the winner, it would certainly be a race between those two and Inception‘s Hans Zimmer. Though Toy Story 3‘s Randy Newman and The King’s Speech‘s Alexandre Desplat (both past nominees) would be formidable opponents as well.

At this point I see The Social Network at least leaving the Kodak with one piece of hardware. The next few weeks will dictate how much that number could rise.

Are you following me yet? (@davekarger)

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