Patrick Goldstein’s sources are apparently right on. I was told by a representative party at tonight’s premiere of “The Curious Case of Benjamin Button” that, indeed, James Newton Howard and Hans Zimmer’s wonderful score for “The Dark Knight” is officially back in the running for an Oscar. I was actually told this was coming two days ago, but had nothing to go on beyond one inside source, so I didn’t want to go there yet. Oh well. Here’s hoping it can translate to a nomination, but that pesky two-composer thing might still stick in the branch’s craw.
It was an interesting place to hear the news, considering the only score that tops Howard and Zimmer is Alexandre Desplat’s sublime work on “Button,” the likely (and deserving) Oscar victor.
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14 responses to “Yes, it’s true — Zimmer and Howard are back in the mix”
Good to hear. I bet they won’t nominate it, though.
Heh, this must be a first. Or not? I am so glad with this, though with JNH probably already being represented with Defiance I doubt they’d nominate him twice. Let alone Zimmer once, despite interesting work for Frost/Nixon.
Kind of off topic, but it’s something besides “hey this is good news.”
Since Johnny Greenwood is still receiving lamentations from people (including myself) after last years treatment from the academy, and with the back and forth news about TDK, just thought I’d ask if it was just me, or did anyone else hear a similarity in TDK’s and Blood’s score? (I can’t really describe it, but I’m talking about that sinister and continuous droning sound that I heard in both).
i know what you mean scott, but they droned in different ways. There Will be Blood had a much more frantic feel to it’s score than the dark knight’s though.
It’s the use of the monotone tones in the beginning of the film and the cello’s are both the main (genuine) instruments mixed with electronic synth music during those parts.
hey, critics choice nominations are out, NOTHING for Revolutionary Road.
See? As I said months ago, AMPAS’s eligibility language does not specifically disqualify scores by multiple composers. COLLABORATIONS (like Zimmer and Howard’s) are fine, but COMPILATIONS are not.
Very, very happy news. At least it now has a fair shot, and thank God.
Also, I’ve gotta say I’m loving the Dark Knight love for the Critics’ Choice awards.
Also, just for your own future reference, Kris, the idiom is “stick in [such-and-such’s] craw”, no “l”. I swear I didn’t do that to be a dick.
Good news, then. But I’m feeling doubtful as to whether it’d get nominated.
Anyway, I’m gonna check out Desplat’s work on Button before I pick a candidate to bet on.
Button is truly superb. Indeed the culmination of his work in the past years. Although in itself it falls a bit flat, I guess Kris was right it had to be heard within the context of the film to be truly appreciated.
Oh and Howard Shore’s LotR score is just the finest ever. Happen to be listening to it now while I’m downloading the new TDK score.
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Adam: As a southerner, I’m embarrassed at that typo. I actually know it’s craw, but it was 1 in the morning. Thanks for the catch.
[…] diligence Los Angeles Times columnist Patrick Goldstein has been doing on this back-and-forth on the eligibility of Hans Zimmer and James Newton Howard’s score for “The Dark […]
I would say that we Southerners need to look out for each other, but I’ll be honest, I wasn’t even aware you were until just now.
Well, from now on, we Southerners look out for each other.