In Contention

Tag: Best Music

  • Calling all original song contenders

    As we get closer and closer to the film awards season, I thought maybe it was a good time to round up all the potential original song contenders.  It’s generally a good idea to keep track of these things, so let’s see what we have so far.

    One of the best bets is probably Randy Newman’s “We Belong Together” from “Toy Story 3.” As usual for Newman, it’s not the kind of song that dives too far beneath the surface, but it’s a delightful jingle that helped sum up one of the year’s biggest critical and popular hits, so it should be considered formidable.

    Speaking of animated films,“How to Train Your Dragon” has an original song, “Sticks & Stones,” from Sigur Rós frontman Jónsi Birgisson.  It’s a fast-paced bit of happiness that probably doesn’t have what it takes to push through to a nomination, but it’s in the field nevertheless.

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  • INTERVIEW: ‘Inception’ composer Hans Zimmer and ambient music designer Mel Wesson

    From outside on 14th Street, Hans Zimmer’s Santa Monica offices reflect the typically sterile architecture of the city. Take a few steps in and you’re in the expected world of a musician: bays of dubbing equipment lining the walls, screening alcoves filled to the brim with technology, the usual trappings of a media artist…nothing out of sorts yet.

    However, something lurks behind a large, brown, engraved door in the back, a portal to a creative sanctum and a gargantuan expanse no one would expect to be housed within these otherwise unremarkable premises. Step inside and it feels more like a Viennese castle’s quarters than a Southern California office space (not that the reporter has been to a Viennese castle). Burgundy and cherry wood dominate the scenery as technology mingles with designs of another time, memorabilia decorating every nook and cranny, a Joker statuette keeping watch on the space from afar.

    Zimmer walks in, enthusiastic to discuss his contribution to Christopher Nolan’s “Inception.” He politely (yet somehow cheekily) asks if it’s alright that he smoke a cigarette, then settles in opposite his colleague, ambient music designer Mel Wesson.

    Twenty-six years into a lucrative Hollywood career, Zimmer is tapping into a new creative golden age. He’s coming off his eighth Oscar nomination for his delightfully jaunty work on 2009’s “Sherlock Holmes” and has been a key element of Nolan’s revitalized Batman franchise since 2005. But with “Inception,” his third collaboration with Nolan to date, he says he’s beginning to take note of early career lessons and how they are influencing his work today.

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  • TECH SUPPORT: Diving right back in

    Here we go again.  We just said goodbye to the 2009 film awards season four months ago, yet here we are, halfway through 2010 and ready to kick the tires on Tech Support, a unique feature here at In Contention.

    Tech Support, for those unaware, seeks to highlight below-the-line talent on films.  We offer space to recognize the film music and sound design that help set atmospheres, the costume and production design that helps manifest a new world on screen, the film editing that makes the machinery flow, the makeup that can build a character from the surface out, the visual effects that continue to wow us and the cinematography that truly captures a “motion picture.”

    Films would be impoverished without the contributions of those tasked with the above duties, to say the least. While many of them like being out of the spotlight, it nevertheless seems tremendously important to acknowledge their work, and so we’re happy to gallop into our fifth year of Tech Support.

    Over the next seven months, we will be taking a look at all of these categories, which are often forgotten in the mainstream press. We will take two in-depth looks at nine fields: Best Art Direction, Best Cinematography, Best Costume Design, Best Film Editing, Best Makeup, Best Music (Original Score), Best Sound Editing, Best Sound Mixing and Best Visual Effects.  Best Original Song, largely due to difficulties in amassing a list of contenders early on, will only be reviewed once, later in the season. After this, we hope to again feature many of the contenders with interview pieces, allowing you to read about the personal stories involved in creating films from below the line.

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  • Preview Zimmer’s ‘Inception’ score

    Christopher Nolan’s “Inception” is 13 days away, though the bulk of reviews will be dropping in 51 hours.  How’s that for a countdown?

    The score from Hans Zimmer is exciting the same people behind the scenes who saw greatness and potential awards success in his work on “Sherlock Holmes.” It’s already available for pre-order at Amazon, but even though the album doesn’t release until July 13, you can listen to excerpts from the ominous work.

    The guys at Nevermind Pop Film went to the trouble of collecting a nifty sampler widget from the tracks available in part at Amazon.  It’s a dense work, very unique to Zimmer’s experiences collaborating with Nolan, but I wonder if it will have the same staying power in the awards season as the delightful melodies of “Sherlock Holmes.” Which would speak nothing to quality, mind you.

    Have a listen after the jump and judge for yourself.

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  • John Legend’s ‘Shine’ from ‘Waiting for Superman’

    Paramount is having a nice to-do for Davis Guggenheim’s “Waiting for ‘Superman’” June 21st during the Los Angeles Film Festival.  To say the least, following great notices at Sundance, it’s a documentary feature hopeful come year’s end.  Legend will be on hand to perform “Shine,” his original song for the film, which apparently plays over the closing credits.  As we all know, that may or may not be a deal breaker for the song’s Oscar chances, but I clicked around and came up with this You Tube clip of Legend performing the track.  Thought I’d share:

  • Howard’s ‘Airbender’ score hits iTunes

    When I took my initial stab at the 2010 Oscar forecast a few weeks back, I went out on a limb in a few places for M. Night Shyamalan’s “The Last Airbender,” which I’ve frequently said could be a disaster or something really special.  One of those limbs was Best Original Score, as James Newton Howard could potentially land his sixth nomination in the category.

    Howard has lately become a perennial favorite with the Oscars. His most recent nominations came for “Defiance” (a film that didn’t do well in other categories) and “Michael Clayton” (for a score few could remember when his name popped up on nomination morning). And let’s not forget his saving grace work in “The Village,” which was also recognized.

    His score for “The Last Airbender” has already been released via iTunes for a $9.99 download, and it’s packed with all of Howard’s usual percussive intensity and has just the right touch of epic strokes to perhaps be recognized come year’s end. Additionally, a rave review of the work has already popped up online.

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  • TECH SUPPORT: Final stretch, final predictions

    Zoe SaldanaWell, here we are. On Sunday, the statuettes for the Oscars will handed out. It seems difficult to remember that it was eight months ago when we started looking at the categories for the first time. Today, let’s take one last look at the crafts categories to see where we stand.

    Best Art Direction (Oscar Guide)
    One of the easiest predictions for the evening, for me, is Best Art Direction. James Cameron’s “Avatar” has won the Critics’c Choice, BAFTA and guild awards and this category and the sets, while not being typical of winners in this category, were brilliant. “The Imaginarium of Doctor Parnassus” strikes me as too small, “Nine,” too hated and “The Young Victoria,” more of a costumers film. I’d put guild winner “Sherlock Holmes” in second…but a very distant second.

    Will win: “Avatar”
    Could win: “Sherlock Holmes”
    Should win: “Avatar”

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  • TECH SUPPORT INTERVIEW: Composer symposium, part two

    Michael Giacchino at the 2010 Golden Globe AwardsI think everyone who has seen Pixar’s “Up” was utterly taken by the scene “Married Life,” where emotions ran high and three characters were built between images and music.  As Kris mentioned in this morning’s Oscar Guide, composer Michael Giacchino had the full aural attention of the audience for 10 minutes.

    Speaking to Giacchino, it’s clear he knew it was perhaps the most pivotal moment to get right into a film where music was destined to play a significant role, no matter what. “I remember watching that scene for the first time,” he recalls, “and even watching it without music, it makes you cry. You’re not just looking at what happens on screen, you’re looking at what happens in your life.”

    He found the scene, and indeed, the film itself, to be quite personal. “You end up analyzing yourself,” he says. “It’s an emotional experience and when I’m writing music for any good film, I know I can only do a good job when I’m reflecting what I’m feeling. It’s like a mirror.”

    Giacchino loves being part of what he describes as the “Pixar family” and came aboard the film eight months before it was released. “I’m always at Pixar for something,” he says, adding that he loves doing the music for their short films as well. “Being at Pixar is like being 10 years old and everyone accepts each other for whoever you are.  It’s a wonderful open, honest feeling of being able to say if you don’t like something.”

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  • OSCAR GUIDE: Best Music (Original Score)

    (from left) Wally Wolodarsky (voice) and George Clooney (voice) in Fantastic Mr. FoxFor years the composers of the music branch tended to be a bit insular. Impressive newcomer talent was often ignored while the usual suspects showed up year after year. Not long ago, there seemed to be a shift, yielding slates much like the one we have for 2009.

    There is one first-timer, but other nominees are only enjoying their second and third nominations, while the true veterans of the category haven’t been to the dance in six and nine years respectively. Usually the Academy at large springs for a Best Picture nominee with overwhelming consistency, most often films with cultural flavor or dramatic, sometimes whimsical heft.

    The nominees are:

    “Avatar” (James Horner)
    “Fantastic Mr. Fox” (Alexandre Desplat)
    “The Hurt Locker” (Marco Beltrami and Buck Sanders)
    “Sherlock Holmes” (Hans Zimmer)
    “Up” (Michael Giacchino)

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  • Shocker: Best Original Song nominees will not perform

    (from left) T Bone Burnett and Ryan Bingham at the 2010 Golden Globe AwardsThis is a bit outrageous.  Mike Fleming is reporting at Deadline Hollywood Daily that the original song nominees will not be asked to perform the tracks on the telecast:

    Explanations include that the songs never delivered ratings, and that is what this Oscarcast is all about. That not having the big production numbers will move the show along. That it will save money for distributors, who eat most of the costs (up to 7 figures) of schlepping singers in. That unless a song by Bruce Springsteen, Celine Dion, Sting or U2 were nominated, most of the worldwide audience is hearing the tune for the first time when it is sung. I mean, can anybody besides Tom Bernard or Michael Barker from Sony Pictures Classics hum a few bars of “Loin de Paname” from Paris 36?

    Dear Academy: I don’t think we can possibly bend over any further.

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  • TECH SUPPORT: Post mortem

    Michael Gambon in Harry Potter and the Half-Blood PrinceSo here we are. For the most part, the crafts category nominations weren’t surprising, and there is not a single film that fared drastically better – or worse – than I expected.

    As for comments on individual categories? In Best Cinematography, Bruno Delbonnel’s nomination for “Harry Potter and the Half-Blood Prince” has got to be one of the biggest surprises of the year. The other nominees were completely expected. Dion Beebe apparently couldn’t overcome “Nine”’s collapse.

    On the other hand, John Myrhe managed to make it in for Rob Marshall’s musical in Best Art Direction after missing with both BAFTA and the guild. Nominations for “Avatar” and, in my opinion, “Sherlock Holmes” were to be expected. But the other nominees were slightly surprising.

    “The Imaginarium of Doctor Parnassus” was richly deserving but still surprising. And “The Young Victoria” evidently had more support than I first thought. The real snub here, however, is David Wasco. If he can’t get in for “Inglourious Basterds,” I’m not sure what it’ll take.

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  • TECH SUPPORT: Final predictions, part two

    Sharlto Copley in District 9Continuing from where we left off yesterday, today we look at the fields of makeup, music, sound and visual effects.

    BEST MAKEUP

    The shortlist of seven makes predicting this category slightly easier. “District 9”’s realistic wounds, not to mention the practical elements of the central character’s transformation, likely make it the frontrunner. “Star Trek,” meanwhile, boasted an array of alien species and turned young actors into iconic characters.

    So what will get the last spot? “The Young Victoria” has done better than I would have expected it to do this season and the costumes are assured a nomination. But its shortlisting here seems really for hairstyling, which historically doesn’t lead to nominations.  Then again, a BAFTA nomination shouldn’t be taken lightly.

    I find it difficult to believe that “Night at the Museum: Battle of the Smithsonian” will be nominated when its predecessor failed to even be shortlisted. Admittedly, it worked for “Austin Powers: The Spy Who Shagged Me,” but the characters there were much more iconic. Still, one never knows.

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  • Ed Helms stumps for ‘Stu’s Song’ on Conan

  • ‘Princess and the Frog’ score DQ’d

    The Princess and the FrogThe whole branch is reaching a level of farce that is unbelievable.  Reports Steve Pond:

    Although Randy Newman’s score to Disney’s animated film “The Princess and the Frog” was originally deemed to be eligible in the original score category at the Oscars, the Music Branch Executive Committee met on Monday and disqualified Newman’s music from consideration.

    The score, the committee determined, runs afoul of an AMPAS rule disallowing “scores diluted by the use of tracked themes or other preexisting music,
    diminished in impact by the predominant use of songs, or assembled from the music of more than one composer.”

    Sounds familiar.

  • An underground push for ‘Depression Era’

    Patterson HoodMaybe three months back we told you about Patterson Hood’s “Depression Era” from Scott Teems’s “That Evening Sun,” a soulful, gritty southern ditty that, for my money, is one of the best original songs in a movie this year.  We featured the track in our “listen to” series back in November.

    Thankfully the song made the cut for original song contenders last month, joining 62 other tracks.  But as I’ve been saying since I first saw the film, it’ll be a bit of an uphill battle considering the song plays over the film’s closing credits and not in the narrative of the film.  Voters screen clips of eligible contenders’ usage in the context of a film, so something like, say, “Cinema Italiano,” however awful, has a leg up over something like “Depression Era,” however brilliant.

    That’s not stopping an underground, no-budget Oscar campaign on behalf of the song by Freestyle Releasing.  The distributor has enlisted the help of Paste Magazine, which is exclusively hosting a video of Hood discussing the song and performing it from his Athens, Georgia home.  It’s a great little clip and well worth the effort for this underdog contender.

    One can only hope.  Check out the video after the jump.

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  • Listen to Jeff Bridges’s ‘Somebody Else’ from ‘Crazy Heart’

    Jeff Bridges in Crazy HeartToday we’re wrapping up the “listen to” series of featured tracks in this year’s Best Original Song race.  We spotlighted 17 contenders in total, not all of which made the eventual eligibility cut, of course.  But it’s been a nice way of giving the field it’s proper due.

    Surprisingly enough, only one other song from “Crazy Heart” joined “The Weary Kind” on this year’s list of eligible contenders.  That song was “Somebody Else,” which is in fact the first tune we hear Jeff Bridges’s Bad Blake character sing in the film.  The opening lyric was a particular favorite of songwriter T Bone Burnett’s: “I used to be somebody.  Now I am somebody else.”

    It’s a great moment because it introduces you to the killer soundtrack that will unfold for the next two hours and because it sheds a compelling light on the film’s central character, a man clinging to his past when he has long outgrown it.

    Have a listen below and tell us what you think.

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  • 63 tracks compete for Best Original Song

    Miley Cyrus in Hannah Montana: The MovieIt’s been fun bringing a great many of this year’s Best Original Song contenders to you every few days with the “listen to” posts, but today, the Academy offered up the full list of contenders, so things are beginning to settle in.  There are a few surprises, however.

    Firstly, only two tracks from “Crazy Heart” are on the list.  I’m not sure if that’s because only two were submitted, but there are six solid original tunes on the soundtrack.  And four songs from “The Princess and the Frog” weren’t on the list (one of them, “Friends on the Other Side,” being one of my favorites from the film).  Again, I don’t know if that’s because only the four on the list were submitted.

    Mary J. Blige’s “I Can See in Color” from “Precious” is the most notable exclusion.  I guess it didn’t play for long enough to be of any impact, but to my mind, it was one of the best songs in the hunt.

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  • Listen to Duffy’s ‘Smoke Without Fire’ from ‘An Education’

    DuffyEarlier today we featured “You’ve Got Me Wrapped Around Your Little Finger,” Beth Rowley’s original song contender from “An Education.” Now we’d like to bring a second track from the film to your attention: “Smoke Without Fire” from Welsh sensation Duffy.

    This is a potent little ditty but it is the first cue on the opening credits, which, as we’ve mentioned many times, isn’t an immediate deal breaker, but it makes the climb a bit more difficult.  Not to mention Rowley’s track features so prominently within the context of the film that, if either is going to get in, that would be it.

    Still, we shouldn’t take too much away from Duffy’s song.  It’s a great button on the end of the film, seemingly belted from the weary soul of a youngster who got in too deep.  You know my feelings on this category.  I think a song’s placement at the end of a film can have as much impact on your interpretation of the film as a song placed within, so if I had a vote, I imagine I’d be taking this one a bit more seriously than most.

    Have a listen below and tell us what you think.

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