Anyone excited about the Oscars tonight?

[Raja, The Great]

Who is going to win? Whom do you want to win?

[WeReo_BoY]

In article

Post by Raja, The Great
Who is going to win? Whom do you want to win?

WHO CARES???

[felangey]

WHO CARES???<

This.

[Giovanna]

Black Swan - Natalie Portman - Christian Bale - that guy from bridget
jones's diary, etc

James Franco and Anne Hathaway will present it this year, right? I
like them both~~

[ocean]

Post by Giovanna
Black Swan - Natalie Portman - Christian Bale - that guy from bridget
jones's diary, etc

Predictable. The only upset might happen in the best supporting
actress category. Everything else is a lock.

[Grinner]

Post by WeReo_BoY
In article

Post by Raja, The Great
Who is going to win? Whom do you want to win?

WHO CARES???

oh you and raja meet ? finally.

[TT]

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Me me me.

King's Speech, Firth and Portman.

Watched today "Kid's are all right"...which was ultimately disappointing
feminist-lesbian propaganda. The man in the movie really got short end
of the stick...

[Raja, The Great]

Post by TT

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Me me me.
King's Speech, Firth and Portman.

Me too. Firth is a great actor

Post by TT
Watched today "Kid's are all right"...which was ultimately disappointing
feminist-lesbian propaganda. The man in the movie really got short end
of the stick...

[TT]

Post by TT

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Me me me.
King's Speech, Firth and Portman.

I'm the man. :-P

My next prediction: Rafael Nadal wins French Open.

[Giovanna]

Post by TT
My next prediction: Rafael Nadal wins French Open.

yaaaaay the stupid french crowd can't wait!!~~

[Joe Ramirez]

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

[TT]

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

[Raja, The Great]

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I wanted Mila Kunis to be nominated. So a bit disappointed. She is the
reason I used to watch That 70s show. She is a very good actress. She
was good in Forgetting Sarah Marshall. I haven't watch Black Swan yet
(or any movie for almost 3 months).

[Joe Ramirez]

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

[number_six]

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

[Joe Ramirez]

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

Trent was driven to new heights of professionalism by ex-paramour
Courtney Love's "Two-Inch Nails" remark.

The score for "The Social Network" is quirky and buzzy, but it's
largely underscoring. The moment the music stops playing, it's hard to
recall any of it. The best part of the entire score was used in the
montage at the very beginning of the Academy Awards telecast tonight.
Unfortunately, that part was written by Edvard Grieg for "Peer Gynt."
The Oscar goes to Reznor, Ross and Grieg!

[Raja, The Great]

Post by Joe Ramirez

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

Trent was driven to new heights of professionalism by ex-paramour
Courtney Love's "Two-Inch Nails" remark.
The score for "The Social Network" is quirky and buzzy, but it's
largely underscoring. The moment the music stops playing, it's hard to
recall any of it. The best part of the entire score was used in the
montage at the very beginning of the Academy Awards telecast tonight.
Unfortunately, that part was written by Edvard Grieg for "Peer Gynt."
The Oscar goes to Reznor, Ross and Grieg!

Isn't this Oscar ceremony incredibly boring? James Franco is not a
funny guy. He seems very stiff. Billy Crystal was quite funny. He
should have hosted.

[TT]

Post by Raja, The Great

Post by Joe Ramirez

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

Trent was driven to new heights of professionalism by ex-paramour
Courtney Love's "Two-Inch Nails" remark.
The score for "The Social Network" is quirky and buzzy, but it's
largely underscoring. The moment the music stops playing, it's hard to
recall any of it. The best part of the entire score was used in the
montage at the very beginning of the Academy Awards telecast tonight.
Unfortunately, that part was written by Edvard Grieg for "Peer Gynt."
The Oscar goes to Reznor, Ross and Grieg!

Isn't this Oscar ceremony incredibly boring? James Franco is not a
funny guy. He seems very stiff. Billy Crystal was quite funny. He
should have hosted.

Yes. Hathaway was at least trying...too much. Those forced giggles were
awkward. Uncharismatic, too.

On James Franco...I've seen more lively corpses at funerals.

[Giovanna]

Post by TT
Yes. Hathaway was at least trying...too much. Those forced giggles were
awkward. Uncharismatic, too.

I like her~~

Post by TT
On James Franco...I've seen more lively corpses at funerals.

yes he sucked~~

[Joe Ramirez]

Post by TT

Post by Raja, The Great

Post by Joe Ramirez

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

Trent was driven to new heights of professionalism by ex-paramour
Courtney Love's "Two-Inch Nails" remark.
The score for "The Social Network" is quirky and buzzy, but it's
largely underscoring. The moment the music stops playing, it's hard to
recall any of it. The best part of the entire score was used in the
montage at the very beginning of the Academy Awards telecast tonight.
Unfortunately, that part was written by Edvard Grieg for "Peer Gynt."
The Oscar goes to Reznor, Ross and Grieg!

Isn't this Oscar ceremony incredibly boring? James Franco is not a
funny guy. He seems very stiff. Billy Crystal was quite funny. He
should have hosted.

Yes. Hathaway was at least trying...too much. Those forced giggles were
awkward. Uncharismatic, too.
On James Franco...I've seen more lively corpses at funerals.

That was his "Pineapple Express" stoned persona -- just a little
metatribute to the art of moviemaking goin' on.

[Raja, The Great]

Post by Joe Ramirez

Post by TT

Post by Raja, The Great

Post by Joe Ramirez

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

Trent was driven to new heights of professionalism by ex-paramour
Courtney Love's "Two-Inch Nails" remark.
The score for "The Social Network" is quirky and buzzy, but it's
largely underscoring. The moment the music stops playing, it's hard to
recall any of it. The best part of the entire score was used in the
montage at the very beginning of the Academy Awards telecast tonight.
Unfortunately, that part was written by Edvard Grieg for "Peer Gynt."
The Oscar goes to Reznor, Ross and Grieg!

Isn't this Oscar ceremony incredibly boring? James Franco is not a
funny guy. He seems very stiff. Billy Crystal was quite funny. He
should have hosted.

Yes. Hathaway was at least trying...too much. Those forced giggles were
awkward. Uncharismatic, too.
On James Franco...I've seen more lively corpses at funerals.

That was his "Pineapple Express" stoned persona -- just a little
metatribute to the art of moviemaking goin' on.

It looked like he wasn't really interested in the ceremony. Probably
pissed off that he was not going to win it.

[Eric Ramon]

Post by Raja, The Great

Post by Joe Ramirez

Post by TT

Post by Raja, The Great

Post by Joe Ramirez

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

Trent was driven to new heights of professionalism by ex-paramour
Courtney Love's "Two-Inch Nails" remark.
The score for "The Social Network" is quirky and buzzy, but it's
largely underscoring. The moment the music stops playing, it's hard to
recall any of it. The best part of the entire score was used in the
montage at the very beginning of the Academy Awards telecast tonight.
Unfortunately, that part was written by Edvard Grieg for "Peer Gynt."
The Oscar goes to Reznor, Ross and Grieg!

Isn't this Oscar ceremony incredibly boring? James Franco is not a
funny guy. He seems very stiff. Billy Crystal was quite funny. He
should have hosted.

Yes. Hathaway was at least trying...too much. Those forced giggles were
awkward. Uncharismatic, too.
On James Franco...I've seen more lively corpses at funerals.

That was his "Pineapple Express" stoned persona -- just a little
metatribute to the art of moviemaking goin' on.

It looked like he wasn't really interested in the ceremony. Probably
pissed off that he was not going to win it.

probably irritated that Ricky Gervais' fake script was funnier than
anything that was actually said at the Oscars.

[Javier González]

Post by Eric Ramon

Post by Raja, The Great

Post by Joe Ramirez

Post by TT

Post by Raja, The Great

Post by Joe Ramirez

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

Trent was driven to new heights of professionalism by ex-paramour
Courtney Love's "Two-Inch Nails" remark.
The score for "The Social Network" is quirky and buzzy, but it's
largely underscoring. The moment the music stops playing, it's hard to
recall any of it. The best part of the entire score was used in the
montage at the very beginning of the Academy Awards telecast tonight.
Unfortunately, that part was written by Edvard Grieg for "Peer Gynt."
The Oscar goes to Reznor, Ross and Grieg!

Isn't this Oscar ceremony incredibly boring? James Franco is not a
funny guy. He seems very stiff. Billy Crystal was quite funny. He
should have hosted.

Yes. Hathaway was at least trying...too much. Those forced giggles were
awkward. Uncharismatic, too.
On James Franco...I've seen more lively corpses at funerals.

That was his "Pineapple Express" stoned persona -- just a little
metatribute to the art of moviemaking goin' on.

It looked like he wasn't really interested in the ceremony. Probably
pissed off that he was not going to win it.

probably irritated that Ricky Gervais' fake script was funnier than
anything that was actually said at the Oscars.

maybe irritated that after the Gervais thing the script was ultra-
sanitized.

[Raja, The Great]

Post by TT

Post by Raja, The Great

Post by Joe Ramirez

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

Trent was driven to new heights of professionalism by ex-paramour
Courtney Love's "Two-Inch Nails" remark.
The score for "The Social Network" is quirky and buzzy, but it's
largely underscoring. The moment the music stops playing, it's hard to
recall any of it. The best part of the entire score was used in the
montage at the very beginning of the Academy Awards telecast tonight.
Unfortunately, that part was written by Edvard Grieg for "Peer Gynt."
The Oscar goes to Reznor, Ross and Grieg!

Isn't this Oscar ceremony incredibly boring? James Franco is not a
funny guy. He seems very stiff. Billy Crystal was quite funny. He
should have hosted.

Yes. Hathaway was at least trying...too much. Those forced giggles were
awkward. Uncharismatic, too.
On James Franco...I've seen more lively corpses at funerals.

Yes she always comes off as trying too much... Even in her movies

[Iceberg]

Post by Joe Ramirez

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

Trent was driven to new heights of professionalism by ex-paramour
Courtney Love's "Two-Inch Nails" remark.
The score for "The Social Network" is quirky and buzzy, but it's
largely underscoring. The moment the music stops playing, it's hard to
recall any of it. The best part of the entire score was used in the
montage at the very beginning of the Academy Awards telecast tonight.
Unfortunately, that part was written by Edvard Grieg for "Peer Gynt."
The Oscar goes to Reznor, Ross and Grieg!

I'm most surprised The Social Network won over Inception for Best
Original Score.

[globular]

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Wow, Reznor has changed a lot since NIN in the nineties. His song
"Burn" was one of the hardest, angriest, most alienated rock records
of its day. If you'd told me then he'd eventually cop a best score
Oscar, my skepticism meter would have redlined. Yet, there it is.

I think he has a lot of experience with computer games. I always think
of Quake when I hear his name or NIN.

[jdeluise]

Post by globular
I think he has a lot of experience with computer games. I always think
of Quake when I hear his name or NIN.

I have no idea, but the nailgun ammo boxes had the NIN logo on them and I
believe he made the soundtrack, though I only listened to it maybe once at
most (musically not really my cup of tea).

[globular]

Post by jdeluise

Post by globular
I think he has a lot of experience with computer games. I always think
of Quake when I hear his name or NIN.

I have no idea, but the nailgun ammo boxes had the NIN logo on them and I
believe he made the soundtrack, though I only listened to it maybe once at
most (musically not really my cup of tea).

Music for people who like listening to performing amplifiers.

[t***@aerovons.com]

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Yes, "Inception" had a wonderful score!

TH

[Iceberg]

Post by t***@aerovons.com

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to. For the other
categories, I figure that just being nominated is enough, and the
politics involved are often significant and unpredictable, so normally
I don't become deeply invested in the results.

So who's going to win Best Original Score this year?

I don't know. All I know is that the best score in my opinion usually
doesn't win. This year, "The Social Network" had a lot of early
momentum, having won the Golden Globe and topped more critics' lists
than any competitor. However, some recent predictions I've seen have
suggested that "The King's Speech" may ride to victory on the
coattails of the film's expected wins in many other major categories.
That would be unfortunate; I hate it when the score award is treated
as an afterthought or footnote. My preference is "Inception," which I
think is the score that will be remembered most in the years to come.
Both "The Social Network" and "The King's Speech" are good -- one
hipster electronica, and other veddy, veddy traditional -- but neither
makes as significant a contribution to its film as the "Inception"
score, nor is either as listenable as a freestanding work, IMO. I
don't think either "127 Hours" or "How To Train Your Dragon" has much
of a chance. (I didn't see the last two movies, but I have listened to
excerpts from their scores.)

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Yes, "Inception" had a wonderful score!

much as I usually disagree with Ramirez, he's right, the Inception
score added to the film, in the Social Network it was like an
interlude you won't bother listening to again, no problem with the
Best Film Editing Oscar, but odd how it won Best Original Score.

[Whisper]

Post by Joe Ramirez

Post by TT
For me it's about the Best Picture and actors/tresses. Some years
Cinematography etc are also interesting.

I enjoy those categories, but it's less common for me to have a
rooting interest in them.

Well Portman is pregnant so someone had a rooting interest in her.

[Brian In Atlanta]

I'm just happy that after today, "The Kids Are Alright" can go back to
referring to The Who song/album/movie!

-BrianInAtlanta
Twitter: http://twitter.com/#!/BrianInAtlanta
http://www.thewhothismonth.com

[DavidW]

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what they used to
be. The days of really memorable ones such as Lawrence of Arabia are long gone.

[Joe Ramirez]

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what they used to
be. The days of really memorable ones such as Lawrence of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of them
for truly excellent scores, and certainly memorable with a capital M.

The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

Listen to the track "Time" from the "Inception" score. Regardless of
its minimalist compositional technique, very different from the lavish
neo-Romanticism of "Lawrence of Arabia," it's a great short piece of
music.

And I didn't even need to mention "Koyaanisqatsi." :)

[DavidW]

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of them
for truly excellent scores, and certainly memorable with a capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is the equal
most boring book I've ever read and I've successfully avoided knowing anything
about the films except the name of their director and that they were shot in New
Zealand. I can't say the same about Star Wars, which I also haven't seen. It's
been impossible not to know characters' and actors' names, see snippets of the
film and hear the annoying, blaring theme (the latest instance being hearing the
theme at the Oscars).

Post by Joe Ramirez
Listen to the track "Time" from the "Inception" score. Regardless of
its minimalist compositional technique, very different from the lavish
neo-Romanticism of "Lawrence of Arabia," it's a great short piece of
music.
And I didn't even need to mention "Koyaanisqatsi." :)

I intend to watch Inception when it comes onto the local movie channels in a
couple of months.

[Joe Ramirez]

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of them
for truly excellent scores, and certainly memorable with a capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is the equal
most boring book I've ever read and I've successfully avoided knowing anything
about the films except the name of their director and that they were shot in New
Zealand. I can't say the same about Star Wars, which I also haven't seen. It's
been impossible not to know characters' and actors' names, see snippets of the
film and hear the annoying, blaring theme (the latest instance being hearing the
theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score. But it should be noted that when the neo-
Romantic, string-heavy style employed in "Lawrence of Arabia" was more
the norm, most film scores were nowhere near as great as that of
"Lawrence of Arabia." In other words, even back when scores were
"memorable" by your standards, most of them actually weren't.

[DavidW]

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really dislike JW's
blaring themes like Star Wars and Raiders Of The Lost Ark. Gone With The Wind is
a good theme. The Big Country and Where Eagles Dare are a couple of other
favourites.

Post by Joe Ramirez
But it should be noted that when the neo-
Romantic, string-heavy style employed in "Lawrence of Arabia" was more
the norm, most film scores were nowhere near as great as that of
"Lawrence of Arabia." In other words, even back when scores were
"memorable" by your standards, most of them actually weren't.

I just find most film scores these days to be non-descript, vanilla music. You
wouldn't recognize them if you heard them the next day.

[Joe Ramirez]

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really dislike JW's
blaring themes like Star Wars and Raiders Of The Lost Ark. Gone With The Wind is
a good theme. The Big Country and Where Eagles Dare are a couple of other
favourites.

Williams is one of the most melodic film composers ever. He's
enormously gifted. He does like brassy, heroic motifs, but I think he
generally uses them appropriately. But if you don't care for them,
avoid "Star Wars," "Superman," "Indiana Jones," etc., and perhaps try
"Jaws," "The Witches of Eastwick," "A.I.: Artificial Intelligence,"
"Catch Me If You Can" (jazzy), or "Harry Potter and the Prisoner of
Azkaban" (the best of JW's three Potter scores, and richly, darkly
melodic). "E.T." is famous but is a bit too sentimental IMO.

Post by DavidW

Post by Joe Ramirez
But it should be noted that when the neo-
Romantic, string-heavy style employed in "Lawrence of Arabia" was more
the norm, most film scores were nowhere near as great as that of
"Lawrence of Arabia." In other words, even back when scores were
"memorable" by your standards, most of them actually weren't.

I just find most film scores these days to be non-descript, vanilla music. You
wouldn't recognize them if you heard them the next day.

Many scores are nondescript, true. But I've heard plenty of good and
great ones as well from movies that came out in the last 40 years, so
I don't perceive a systemic problem.

[TT]

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really dislike JW's
blaring themes like Star Wars and Raiders Of The Lost Ark. Gone With The Wind is
a good theme. The Big Country and Where Eagles Dare are a couple of other
favourites.

Williams is one of the most melodic film composers ever. He's
enormously gifted. He does like brassy, heroic motifs, but I think he
generally uses them appropriately. But if you don't care for them,
avoid "Star Wars," "Superman," "Indiana Jones," etc., and perhaps try
"Jaws," "The Witches of Eastwick," "A.I.: Artificial Intelligence,"
"Catch Me If You Can" (jazzy), or "Harry Potter and the Prisoner of
Azkaban" (the best of JW's three Potter scores, and richly, darkly
melodic). "E.T." is famous but is a bit too sentimental IMO.

Post by DavidW

Post by Joe Ramirez
But it should be noted that when the neo-
Romantic, string-heavy style employed in "Lawrence of Arabia" was more
the norm, most film scores were nowhere near as great as that of
"Lawrence of Arabia." In other words, even back when scores were
"memorable" by your standards, most of them actually weren't.

I just find most film scores these days to be non-descript, vanilla music. You
wouldn't recognize them if you heard them the next day.

Many scores are nondescript, true. But I've heard plenty of good and
great ones as well from movies that came out in the last 40 years, so
I don't perceive a systemic problem.

List your favourite movie themes?

[Joe Ramirez]

Post by TT

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really dislike JW's
blaring themes like Star Wars and Raiders Of The Lost Ark. Gone With The Wind is
a good theme. The Big Country and Where Eagles Dare are a couple of other
favourites.

Williams is one of the most melodic film composers ever. He's
enormously gifted. He does like brassy, heroic motifs, but I think he
generally uses them appropriately. But if you don't care for them,
avoid "Star Wars," "Superman," "Indiana Jones," etc., and perhaps try
"Jaws," "The Witches of Eastwick," "A.I.: Artificial Intelligence,"
"Catch Me If You Can" (jazzy), or "Harry Potter and the Prisoner of
Azkaban" (the best of JW's three Potter scores, and richly, darkly
melodic). "E.T." is famous but is a bit too sentimental IMO.

Post by DavidW

Post by Joe Ramirez
But it should be noted that when the neo-
Romantic, string-heavy style employed in "Lawrence of Arabia" was more
the norm, most film scores were nowhere near as great as that of
"Lawrence of Arabia." In other words, even back when scores were
"memorable" by your standards, most of them actually weren't.

I just find most film scores these days to be non-descript, vanilla music. You
wouldn't recognize them if you heard them the next day.

Many scores are nondescript, true. But I've heard plenty of good and
great ones as well from movies that came out in the last 40 years, so
I don't perceive a systemic problem.

List your favourite movie themes?

Maybe someday ... that would take some deliberation. Themes are
different from scores, and sometimes a great theme can find its way
into an otherwise unexceptional score (and conversely, sometimes a
very good score won't have a truly memorable central theme -- which is
DavidW's complaint). Also, sometimes the music has to be disassociated
from the film, at least a little, to get a fair hearing. I didn't
realize how good the music to the first "Pirates of the Caribbean"
movie was until my band played an arrangement of it and I got to study
it up close. It helped not to be distracted by the amusements of the
movie itself.

[number_six]

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really dislike JW's
blaring themes like Star Wars and Raiders Of The Lost Ark. Gone With The Wind is
a good theme. The Big Country and Where Eagles Dare are a couple of other
favourites.

Williams is one of the most melodic film composers ever. He's
enormously gifted. He does like brassy, heroic motifs, but I think he
generally uses them appropriately. But if you don't care for them,
avoid "Star Wars," "Superman," "Indiana Jones," etc., and perhaps try
"Jaws," "The Witches of Eastwick," "A.I.: Artificial Intelligence,"
"Catch Me If You Can" (jazzy), or "Harry Potter and the Prisoner of
Azkaban" (the best of JW's three Potter scores, and richly, darkly
melodic). "E.T." is famous but is a bit too sentimental IMO.

Post by DavidW

Post by Joe Ramirez
But it should be noted that when the neo-
Romantic, string-heavy style employed in "Lawrence of Arabia" was more
the norm, most film scores were nowhere near as great as that of
"Lawrence of Arabia." In other words, even back when scores were
"memorable" by your standards, most of them actually weren't.

I just find most film scores these days to be non-descript, vanilla music. You
wouldn't recognize them if you heard them the next day.

Many scores are nondescript, true. But I've heard plenty of good and
great ones as well from movies that came out in the last 40 years, so
I don't perceive a systemic problem.

List your favourite movie themes?

Maybe someday ... that would take some deliberation. Themes are
different from scores, and sometimes a great theme can find its way
into an otherwise unexceptional score (and conversely, sometimes a
very good score won't have a truly memorable central theme -- which is
DavidW's complaint). Also, sometimes the music has to be disassociated
from the film, at least a little, to get a fair hearing. I didn't
realize how good the music to the first "Pirates of the Caribbean"
movie was until my band played an arrangement of it and I got to study
it up close. It helped not to be distracted by the amusements of the
movie itself.

Here's an example, though it involves more than one composer. For my
purposes, Brian Eno's "Prophecy Theme" from David Lynch's film
adaptation of Dune is an ethereal masterpiece whose structure very
slowly unfolds to overwhelming effect. The rest of the score -- by
Toto -- is completely unremarkable to my ears.

[Joe Ramirez]

Post by number_six

Post by Joe Ramirez

Post by TT

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really dislike JW's
blaring themes like Star Wars and Raiders Of The Lost Ark. Gone With The Wind is
a good theme. The Big Country and Where Eagles Dare are a couple of other
favourites.

Williams is one of the most melodic film composers ever. He's
enormously gifted. He does like brassy, heroic motifs, but I think he
generally uses them appropriately. But if you don't care for them,
avoid "Star Wars," "Superman," "Indiana Jones," etc., and perhaps try
"Jaws," "The Witches of Eastwick," "A.I.: Artificial Intelligence,"
"Catch Me If You Can" (jazzy), or "Harry Potter and the Prisoner of
Azkaban" (the best of JW's three Potter scores, and richly, darkly
melodic). "E.T." is famous but is a bit too sentimental IMO.

Post by DavidW

Post by Joe Ramirez
But it should be noted that when the neo-
Romantic, string-heavy style employed in "Lawrence of Arabia" was more
the norm, most film scores were nowhere near as great as that of
"Lawrence of Arabia." In other words, even back when scores were
"memorable" by your standards, most of them actually weren't.

I just find most film scores these days to be non-descript, vanilla music. You
wouldn't recognize them if you heard them the next day.

Many scores are nondescript, true. But I've heard plenty of good and
great ones as well from movies that came out in the last 40 years, so
I don't perceive a systemic problem.

List your favourite movie themes?

Maybe someday ... that would take some deliberation. Themes are
different from scores, and sometimes a great theme can find its way
into an otherwise unexceptional score (and conversely, sometimes a
very good score won't have a truly memorable central theme -- which is
DavidW's complaint). Also, sometimes the music has to be disassociated
from the film, at least a little, to get a fair hearing. I didn't
realize how good the music to the first "Pirates of the Caribbean"
movie was until my band played an arrangement of it and I got to study
it up close. It helped not to be distracted by the amusements of the
movie itself.

Here's an example, though it involves more than one composer. For my
purposes, Brian Eno's "Prophecy Theme" from David Lynch's film
adaptation of Dune is an ethereal masterpiece whose structure very
slowly unfolds to overwhelming effect. The rest of the score -- by
Toto -- is completely unremarkable to my ears.

Eno vs. Toto is a total mismatch. Eno avoids schlock at all costs.
Toto revels in schlock. Why anyone would choose Toto to do a film
score, especially for a semiserious film, is a mystery.

[DavidW]

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original
Score, which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as
Lawrence of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord
of the Rings" (three-film cycle). It can stand with anything in
the genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really
dislike JW's blaring themes like Star Wars and Raiders Of The Lost
Ark. Gone With The Wind is a good theme. The Big Country and Where
Eagles Dare are a couple of other favourites.

Williams is one of the most melodic film composers ever. He's
enormously gifted. He does like brassy, heroic motifs, but I think he
generally uses them appropriately. But if you don't care for them,
avoid "Star Wars," "Superman," "Indiana Jones," etc.,

Yes, I don't accuse any of these of being inappropriate for the films. I just
wish I didn't have to hear them.

Post by Joe Ramirez
and perhaps try
"Jaws," "The Witches of Eastwick," "A.I.: Artificial Intelligence,"
"Catch Me If You Can" (jazzy), or "Harry Potter and the Prisoner of
Azkaban" (the best of JW's three Potter scores, and richly, darkly
melodic). "E.T." is famous but is a bit too sentimental IMO.

The Jaws theme is brilliant, but it badly needs the film for context (not a
criticism). Some themes can stand apart from the film. I don't know the other
ones you've listed except E.T.

[TT]

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original
Score, which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as
Lawrence of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord
of the Rings" (three-film cycle). It can stand with anything in
the genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really
dislike JW's blaring themes like Star Wars and Raiders Of The Lost
Ark. Gone With The Wind is a good theme. The Big Country and Where
Eagles Dare are a couple of other favourites.

Williams is one of the most melodic film composers ever. He's
enormously gifted. He does like brassy, heroic motifs, but I think he
generally uses them appropriately. But if you don't care for them,
avoid "Star Wars," "Superman," "Indiana Jones," etc.,

Yes, I don't accuse any of these of being inappropriate for the films. I just
wish I didn't have to hear them.

Post by Joe Ramirez
and perhaps try
"Jaws," "The Witches of Eastwick," "A.I.: Artificial Intelligence,"
"Catch Me If You Can" (jazzy), or "Harry Potter and the Prisoner of
Azkaban" (the best of JW's three Potter scores, and richly, darkly
melodic). "E.T." is famous but is a bit too sentimental IMO.

The Jaws theme is brilliant, but it badly needs the film for context (not a
criticism). Some themes can stand apart from the film. I don't know the other
ones you've listed except E.T.

E.T. is a true classic.

[TT]

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really dislike JW's
blaring themes like Star Wars and Raiders Of The Lost Ark. Gone With The Wind is
a good theme. The Big Country and Where Eagles Dare are a couple of other
favourites.

Where eagles dare is a great film but pretty standard theme...had to
look it up.

...Err...sort of like a less memorable version of Indy...

[DavidW]

Post by TT

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original
Score, which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as
Lawrence of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of
them for truly excellent scores, and certainly memorable with a
capital M.
The greatest film score of the last decade, IMO, is for "The Lord
of the Rings" (three-film cycle). It can stand with anything in
the genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is
the equal most boring book I've ever read and I've successfully
avoided knowing anything about the films except the name of their
director and that they were shot in New Zealand. I can't say the
same about Star Wars, which I also haven't seen. It's been
impossible not to know characters' and actors' names, see snippets
of the film and hear the annoying, blaring theme (the latest
instance being hearing the theme at the Oscars).

If you don't like certain *styles* of music in which scores may be
written nowadays, then nothing can be done, although any of the six
"Star Wars" scores would meet most people's definition of a lush,
"traditional" score.

I like themes with a distinctive melody, but among those I really
dislike JW's blaring themes like Star Wars and Raiders Of The Lost
Ark. Gone With The Wind is a good theme. The Big Country and Where
Eagles Dare are a couple of other favourites.

Where eagles dare is a great film but pretty standard theme...had to
look it up.
http://youtu.be/8XKGhG0W0LQ
...Err...sort of like a less memorable version of Indy...

Not at all. It's much better than Indy. It's not just the most dramatic part
early. It then goes quiet and builds up again. One's perception of a theme is
probably greatly influenced by the film it's in. I first saw this when I was 9
or 10. I didn't want to go because I didn't like the title but I was dragged
along by my parents. I'm sure it was the music in combination with the snow, the
intrigue and the war setting that got me riveted from the beginning, though I
don't think I realized it at the time. It's the music that creates most of the
"atmosphere".

[TT]

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of them
for truly excellent scores, and certainly memorable with a capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is the equal
most boring book I've ever read and I've successfully avoided knowing anything
about the films except the name of their director and that they were shot in New
Zealand. I can't say the same about Star Wars, which I also haven't seen. It's
been impossible not to know characters' and actors' names, see snippets of the
film and hear the annoying, blaring theme (the latest instance being hearing the
theme at the Oscars).

It almost made me cry, it's so good! :)

What was the theme in the end of Oscars?
.
.
.















Arthur's theme

[DavidW]

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

[TT]

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

King's Speech.

Pretty interesting considering they claim they don't know the winner
before the envelope is opened.

[DavidW]

Post by TT

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations
montage?

King's Speech.

No. Maybe the music was in the film (I haven't seen it yet), but it certainly
wasn't written for it.

[TT]

Post by DavidW

Post by TT

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

King's Speech.

No. Maybe the music was in the film (I haven't seen it yet), but it certainly
wasn't written for it.

During the the best pic presentation-montage they did play the speech
part of the Kings Speech. Can't recall any music?

[DavidW]

Post by TT

Post by DavidW

Post by TT

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

King's Speech.

No. Maybe the music was in the film (I haven't seen it yet), but it
certainly wasn't written for it.

During the the best pic presentation-montage they did play the speech
part of the Kings Speech. Can't recall any music?

Wow. You didn't notice it at all? Beethoven's 7th symphony, the funereal 2nd
movement, all through it.

[TT]

Post by DavidW

Post by TT

Post by DavidW

Post by TT

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

King's Speech.

No. Maybe the music was in the film (I haven't seen it yet), but it
certainly wasn't written for it.

During the the best pic presentation-montage they did play the speech
part of the Kings Speech. Can't recall any music?

Wow. You didn't notice it at all? Beethoven's 7th symphony, the funereal 2nd
movement, all through it.

I missed it. :-D

[DavidW]

Post by TT

Post by DavidW

Post by TT

Post by DavidW

Post by TT

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

King's Speech.

No. Maybe the music was in the film (I haven't seen it yet), but it
certainly wasn't written for it.

During the the best pic presentation-montage they did play the
speech part of the Kings Speech. Can't recall any music?

Wow. You didn't notice it at all? Beethoven's 7th symphony, the
funereal 2nd movement, all through it.

I missed it. :-D

Appalling.

[TT]

Post by DavidW

Post by TT

Post by DavidW

Post by TT

Post by DavidW

Post by TT

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

King's Speech.

No. Maybe the music was in the film (I haven't seen it yet), but it
certainly wasn't written for it.

During the the best pic presentation-montage they did play the
speech part of the Kings Speech. Can't recall any music?

Wow. You didn't notice it at all? Beethoven's 7th symphony, the
funereal 2nd movement, all through it.

I missed it. :-D

Appalling.

Snob

[number_six]

Post by DavidW

Post by TT

Post by DavidW

Post by TT

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

King's Speech.

No. Maybe the music was in the film (I haven't seen it yet), but it
certainly wasn't written for it.

During the the best pic presentation-montage they did play the speech
part of the Kings Speech. Can't recall any music?

Wow. You didn't notice it at all? Beethoven's 7th symphony, the funereal 2nd
movement, all through it.

Best music of the night, of course,

Hard to believe it is nearly two years since Maurice Jarre died. And
we lost John Barry earlier this year -- two giants of film music. I am
grateful that Morricone is still with us.

[Joe Ramirez]

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

Beethoven was used effectively in "The King's Speech" (as was Mozart,
in spots), just as Grieg was used effectively in "The Social
Network" (I alluded to that earlier in this thread). However, I tend
to regard it as a weakness in the film's original score when a more
powerful piece of music is used -- as an independent cue, not as
source music -- to make a key scene work better. If the film's
composer can't underline the biggest scenes well, why is he working on
the picture?

Now, building a score almost entirely from pre-existing instrumental
music (not songs) is another matter. That often works very well.
Excellent examples are "The Sting" (mostly Joplin; miscredited to
Hamlisch at the time), "Love and Death" (all Prokofiev) and "The
Hudsucker Proxy" (mostly Khachaturian).

[DavidW]

Post by Joe Ramirez

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations
montage?

Beethoven was used effectively in "The King's Speech" (as was Mozart,
in spots), just as Grieg was used effectively in "The Social
Network" (I alluded to that earlier in this thread). However, I tend
to regard it as a weakness in the film's original score when a more
powerful piece of music is used -- as an independent cue, not as
source music -- to make a key scene work better. If the film's
composer can't underline the biggest scenes well, why is he working on
the picture?
Now, building a score almost entirely from pre-existing instrumental
music (not songs) is another matter. That often works very well.
Excellent examples are "The Sting" (mostly Joplin; miscredited to
Hamlisch at the time), "Love and Death" (all Prokofiev) and "The
Hudsucker Proxy" (mostly Khachaturian).

So, what do you think of the music of "2001: A Space Odyssey"? AFAIK _all_ the
music had been written long before. IMO it couldn't be improved upon.

I've just discovered that a soundtrack had been written for "2001" by Alex
North, but Kubrick abandoned it. According to Wiki, North wasn't aware of that
until he went along to the premiere expecting to hear his music.

http://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(score)

[Joe Ramirez]

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by TT
What was the theme in the end of Oscars?
.
.
.
Arthur's theme

Now, what was the "theme" during the Best Picture nominations montage?

Beethoven was used effectively in "The King's Speech" (as was Mozart,
in spots), just as Grieg was used effectively in "The Social
Network" (I alluded to that earlier in this thread). However, I tend
to regard it as a weakness in the film's original score when a more
powerful piece of music is used -- as an independent cue, not as
source music -- to make a key scene work better. If the film's
composer can't underline the biggest scenes well, why is he working on
the picture?
Now, building a score almost entirely from pre-existing instrumental
music (not songs) is another matter. That often works very well.
Excellent examples are "The Sting" (mostly Joplin; miscredited to
Hamlisch at the time), "Love and Death" (all Prokofiev) and "The
Hudsucker Proxy" (mostly Khachaturian).

So, what do you think of the music of "2001: A Space Odyssey"? AFAIK _all_ the
music had been written long before. IMO it couldn't be improved upon.

"2001" falls into my second category. The Strauss was obviously used
perfectly, so much so that the fanfare has become an iconic example of
movie music even though it wasn't written for a movie. As for Ligeti,
that film was the most exposure his music ever got.

Post by DavidW
I've just discovered that a soundtrack had been written for "2001" by Alex
North, but Kubrick abandoned it. According to Wiki, North wasn't aware of that
until he went along to the premiere expecting to hear his music.

Poor guy. It was incredibly unprofessional, and perhaps deliberately
cruel, of Kubrick not to tell him.

[Superdave]

Post by DavidW

Post by Joe Ramirez

Post by DavidW

Post by Joe Ramirez

Post by Raja, The Great
Who is going to win? Whom do you want to win?

Most years, the category I care most about is Best Original Score,
which usually doesn't turn out the way I'd like it to.

It's one of the least interesting for me. Film scores aren't what
they used to be. The days of really memorable ones such as Lawrence
of Arabia are long gone.

John Williams alone has 45 Oscar nominations since 1962, many of them
for truly excellent scores, and certainly memorable with a capital M.
The greatest film score of the last decade, IMO, is for "The Lord of
the Rings" (three-film cycle). It can stand with anything in the
genre. Was also made into an interesting symphony, which I saw
performed live.

I haven't seen any of the films or heard the theme. TLOTR part 1 is the equal
most boring book I've ever read and I've successfully avoided knowing anything
about the films except the name of their director and that they were shot in New
Zealand. I can't say the same about Star Wars, which I also haven't seen. It's
been impossible not to know characters' and actors' names, see snippets of the
film and hear the annoying, blaring theme (the latest instance being hearing the
theme at the Oscars).

Post by Joe Ramirez
Listen to the track "Time" from the "Inception" score. Regardless of
its minimalist compositional technique, very different from the lavish
neo-Romanticism of "Lawrence of Arabia," it's a great short piece of
music.
And I didn't even need to mention "Koyaanisqatsi." :)

I intend to watch Inception when it comes onto the local movie channels in a
couple of months.

don't bother. it is truly terrible.

[Yama]

No.

[Mike Smith]

Post by Raja, The Great
Who is going to win? Whom do you want to win?

I couldn't give half a shit, but it's no surprise that you will obsess
over this like crazy.

--
Mike Smith

[Oppor Nockity]

Who

Shut up, fuck off, ask someone who cares.

Do you need your teeth kicked down your throat?

[Eric Ramon]

Post by Raja, The Great
Who is going to win? Whom do you want to win?

hopefully Bonnie and Clyde will finally get the well-deserved Oscar.

[Raja, The Great]

Kirk Douglas is a hit today

[billy]

Post by Raja, The Great
Who is going to win? Whom do you want to win?

It's great to be gay great to be gay great to be gay! right hijra?

[Fattuchus]

Post by Raja, The Great
Who is going to win? Whom do you want to win?

I was hoping for Geoffrey Rusch and Helen Bonham Carter to
win . . . . But I am glad Alice In Wonderland won for something and
that Inception also won a few awards.

[Mack A. Damia]

On Sun, 27 Feb 2011 21:18:15 -0800 (PST), Fattuchus

Post by Fattuchus

Post by Raja, The Great
Who is going to win? Whom do you want to win?

I was hoping for Geoffrey Rusch and Helen Bonham Carter to
win . . . . But I am glad Alice In Wonderland won for something and
that Inception also won a few awards.

I saw a lot of Rush and Firth on the adverisements for the film; I
haven't seen it yet. I don't know about Helen Bonham Carter, I
haven't really seen her act in the film.

Rush has nothing to be ashamed of. From what I saw, he did a
marvelous job in TKS, but he has won so many awards during his
lifetime, I don't think he's too disappointed.

He's one of only twenty-five people who have won the Triple Crown of
Acting.

[cuppajoe2go]

Has anybody here seen Geoffrey Rush in the TV film about Peter
Sellers? I still plan on seeing it. His turn as Captain Barbossa in
POTC was sheer brilliance.

[s***@comcast.net]

No.

Post by Raja, The Great
Who is going to win?

The candidates with the most votes.

Post by Raja, The Great
Whom do you want to win?

Based on what I've seen, INSIDE JOB should win best documentary.

[cuppajoe2go]

Post by s***@comcast.net
Based on what I've seen, INSIDE JOB should win best documentary.

It did win....feature length doc.

--------------------------

Post by s***@comcast.net
I'm just happy that after today, "The Kids Are Alright" can go back to
referring to The Who song/album/movie!

Exactly. Gave me a jump every time.

[globular]

Post by Raja, The Great
Who is going to win? Whom do you want to win?

The screenplay awards are always the best indicators of a movie.

[JJ (UK)]

Not me.

[DavidW]

Post by Raja, The Great
Who is going to win? Whom do you want to win?

You get an ostrich stamp for the correct 'who' and 'whom'.

[Superdave]

Post by DavidW

Post by Raja, The Great
Who is going to win? Whom do you want to win?

You get an ostrich stamp for the correct 'who' and 'whom'.

He'd appreciate a dodo one a lot more.