A total of 145 scores were recently announced as being eligible for this year’s Academy Award, with everything from perceived frontrunner “La La Land” (Justin Hurwitz) and “Jackie” (Mica Levi) to outliers like “Sausage Party” and “Elle.” The final five will be nominated on January 24. In the meantime, avail yourself of this Spotify playlist featuring selections from 110 of the eligible scores — as well as the full list of every eligible score.
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
- 1/3/2017
- by Michael Nordine
- Indiewire
The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
- 12/14/2016
- by Melissa Thompson
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences (AMPAS) has announced the 145 scores eligible in the Best Original Score category, includeing work from “Jackie” and “La La Land.” The latter film, a musical directed by “Whiplash” helmer Damien Chazelle, picked up the Los Angeles Film Critics Association’s award for Best Music earlier this month; “Jackie” was the category’s runner-up. Notably absent, meanwhile, are “Arrival” (which just landed a Golden Globe nod), “Manchester by the Sea” and “Silence.”
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
- 12/14/2016
- by Michael Nordine
- Indiewire
A running line as an accompaniment is a traditional device in orchestral writing that is very well suited for today’s film score writing.
As an example we will look at one of my favourite examples of running-line accompaniment from Smetana’s beautifully expressive “The Moldau”. Here it is, presented here in a simplified two-part version.
Ex.1
First off, what is the reason for using this kind of writing? As a composer, arranger and orchestrator, you should always use the tools at your disposal with a specific end in mind, so this is an important question to consider.
It creates a feeling of activity that may not be present in the melody. For this piece it represents the running waters of the river Moldau in what is now the Czech Republic.
Here the dynamic is quite soft and played in the strings, so the sound is perfect to represent the water.
As an example we will look at one of my favourite examples of running-line accompaniment from Smetana’s beautifully expressive “The Moldau”. Here it is, presented here in a simplified two-part version.
Ex.1
First off, what is the reason for using this kind of writing? As a composer, arranger and orchestrator, you should always use the tools at your disposal with a specific end in mind, so this is an important question to consider.
It creates a feeling of activity that may not be present in the melody. For this piece it represents the running waters of the river Moldau in what is now the Czech Republic.
Here the dynamic is quite soft and played in the strings, so the sound is perfect to represent the water.
- 7/2/2012
- by Alain Mayrand
- SCOREcastOnline.com
What is the secret to success as a film composer? We all talk about networking, internet promotion, social networks, building your image, people skills, getting press, websites, gear, DAWs, sample libraries—all of these are important, but dependent on one thing: the quality and uniqueness of your work. If your music is mediocre, if it sounds like every other bloke out there with a drive full of VSTs, then all of your marketing efforts won’t matter much.
As you know, for better and for worse, the barrier to entry into film scoring has been lowered. With a few pieces of software you now have all the tools to create a complete film score. The downside is that people no longer need to know how to read or write music, be proficient at their instrument, or have a true knowledge of orchestration. Is that bad? Not in itself, but the...
As you know, for better and for worse, the barrier to entry into film scoring has been lowered. With a few pieces of software you now have all the tools to create a complete film score. The downside is that people no longer need to know how to read or write music, be proficient at their instrument, or have a true knowledge of orchestration. Is that bad? Not in itself, but the...
- 12/7/2010
- by Alain Mayrand
- SCOREcastOnline.com
Spotting is the art of putting the music in the right place in the film and it an intrinsic part of being a good film composer. Spotting is about many things, such as mood and tone and musical style, but an often overlooked aspect is form.
The music you put and don’t put in a film will affect the pacing of the film, its architecture. For you to do this well demands a solid understanding of story, screen writing, film’s unique visual language and the brains and experience to apply that knowledge to the unique film you are working on.
More... after the jump!
The spotting session is where you discuss the film with the director and make the initial decisions about placement and function of music in the film.
But spotting should begin before that meeting. Do your homework, watch the film and come to the spotting session prepared.
The music you put and don’t put in a film will affect the pacing of the film, its architecture. For you to do this well demands a solid understanding of story, screen writing, film’s unique visual language and the brains and experience to apply that knowledge to the unique film you are working on.
More... after the jump!
The spotting session is where you discuss the film with the director and make the initial decisions about placement and function of music in the film.
But spotting should begin before that meeting. Do your homework, watch the film and come to the spotting session prepared.
- 3/15/2010
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.