Wall-E Leads Noms for Film Music
And here they are:
2008 FILM CATEGORIES:
FILM SCORE OF THE YEAR
The Curious Case of Benjamin Button, music by Alexandre Desplat
The Dark Knight, music by James Newton Howard and Hans Zimmer
Indiana Jones and the Kingdom of the Crystal Skull, music by John Williams
Standard Operating Procedure, music by Danny Elfman
Wall*E, music by Thomas Newman
FILM COMPOSER OF THE YEAR
Alexandre Desplat
Danny Elfman
James Newton Howard
Thomas Newman
John Powell
BREAKOUT COMPOSER OF THE YEAR
Paul Cantelon, The Other Boleyn Girl and W
Andrew Lockington, Journey to the Center of the Earth and City of Ember
Nico Mulhy, The Reader
Max Richter, Waltz with Bashir
Atli Örvarsson, Babylon A.D. and Vantage Point
BEST ORIGINAL SCORE FOR A DRAMA FILM
The Boy in the Striped Pajamas, music by James Horner
Che, music by Alberto Iglesias
The Curious Case of Benjamin Button, music by Alexandre Desplat
Defiance, music by James Newton Howard
Milk, music by Danny Elfman
BEST ORIGINAL SCORE FOR A COMEDY FILM
Bienvenue Chez Les Ch’tis, music by Philippe Rombi
Burn After Reading, music by Carter Burwell
Fool’s Gold, music by George Fenton
Leatherheads, music by Randy Newman
Tropic Thunder, music by Theodore Shapiro
BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM
The Dark Knight, music by James Newton Howard and Hans Zimmer
Hancock, music by John Powell
Indiana Jones and the Kingdom of the Crystal Skull, music by John Williams
Speed Racer, music by Michael Giacchino
Wanted, music by Danny Elfman
BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM
The Chronicles of Narnia: Prince Caspian, music by Harry Gregson-Williams
City of Ember, music by Andrew Lockington
Hellboy II: The Golden Army, music by Danny Elfman
Inkheart, music by Javier Navarrete
The Spiderwick Chronicles, music by James Horner
BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM
The Happening, music by James Newton Howard
Låt den rätte komma in (Let the Right One In), music by Johan Söderqvist
Mirrors, music by Javier Navarrete
Twilight, music by Carter Burwell
Valkyrie, music by John Ottman
BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE
Bolt, music by John Powell
Gake no ue no Ponyo (Ponyo on the Cliff), music by Joe Hisaishi
Horton Hears a Who!, music by John Powell
Wall*E, music by Thomas Newman
Waltz with Bashir, music by Max Richter
BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE
The Crimson Wing: Mystery of the Flamingos, music by The Cinematic Orchestra
Dear Zachary: A Letter to a Son about his Father, music by Kurt Kuenne
Night, music by Cezary Skubiszewski
Standard Operating Procedure, music by Danny Elfman
Tabarly, music by Yann Tiersen
FILM MUSIC COMPOSITION OF THE YEAR
Cloverfield: “Roar Overture,” music by Michael Giacchino
The Happening: “Be With You,” music by James Newton Howard
Valkyrie: “They’ll Remember You,” music by John Ottman and Lior Rosner
Wall*E: “Define Dancing,” music by Thomas Newman and Peter Gabriel
Wanted: “Success Montage,” music by Danny Elfman)
OTHER CATEGORIES:
BEST ORIGINAL SCORE FOR TELEVISION
Battlestar Galactica (Season 4), music by Bear McCreary
John Adams, music by Robert Lane and Joseph Vitarelli
Merlin, music by Robert Lane
Lost (Season 4), music by Michael Giacchino
Pane e Libertà, music by Ennio Morricone
BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
Afrika, music by Wataru Hokoyama
Age of Conan: Hyborian Adventures, music by Knut Avenstroup Haugen
Gears of War 2, music by Steve Jablonsky
Mercenaries 2: World in Flames, music by Chris Tilton
Star Wars: The Force Unleashed, music by Mark Griskey
BEST NEW RELEASE/RE-RELEASE OF AN EXISTING SCORE
Baby: Secret of the Lost Legend, music by Jerry Goldsmith; produced by Douglas Fake (Intrada)
Body Double, music by Pino Donaggio; produced by Douglass Fake (Intrada)
The Boys from Brazil, music by Jerry Goldsmith; produced by Douglass Fake (Intrada)
Heavy Metal, music by Elmer Bernstein; produced by Lukas Kendall (Film Score Monthly)
The Matrix: The Deluxe Edition, music by Don Davis; produced by Don Davis and Robert Townson (Varèse Sarabande)
BEST RE-RECORDING OF AN EXISTING SCORE
El Cid, music by Miklós Rózsa; conducted by Nic Raine, produced by James Fitzpatrick (Tadlow)
The Kentuckian/Williamsburg: The Story of a Patriot, music by Bernard Herrmann; conducted William Stromberg; produced by Anna Bonn, John Morgan and William Stromberg (Tribute Film Classics)
Odna (Alone), music by Dmitri Shostakovich; conducted by Mark Fitzgerald, produced by Hans-Bernhard Bätzing (Naxos)
She, music by Max Steiner; conducted William Stromberg; produced by Anna Bonn, John Morgan and William Stromberg (Tribute Film Classics)
An Unfinished Life – Piano Sketches, music by Christopher Young; performed by Dave Guili, produced by Flavio Motalla and Christopher Young (BSX)
BEST COMPILATION ALBUM OR BOX SET
Gangs of New York/The Journey of Natty Gann/The Scarlet Letter, music by Elmer Bernstein; produced by Robert Townson (Varèse Sarabande)
Indiana Jones: The Soundtracks Collection, music by John Williams; produced by Laurent Bouzereau (Concord)
Le Cinéma de Georges Delerue, music by Georges Delerue; produced by Stéphane Lerouge (Universal Music France)
MGM Soundtrack Treasury, various composers; produced by Lukas Kendall (Film Score Monthly)
Superman: The Music, various composers; produced by Mike Matessino and Lukas Kendall (Film Score Monthly)
FILM MUSIC RECORD LABEL OF THE YEAR
Film Score Monthly
Intrada
La-La Land
MovieScore Media
Varèse Sarabande
The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing about original film and television music.
The IFMCA was originally formed in the late 1990s as the now-defunct “Film Music Critics Jury” by editor and journalist Mikael Carlsson, a regular contributor to filmmusicradio.com and filmmusicmag.com, and the owner of the Swedish independent film music label MovieScore Media.
Since its inception, the IFMCA has grown to comprise over 50 members from countries as diverse as Australia, Belgium, Canada, Cyprus, France, Germany, Greece, Ireland, Italy, the Netherlands, Poland, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.
Previous IFMCA Score of the Year Awards have been awarded to Dario Marianelli’s ATONEMENT in 2007, James Newton Howard’s LADY IN THE WATER in 2006, John Williams’ MEMOIRS OF A GEISHA in 2005 and Michael Giacchino’s THE INCREDIBLES in 2004.
For more information about the International Film Music Critics Association, its members and the list of past awards, please visit http://www.filmmusiccritics.org or contact press@filmmusiccritics.org.
Oprah says:
Friday, January 16, 2009 at 7:40am
Go TDK, go!
Nyc Oscar Buff says:
Friday, January 16, 2009 at 8:01am
What does this mean for Slumdog clear Best Picture path? Add a snub to the Slumdog list. Didn’t their score win on Oscar night? Was it not eligible here?
stanley k says:
Friday, January 16, 2009 at 8:02am
the slumdog millionaire snub continues, just like jamal in the early part of the win. but we all know who had the last laugh. dont we?
Red says:
Friday, January 16, 2009 at 8:06am
If TDK ends up getting nominated in every possible category otside Best Picture, I’m gonna go apeshit on the Academy!
Tipu says:
Friday, January 16, 2009 at 8:24am
Guess they fell for the traditional spell…
No Slumdog????
Grow up… else you are gonna miss the essence of ARRahman….
RB says:
Friday, January 16, 2009 at 8:24am
Interesting.
The Slumdog score is pretty much the most memorable part of that film (for me).
SAG actor says:
Friday, January 16, 2009 at 8:27am
I bet if we seperate the songs from the score, we’ll hear that the actual score of SLUMDOG MILLIONAIRE isn’t very substantial.
HaroldsMaude says:
Friday, January 16, 2009 at 8:34am
Thank you for sharing this. I wasn’t aware that this group existed, and am thrilled to see the variety of categories. It seems like we’ve been locked into Best Score/Best Song mode forever, and this unscores (no pun intended) how music plays a role in all films and gives different films their particular flavor. When I’ve seen docs and clips on scoring films I’ve been amazed at the detail involved and how a score can really affect what we see and feel from the film.
SD says:
Friday, January 16, 2009 at 8:36am
The songs are a part of the score… What’s wrong in having songs in a film if they help the narrative??
The jury probably need a hundred violins wailing to consider it a good score…
N8 says:
Friday, January 16, 2009 at 8:41am
My snub sense is tingling. The composers are notoriously exclusive. It’s really hard for a compser to get that first nomination from the Academy’s music branch, and for an up-until-now lesser known composer like Rahman, whose music many voters may consider to be more like a “soundtrack” than a “film score”, it may result in an unpleasant surprise snub on the nominations morning.
Brian says:
Friday, January 16, 2009 at 8:45am
Great for TDK and Wall-E.
I think TDK should win. It’s score was fantastic and very creative. I can’t think of another score as unique as it this year.
SAG actor says:
Friday, January 16, 2009 at 9:03am
If that’s your theory, then Mamma Mia! should win hands down. Love the ABBA songs. And, boy did they slight that Mozart guy the year Amadeus lost Best Score.
The uproar the year Babel won best score was that the one piece of music most people heard in clips and in the trailer (AND when they played it during the Oscars) was an old song that Gustavo Santaolalla wrote years ago, and also heard in the movie The Insider.
Fatima says:
Friday, January 16, 2009 at 9:09am
Sweet. I don’t get the hype about Slumdog at all. I’ve already reserved myself to the fact it will probably win picture. But for some reason it winning score would actually make me more upset. It’s a world music pastiche cliche in my opinion. And seeking out M.I.A. couldn’t have been any LESS inspired. I want it to lose this category sooooo bad. The three up for this are all excellent. I don’t know where I lean, maybe TDK?
SD says:
Friday, January 16, 2009 at 9:11am
Probably, you need to understand the difference between a score for a Musical and a score for a Film before comparing Mamma Mia! with Slumdog Millionaire.
The vocals help a music to get racy which leads me to One question: If a movie can be awarded for being Racy, why not a score?
SlumGod says:
Friday, January 16, 2009 at 9:14am
Sasha, can you tell us what this means for the Oscar noms? Will Slumdog get snubbed here? Do all branches nominate Best Score or is it only the composers guild?
Dorothy Porker says:
Friday, January 16, 2009 at 9:31am
Låt den rätte komma in (Let the Right One In), music by Johan Söderqvist
All I can say is: YES YES YES. To me, this is the best score of the year.
carol says:
Friday, January 16, 2009 at 9:34am
unbelievable: one of the aspects that slumdog deserves all the glory and has been omited.
anyway, i’m thrilled with the noms for let the right one in and the love for newman and elfman.
Joschi says:
Friday, January 16, 2009 at 9:40am
THANKS for NO Slumdog, the worst score of the season
Tero Heikkinen says:
Friday, January 16, 2009 at 9:47am
Dorothy Porker: That score wins that category hands down. LTROI’s competition is so poor anyway. No contest.
What surprises me is John Williams in Film Score of the Year, when Indy IV’s soundtrack was more like a composition of the previous three films. Very little new stuff was written. And I don’t mean it because the film sucked – in 1991 my favourite score was Jerry Goldsmith’s Sleeping With the Enemy and that film sucked, too.
And, John Williams is my favourite composer, but I still feel like he shouldn’t be nominated for something he had written in the 80′s.
Jonah says:
Friday, January 16, 2009 at 9:50am
Umm, SAG actor,
If you are indeed a SAG actor, I trust then that you should know the definition of the word “original.” These awards are for content written expressly FOR the movies they are used in. Mamma Mia!, as I’m sure (sadly) everyone on earth knows, is based on pre-existing ABBA songs and Amadeus’ score clearly was filled with centuries-old Mozart compositions. (Wow, do you really not understand the concept of “Original Score”?)
A.R. Rahman’s songs from Slumdog are original compositions. As I understand it, only Paper Planes (DFA Remix) was pre-existing, along with other incidental cues like the “Who Wants to Be a Millionaire?” franchise sound cues.
Marcin K says:
Friday, January 16, 2009 at 10:07am
Slumdog is the best score of the year, if not years.
Its definitely path breaking as far as motion picture score goes.
Evan says:
Friday, January 16, 2009 at 10:14am
The Dark Knight score is pure brilliance. For that, I’m glad it’s getting recognition.
BenG says:
Friday, January 16, 2009 at 10:18am
Thank the Heavens Slumdog Millionaire got the snub. As a musician I was horified when it won the Golden Globe. The music was interesting but definitely not award worthy. GO TDK!
Paul Outlaw says:
Friday, January 16, 2009 at 10:25am
BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM
The Happening, music by James Newton Howard
Låt den rätte komma in (Let the Right One In), music by Johan Söderqvist
Mirrors, music by Javier Navarrete
Twilight, music by Carter Burwell
Valkyrie, music by John Ottman
Yes, this is a horror film, but I don’t think that’s what they meant.
SAG actor says:
Friday, January 16, 2009 at 10:27am
Jonah, I do understand, and I was being a bit snarky, but if it’s true that a majority of what is on the screen is actual score and not songs (old or new), then I am wrong. But score is underscore. If THE GRADUATE was nominated for Best Score, it would go to Dave Grusin and not Simon and Garfunkel, even though they wrote all original songs for the movie and they worked very well in it.
And I am in SAG, and I will be voting in the SAG Awards. And I am NOT voting for Slumdog Millionaire.
Kelly says:
Friday, January 16, 2009 at 10:30am
Let’s go back to some of the music Korngold wrote for films way back when… he was the one who started it all, even called the father of film music… just ask John Williams, I’m sure he knows Korngold’s work. And Korngold brought that tradition from Europe, where he was known as the “Viennese Puccini.” His opera, Die Tote Stadt (The Dead City), is TO DIE FOR!!! And for those playing the home game, Puccini is that really great composer who wrote stuff like La Boheme and Madama Butterfly, to name a couple! OH and he also wrote that lovely aria that Pavarotti was famous for, Nessun Dorma!
Yes, I have no clue why I went on this tangent, but I love film scores… and it made me think of one of the best film composers!
Go TDK and WALL-E… I also like Slumdog’s music. I hope it gets a nomination for something – either score or song, or both!
Ani Di says:
Friday, January 16, 2009 at 10:35am
I like Slumdog’ soundtrack, it’s the best thing of the movie. And i said soundtrack not the score itself.
I like indian pop music and M.I.A.
Fatima says:
Friday, January 16, 2009 at 10:49am
I think a better comparison for the song vs score debate would be Waiting To Exhale. They were all original songs, but they were songs and not a score exactly. Slumdog’s best musical moments all involve words. The score is not very good, and as I said earlier, a sad attempt at “global” music which just feels derivative. I hope it loses. If it has to win Best Picture, it can at least lose this one. Pleeeeease.
what says:
Friday, January 16, 2009 at 10:55am
evan = fanboy
UVT says:
Friday, January 16, 2009 at 11:23am
I dont understand what one considers to rate a Film Score….
Is it…
1. How well it augurs the film’s appeal?
2. How unique the compositions are?
3. How enjoyable the soundtrack is?
4. How much in quality the score is worth?
In any of the four cases ‘Slumdog Millionaire’ wins hands down.
Hmmm.. and the nominations??? :S:S:S… What an irony!
I’ll definitely be surprised if the Academy snubs the music of Slumdog Millionaire. Probably they are ready for an ‘Obama’ Change but not ready for a ‘Film music’ change
MattyZ says:
Friday, January 16, 2009 at 11:36am
The composer’s job in a film or in theatre (for which I compose) is to support the overall style/vision the director has put forward. For this reason, Slumdog’s score is brilliant – and by far one of the best of the year. The music is a huge part of the style that Boyle has created. I think it’s refreshing that Rahman has been so awarded thus far, because a techno-pop score is indeed unique – and so different from say, Rahman’s work on his co-composition for Elizabeth: The Golden Age. But the controversy will continue. The Vangelis win for Chariots of Fire is often criticized, because it’s an almost all synthesized score. People get very locked into their idea of “good music.”
No score should be assessed on its own – in other words, to separate the music from the film, listen to it, and make a decision is nothing short of idiotic. It is not what a good film composer does. Some of the best film music seems bizarre and even boring if listened to without the visuals. People need to understand the art form.
As for its snub here – who knows? There is a geat deal of snobbery among those who are “classically” trained/inclined. I bet Rahman will still get an Oscar nod, but it would not suprise me at all if he loses on the big night.
Joschi says:
Friday, January 16, 2009 at 11:46am
Newman’s Rev. Road was much better than his Wall-E Score :/
OmarS says:
Friday, January 16, 2009 at 11:51am
Asie from Paper Planes, and Aaj Ki Raat, which is from the 2006 Soundtrack of “Don – The Chase Begins Again”, composed by Shankar, Ehsaan and Loy, written by Javed Akhtar, the remainder of the pieces on the soundtrack are all original.
Many of the pieces that have lyrics in them are needed. The “Ringa Ringa” track, which features some incidental lyrics are needed becasue typically in the Red Light districts in India, racy/suggestive songs like this play in abundance. I think Danny Boyel actually wanted to use “Choli Ke Peeche” from 1993′s “Khal Nayak” (a song so provactice it was initally banned in India), but there was a problem getting it, or Rahman felt an original piece would work better. And O Saya as well, MIA’s lyrics are quiet relevant to the situation itself.
I think some people are looking at the word “Score” too literally. Just because some music is afixed with lyrics, doesn’t mean it doesn’t contribute to the background music of the film. If it’s original, and in the background, it counts. Maybe that’s not what the IFMCA thought though.
Also, what people think is Rahman’s attempt at being “global” or obviously differant, I can assure you that that is just Rahman’s style. He has a very unique style of composing music and it has been so since his first soundtrack in 1992, “Roja”. I will be the first to admit, Slumdog is not his best work, or even his best work from 2008, but it’s differant from what every other movie has to offer, that’s what I think is taking it so far.
On another note, I don’t get how John Williams can be nominated for a theme he created over 2 decades ago. I mean it’s classic yes, but how is that original?
Flapp says:
Friday, January 16, 2009 at 11:56am
Desplat!
Andy says:
Friday, January 16, 2009 at 11:59am
While I loved Slumdog Millionaire, I can’t say the score had much to do with it.
I’m glad Wall*E/Thomas Newman finally got some recognition for its beautiful score. Same goes for Standard Operating Procedure/Danny Elfman. Errol Morris’ films -especially The Fog of War – always have a beautiful score but is always overlooked as a documentary.
Mgo says:
Friday, January 16, 2009 at 12:14pm
Is it matters this list to the one for the Oscars???
simone says:
Friday, January 16, 2009 at 12:22pm
This looks like a big WTF list of nominations.
Notwithstanding all these cheap anti-Slumdog propaganda, it will be Slumdog Millionaire and AR.Rahman who will triumph on the Feb22 big night.
Hans says:
Friday, January 16, 2009 at 12:36pm
I love how they have so many categories that every freakin’ film of 2008 can get a nod…except Slumdog!
Anyway, a big fat huzzah to Giacchino’s “Roar Overture” being nominated for best piece. Giacchino can do no wrong whether it’s Lost, Cloverfield, or Ratatouille which he should have won for.
That is an interesting concept for an award though, the best (whether that means most unique, whatever) piece from a movie’s soundtrack. “Like a Dog Chasing Cars” is my favorite from TDK (it’s the music when Batman glides into the building of hostages at the end to look for the joker)
Evan says:
Friday, January 16, 2009 at 1:09pm
Well jeez, what, can’t a musician enjoy music?
IFMCA Member says:
Friday, January 16, 2009 at 1:16pm
There was no concious Slumdog snub… we just didn’t feel that it was one of the best scores in any of the categories for which it was eligible.
Waltizzle!!! says:
Friday, January 16, 2009 at 1:26pm
Some of you people are absolutely pathetic!!!! Not everyone in the world likes SM!!!! And the film’s score is paltry!!!!
UVT says:
Friday, January 16, 2009 at 1:34pm
Who cares!!!!
This award is just as paltry as anyones prejudice.
Hope the best score of the year doesnt go unrewarded on the big night.
Andre says:
Friday, January 16, 2009 at 1:40pm
very very nice to see the Standard Operating Procedure score get some recognition… it’s probably my favorite of the year .
Alan of Montreal says:
Friday, January 16, 2009 at 1:50pm
How did Inkheart get on there?! it hasn’t even been released yet!
Emre says:
Friday, January 16, 2009 at 1:58pm
good to see wanted by danny elfman and happening by james newton howard among the nominees. even though none of the films are oscar worthy, they were two of the best scores of the year.
Jake says:
Friday, January 16, 2009 at 2:17pm
No Slumdog….YYEEESSSSS! Go TDK!
doublB says:
Friday, January 16, 2009 at 2:22pm
This has nothing to do with music, but that Mirrors ad on this site is so repellant I’m about to have to quit visiting!
(I know you gotsta pay the bills, Sasha…)
IFMCA Member says:
Friday, January 16, 2009 at 2:50pm
Inkheart was nominated because it has been released in theaters in Britain already. IFMCA is an INTERNATIONAL organization, not US-centric.
The Natural says:
Friday, January 16, 2009 at 2:53pm
Desplat’s work on “Benjamin Button” is by far the best score of the lot here. I’m sure it will be rewarded justly on Oscar night.
Also spectacular is Newman’s work on “WALL-E,” Danny Elfman’s work on “Milk,” and Nico Mulhy’s work on “The Reader.”
I can’t remember “The Dark Knight” score. Obviously didn’t leave much of an impression on me. Same goes for “Slumdog Millionaire.”
Graham L says:
Friday, January 16, 2009 at 3:09pm
Thomas Newman must win, for either Revolutionary Road or WALL-E! He’s been nominated 8 times for an Oscar and never won, it’s shocking, the man whose given us so much (American Beauty, Road to Perdition, Shawshank Redemption and many many more). I’ll be very annoyed with the Academy if they don’t nominate this fantastic composer!