And they are:
“Admission,” Stephen Trask, composer
“Ain’t Them Bodies Saints,” Daniel Hart, composer
“All Is Lost,” Alex Ebert, composer
“Alone Yet Not Alone,” William Ross, composer
“The Armstrong Lie,” David Kahne, composer
“Arthur Newman,” Nick Urata, composer
“At Any Price,” Dickon Hinchliffe, composer
“Austenland,” Ilan Eshkeri, composer
“Before Midnight,” Graham Reynolds, composer
“The Best Man Holiday,” Stanley Clarke, composer
“The Book Thief,” John Williams, composer
“The Butterfly’s Dream,” Rahman Altin, composer
“The Call,” John Debney, composer
“Captain Phillips,” Henry Jackman, composer
“Closed Circuit,” Joby Talbot, composer
“The Company You Keep,” Cliff Martinez, composer
“The Conjuring,” Joseph Bishara, composer
“Copperhead,” Laurent Eyquem, composer
“The Counselor,” Daniel Pemberton, composer
“The Croods,” Alan Silvestri, composer
“Despicable Me 2,” Heitor Pereira, composer
“Elysium,” Ryan Amon, composer
“Ender’s Game,” Steve Jablonsky, composer
“Enough Said,” Marcelo Zarvos, composer
“Epic,” Danny Elfman, composer
“Ernest & Celestine,” Vincent Courtois, composer
“Escape from Planet Earth,” Aaron Zigman, composer
“Escape from Tomorrow,” Abel Korzeniowski, composer
“Evil Dead,” Roque Baños, composer
“47 Ronin,” Ilan Eshkeri, composer
“42,” Mark Isham, composer
“Free Birds,” Dominic Lewis, composer
“Free China: The Courage to Believe,” Tony Chen, composer
“Fruitvale Station,” Ludwig Goransson, composer
“G.I. Joe: Retaliation,” Henry Jackman, composer
“Gangster Squad,” Steve Jablonsky, composer
“Gravity,” Steven Price, composer
“The Great Gatsby,” Craig Armstrong, composer
“The Hangover Part III,” Christophe Beck, composer
“Hansel & Gretel Witch Hunters,” Atli Örvarsson, composer
“Haute Cuisine,” Gabriel Yared, composer
“Her,” William Butler and Owen Pallett, composers
“The Hobbit: The Desolation of Smaug,” Howard Shore, composer
“Hollywood Seagull,” Evgeny Shchukin, composer
“Hours,” Benjamin Wallfisch, composer
“How Sweet It Is,” Matt Dahan, composer
“The Hunger Games: Catching Fire,” James Newton Howard, composer
“Identity Thief,” Christopher Lennertz, composer
“The Incredible Burt Wonderstone,” Lyle Workman, composer
“Insidious: Chapter 2,” Joseph Bishara, composer
“Instructions Not Included,” Carlo Siliotto, composer
“The Internship,” Christophe Beck, composer
“The Invisible Woman,” Ilan Eshkeri, composer
“Iron Man 3,” Brian Tyler, composer
“Jack the Giant Slayer,” John Ottman, composer
“Jobs,” John Debney, composer
“Kamasutra 3D,” Sreejith Edavana and Saachin Raj Chelory, composers
“Labor Day,” Rolfe Kent, composer
“Lee Daniels’ The Butler,” Rodrigo Leão, composer
“Live at the Foxes Den,” Jack Holmes, composer
“Love Is All You Need,” Johan Söderqvist, composer
“Mama,” Fernando Velázquez, composer
“Man of Steel,” Hans Zimmer, composer
“Mandela: Long Walk to Freedom,” Alex Heffes, composer
“The Missing Picture,” Marc Marder, composer
“Monsters University,” Randy Newman, composer
“The Mortal Instruments: City of Bones,” Atli Örvarsson, composer
“Mud,” David Wingo, composer
“Murph: The Protector,” Chris Irwin and Jeff Widenhofer, composers
“Now You See Me,” Brian Tyler, composer
“Oblivion,” Anthony Gonzalez and Joseph Trapanese, composers
“Oldboy,” Roque Baños, composer
“Olympus Has Fallen,” Trevor Morris, composer
“Oz The Great and Powerful,” Danny Elfman, composer
“Pacific Rim,” Ramin Djawadi, composer
“Pain & Gain,” Steve Jablonsky, composer
“Percy Jackson: Sea of Monsters,” Andrew Lockington, composer
“Philomena,” Alexandre Desplat, composer
“The Place beyond the Pines,” Mike Patton, composer
“Planes,” Mark Mancina, composer
“Prisoners,” Jóhann Jóhannsson, composer
“R.I.P.D.,” Christophe Beck, composer
“Reaching for the Moon,” Marcelo Zarvos, composer
“Romeo & Juliet,” Abel Korzeniowski, composer
“Runner Runner,” Christophe Beck, composer
“Rush,” Hans Zimmer, composer
“Safe Haven,” Deborah Lurie, composer
“Salinger,” Lorne Balfe, composer
“Saving Mr. Banks,” Thomas Newman, composer
“The Secret Life of Walter Mitty,” Theodore Shapiro, composer
“Short Term 12,” Joel P. West, composer
“Side Effects,” Thomas Newman, composer
“The Smurfs 2,” Heitor Pereira, composer
“The Spectacular Now,” Rob Simonsen, composer
“Star Trek Into Darkness,” Michael Giacchino, composer
“Stoker,” Clint Mansell, composer
“Thor: The Dark World,” Brian Tyler, composer
“Tim’s Vermeer,” Conrad Pope, composer
“Trance,” Rick Smith, composer
“Turbo,” Henry Jackman, composer
“12 Years a Slave,” Hans Zimmer, composer
“2 Guns,” Clinton Shorter, composer
“The Ultimate Life,” Mark McKenzie, composer
“Unfinished Song,” Laura Rossi, composer
“Wadjda,” Max Richter, composer
“Walking with Dinosaurs,” Paul Leonard-Morgan, composer
“Warm Bodies,” Marco Beltrami and Buck Sanders, composers
“We Steal Secrets: The Story of WikiLeaks,” Will Bates, composer
“We’re the Millers,” Theodore Shapiro and Ludwig Goransson, composers
“What Maisie Knew,” Nick Urata, composer
“Why We Ride,” Steven Gutheinz, composer
“The Wind Rises,” Joe Hisaishi, composer
“Winnie Mandela,” Laurent Eyquem, composer
“The Wolverine,” Marco Beltrami, composer
A Reminder List of works submitted in the Original Score category will be made available with a nominations ballot to all members of the Music Branch, who shall vote in the order of their preference for not more than five achievements. The five achievements receiving the highest number of votes will become the nominations for final voting for the award.
To be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer. Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible.
The 86th Academy Awards® nominations will be announced live on Thursday, January 16, 2014, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.
Academy Awards® for outstanding film achievements of 2013 will be presented on Oscar Sunday, March 2, 2014, at the Dolby Theatre® at Hollywood & Highland Center®, and televised live on the ABC Television Network. The Oscar presentation also will be televised live in more than 225 countries and territories worldwide.
Not exactly rushing out the door to see the movie, but Abel Korzeniowki’s score for Romeo & Juliet is gorgeous.
I suspect joeyhegele is right.
“12 Years a Slave,” Hans Zimmer
“All Is Lost,” Alex Ebert
“Gravity,” Steven Price
“Saving Mr. Banks,” Thomas Newman
“The Book Thief,” John Williams
With outside chances for previous nominees:
“Philomena” – Alexandre Desplat
“Star Trek: Into Darkness” – Michael Giacchino
And I’m hoping that “Her” makes the final cut.
Surprised to see Captain Phillips being eligible as the climax score (the most memorable bit) was taken from United 93. They have thrown away good scores out for less than this.
This one: http://www.youtube.com/watch?v=YZXjdKKa3jw
Also, in the end of Captain Phillips, Jackman’s score sounds more Zimmer than his lazy 12 Years a Slave does. Very close to Inception, but I guess you can’t call that plagiarism: http://www.youtube.com/watch?v=oT88jSrGtiM
Tero Heikkinen, INTERPOL Composer Patrol 🙂 I Love it. The inconsistency you rightly expose reflects worse on the Academy’s arbitrary and often petulant rulings than it does on the work of the composers. #toomanynotes
‘Gravity’ deserves it, so naturally it’ll probably be snubbed come Oscar time.
Great to see Joel Edgarton finally get some recognition for his terrific performance in “The Great Gatsby”. I’m also happy with Bahz L.’s Best Director nomination. The movie’s direction was inspired, and he deserves to be in this category.
I hope AMPAS takes notice. It would be so refreshing to see them nominate surprises this year.
But rly tho. If Jo Hisaishi could be Oscar-nominated at long fucking last…
Ooh I almost forgot… they also snubbed Oprah!
BEST SUPPORTING ACTRESS
Sally Hawkins – Blue Jasmine
Jennifer Lawrence – American Hustle
Lupita Nyong’o – 12 Years A Slave
Julia Roberts – August: Osage County
Octavia Spencer – Fruitvale Station
#TeamSallyHawkins 😉
The Australian Academy of Cinema and Television Arts (AACTA) has released its nomination list for its international awards. They’ve only been around for 2 yrs but they have a pretty decent track record on par with SAG or Bafta but not as strong as DGA or PGA.
There are a couple oddballs among their nominees like Rush for Best Picture, Baz Luhrmann for Best Director, Joel Edgerton and Geoffrey Rush for Best Supporting Actor, but otherwise it all comes down to the usual suspects and the shared domination of 12 Years and Hustle, while further damaging Banks (only 1 nom for Screenplay and NO Emma Thompson replaced by Amy Adams).
BEST FILM
12 Years A Slave
American Hustle
Captain Phillips
Gravity
Rush
BEST DIRECTION
12 Years A Slave– Steve McQueen
American Hustle– David O. Russell
Captain Phillips– Paul Greengrass
Gravity–– Alfonso Cuaron
The Great Gatsby– Baz Luhrmann
BEST SCREENPLAY
12 Years A Slave– John Ridley
American Hustle – Eric Warren Singer, David O. Russell
Blue Jasmine– Woody Allen
Inside Llewyn Davis – Joel Coen, Ethan Coen
Saving Mr. Banks– Kelly Marcel, Sue Smith
BEST LEAD ACTOR
Christian Bale– American Hustle
Leonardo DiCaprio– The Wolf of Wall Street
Chiwetel Ejiofor- 12 Years A Slave
Tom Hanks– Captain Phillips
Matthew McConaughey– Dallas Buyers Club
BEST LEAD ACTRESS
Amy Adams– American Hustle
Cate Blanchett– Blue Jasmine
Sandra Bullock– Gravity
Judi Dench– Philomena
Meryl Streep– August: Osage County
BEST SUPPORTING ACTOR
Bradley Cooper– American Hustle
Joel Edgerton– The Great Gatsby
Michael Fassbender– 12 Years A Slave
Jared Leto– Dallas Buyers Club
Geoffrey Rush– The Book
Predictions
“12 Years a Slave,” Hans Zimmer
“All Is Lost,” Alex Ebert
“Gravity,” Steven Price
“Saving Mr. Banks,” Thomas Newman
“The Book Thief,” John Williams
No Guts, No Glory guesses
“Elysium,” Ryan Amon
“The Wind Rises,” Joe Hisaishi
Is the Mike Patton who scored The Place Beyond the Pines the same Mike Patton who was in Faith No More back in the day? Suddenly I’m starting to feel rather old…then again, I’m guessing he and Danny Elfman are around the same age, since they were both in LA bands at the same time (saw Oingo Boingo open up for Squeeze back in ’86, IIRC…yup, I’m old), so maybe I shouldn’t be surprised.
Gravity is taking this one. It’s a good one. Not outstanding definitely. But the point is that it has a big role in the film. That worked for Life of Pi last year and will likely work again for Gravity.
12 Years is a good score. But the main theme is not that different from Inception’s main theme.
With Frozen DQed, there goes the family reunion between Randy and Tommy (Newman). :-/
Glad to see Hisaishi make the cut here. He’s *way* overdue.
Owen Pallett is not a member of Arcade Fire, by the way–he is a well-known indie-pop musician in his own right in Canada, having won the inaugural Polaris Prize (Canada’s answer to the UK’s Mercury Prize) under the moniker Final Fantasy (which, I believe, he has since dropped). I noticed here, as well, that it’s just Win Butler credited from Arcade Fire and not the entire band–does that mean bands aren’t eligible to be nominated, or that all people behind the critics awards that have been citing The Arcade Fire were too lazy to do any research?
Also, the score for “Only God Forgives” is ineligible? The title of the movies seemed to self-prophesize its chances in this category.
I wonder why the scores for “The Family” and “The Great Beauty” were not eligible?
They both had really great scores.
The piano for Nausicaa is spectacular. I get goosebumps when the strings are layered in as the music crescendos at around 1:15. It’s a wonderful composition.
You should watch this…the live performance Studio Ghibli 25th anniversary concert: http://www.youtube.com/watch?v=ZVCdLi6FGVg. I don’t want to spoil the beginning (it’s always more fun to not know what’s coming next), but it’s fantastic. I was only a little bummed Grave of the Fireflies wasn’t featured, but I guess it was the Miyazaki films only.
KT,
Joe Hisaichi’s opening of NAUSICAA has me gutted before the movie begins! The good stuff never gets nominated so who cares!
http://youtu.be/PKaTNcmiBPg?t=43s
Hans Zimmer work in 12 YEARS A SLAVE is very weak. The only truly original piece are the simplest and loudest ones which I don’t even like how they’re used in the movie. Doesn’t deserve an Academy Award nomination.
Well, at least NEBRASKA won’t get nominated here
Hisaishi’s score for Princess Mononoke is absolutely incredible, from the main theme, to the organic sounds of the forest, to the gorgeous piano solo at the end. There’s an example of a composer who brings something new to every movie he does, without riffing off his older themes like Zimmer and Horner especially.
The biggest joke for this category could have been The Artist winning. Not because it was a bad score. I just would bet money people in the Academy were most impressed by the music in the climactic sequence, not even realizing it wasn’t scored by the composer but by Bernard Herrman, his tremendously compelling music from Vertigo…..perhaps the greatest scored movie ever, which of course went un-nominated back in 1958. One distinction the Academy usually fails to get is between score and music, how the music fits the action of the movie is completely different from judging the music itself.
hisaishi getting in would be a dream
Joe Hisaishi is an incredible composer. If he gets nominated, I’ll be very impressed with the Academy. Fantastic work in Miyazaki’s movies.
But their music tastes frankly suck. Look out for the annual John Williams nom (not saying he sucks, but he gets nominated for everything). It’d be nice if Hans Zimmer missed for Inception Part 2 (ahem 12 Years a Slave).
Well, Arcade fire managed to be the alternative band that won the Best album Grammy, An honour which has eluded Radiohead 3 times,
And now Win butler and co. might have another on of those here, Seeing Johnny greenwood usually has his scores lose eligibility by this point 😉
Her is eligible! Yay! Frozen isn’t. Boo.
Are we ever going to be able to hear the Arcade Fire score outside of the film? Odd to me that I can’t find any release plans for that.
They have to change this to “use of music” and bring some interest back into the category.
Well, there goes any hope that Upstream Color would get on here. I’ll still beat that drum, I don’t care.