The 2017 International Film Music Critics Association (IFMCA) Awards were held yesterday, and the big winners were Phantom Thread, which won both Score of the Year and Best Original Score for a Drama Film, and Alexandre Desplat, who won Composer of the Year. Thanks again to Juan Carlos Jiménez for these!
Here are the full list of winners and the accompanying IFMCA press release:
SCORE OF THE YEAR
- PHANTOM THREAD, music by Jonny Greenwood
COMPOSER OF THE YEAR
- ALEXANDRE DESPLAT
BREAKTHROUGH COMPOSER OF THE YEAR
- GEORGE KALLIS
FILM MUSIC COMPOSITION OF THE YEAR
- “End Credits” from WAR FOR THE PLANET OF THE APES, music by Michael Giacchino
BEST ORIGINAL SCORE FOR A DRAMA FILM
- PHANTOM THREAD, music by Jonny Greenwood
BEST ORIGINAL SCORE FOR A COMEDY FILM
- THE DEATH OF STALIN, music by Christopher Willis
BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM
- A CURE FOR WELLNESS, music by Benjamin Wallfisch
BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
- WAR FOR THE PLANET OF THE APES, music by Michael Giacchino
BEST ORIGINAL SCORE FOR AN ANIMATED FILM
- CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, music by Theodore Shapiro
BEST ORIGINAL SCORE FOR A DOCUMENTARY
- MULLY, music by Benjamin Wallfisch
BEST ORIGINAL SCORE FOR TELEVISION
- THE ORVILLE, music by Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee
BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
- RIME, music by David García Díaz
BEST NEW RELEASE, RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE
- BEN-HUR, music by Miklós Rózsa; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by James Fitzpatrick, Gareth Bevan, and Nic Finch (Tadlow)
BEST FILM MUSIC COMPILATION ALBUM
- CAPTAINS COURAGEOUS: THE FRANZ WAXMAN COLLECTION, music by Franz Waxman; album produced by Douglass Fake; liner notes by Frank K. De Wald; album art direction by Kay Marshall and Joe Sikoryak (Intrada)
FILM MUSIC RECORD LABEL OF THE YEAR
- LA-LA LAND RECORDS, MV Gerhard and Matt Verboys
=============================================
FEBRUARY 22, 2018 — The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2017, in the 2017 IFMCA Awards.
The award for Score of the Year goes to British composer Jonny Greenwood for his score for critically acclaimed period drama “Phantom Thread,” directed by Paul Thomas Anderson, and starring Daniel Day-Lewis. In describing the score, IFMCA member Jon Broxton wrote that it was a “quite masterful score from Greenwood, one which gets deeply under the skin of the damaged, potentially dangerous, but nevertheless mutually fulfilling relationship at the center of the story. The abstract, impressionistic, modernistic textures perfectly capture the torment that both characters at times feel, as well as their willful and often unpleasant personalities. Then, when he opens up his orchestra and performs the Phantom Thread theme with glorious melodrama, or when he writes elegant romantic music for what should be the dreadful finale, the whole thing simply soars”. The score was also named Best Original Score for Drama Film; these are the first IFMCA Award wins of Greenwood’s career, him having previously been nominated for Breakthrough Film Composer of the Year in 2007 and Best Original Score for an Action/Adventure/Thriller Film for “Inherent Vice” in 2014.
Composer Alexandre Desplat is named Composer of the Year, him having written at least four outstanding works spanning multiple genres in the past year. His work in 2017 included director Guillermo del Toro’s critically acclaimed monster movie romance “The Shape of Water,” director Luc Besson’s epic space fantasy “Valerian and the City of a Thousand Planets,” director George Clooney’s satirical racial drama ‘”Suburbicon,” and the French-language comedy-drama “D”Après Une Histoire Vraie,” directed by Roman Polanski. IFMCA member James Southall said that The Shape of Water was “yet another from the top drawer of Desplat,” and went on to describe him as “one of the most consistently impressive film composers of the last couple of decades,” who has “managed to be so successful without having to water down his highly-distinctive musical voice at all”. IFMCA member Christian Clemmensen called Valerian and the City of a Thousand Planets a “sonic marvel of extremely intelligent rendering” and an “unparalleled execution of orchestral textures” featuring “composition of demanding complexity.” Desplat received IFMCA Score of the Year honors in 2008 for “The Curious Case of Benjamin Button”. This marks the third time Desplat has been named Composer of the Year, following his previous wins in 2017 and 2014.
Composer Michael Giacchino wins two awards – Film Music Composition of the Year and Best Original Score for a Fantasy/Science Fiction/Horror Film – both for his work on the third film in the blockbuster Planet of the Apes trilogy, “War for the Planet of the Apes”. IFMCA member James Southall said that War for the Planet of the Apes was “not just the best film music [Giacchino has] ever written” but that “the manner of the score, the construction of the dramatic narrative, [and] the very deliberate emotional prods … make it stand out as a special achievement”.
Composer Benjamin Wallfisch also wins two awards – Best Original Score for an Action/Adventure/Thriller Film and Best Original Score for a Documentary – for two very different works. Director Gore Verbinski’s “A Cure for Wellness” is a Gothic thriller which draws on European classical traditions to generate its creepy atmosphere, while “Mully” is an inspirational documentary about the life of Charles Mully, a Kenyan business tycoon who gave away his fortune to start the Mully Children’s Family, the largest children’s rescue, rehabilitation and development organization in Africa. Wallfisch’s score blends rich, beautiful orchestral themes with influences from traditional East African music. IFMCA member Ley Bricknell described “A Cure for Wellness” as “totally compelling” with “an overwhelming sense of fear and madness”.
Cypriot composer George Kallis is named Breakthrough Composer of the Year for his stellar work writing three enormously impressive scores in 2017: the children’s fantasy “Albion: The Enchanted Stallion,” the historical drama “The Black Prince,” and the Russian fantasy epic “Posledni Bogatyr/The Last Warrior,” all of which impressed members of the IFMCA with their scope and creativity. The various other genre awards are won by Christopher Willis his Russian-inspired music for the satirical comedy “The Death of Stalin”; and Theodore Shapiro for his anarchic but wonderfully sincere score for the animated super hero parody “Captain Underpants: The First Epic Adventure”.
In the non-film categories, composers Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee jointly win the award for Best Original Score for a Television Series for their magnificent work on the Fox sci-fi series “The Orville,” while Spanish composer David García Díaz wins the award for Best Original Score for a Video Game or Interactive Media for his moving score for the adventure–puzzle video game “Rime,” in which players are compelled to solve environmental puzzles across five large levels that represent the five stages of grief.
Burbank, California-based La-La Land Records is named Film Music Record Label of the Year in recognition of their ongoing excellence in restoring and releasing the most beloved film scores of the past. British label Tadlow Records and producer James Fitzpatrick are honored with the award for Best New Release, Re-Release or Re-Recording of an Existing Score for their lavish new recording of Miklós Rózsa’s classic 1959 score “Ben-Hur,” which IFMCA member Craig Lysy described as “the most thematically complex and melodically rich film score ever penned by the hand of man” … “a superb recording and the crowning glory of the Golden Age”. Finally, Oakland, California-based Intrada Records and producer Douglass Fake wins the award for Best Film Music Compilation Album for their superb release “Captains Courageous: The Franz Waxman Collection”, a compilation of outstanding themes by the great German composer of the 1940s and 50s.
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The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music.
Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, China, Denmark, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.
Previous IFMCA Score of the Year Awards have been awarded to Jóhann Jóhannsson’s “Arrival” in 2016, John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “War Horse” in 2011, John Powell’s “How to Train Your Dragon” in 2010, Michael Giacchino’s “Up” in 2009, Alexandre Desplat’s “The Curious Case of Benjamin Button” in 2008, Dario Marianelli’s “Atonement” in 2007, James Newton Howard’s “Lady in the Water” in 2006, John Williams’s “Memoirs of a Geisha” in 2005 and Michael Giacchino’s “The Incredibles” in 2004.
For more information about the International Film Music Critics Association go to www.filmmusiccritics.org , visit our Facebook page, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org.
Phantom Thread winner! So deserved. I’m very excited about this. Totally brilliant music. Can’t stop listening to it. Bravo!
Phantom Thread winner! So deserved. I’m very excited about this. Totally brilliant music. Can’t stop listening to it. Bravo!
Phantom Thread winner! So deserved. I’m very excited about this. Totally brilliant music. Can’t stop listening to it. Bravo!
Phantom Thread winner! So deserved. I’m very excited about this. Totally brilliant music. Can’t stop listening to it. Bravo!
Phantom Thread winner! So deserved. I’m very excited about this. Totally brilliant music. Can’t stop listening to it. Bravo!
Phantom Thread winner! So deserved. I’m very excited about this. Totally brilliant music. Can’t stop listening to it. Bravo!
Phantom Thread winner! So deserved. I’m very excited about this. Totally brilliant music. Can’t stop listening to it. Bravo!
I approve of Phantom Thread’s victory and I’d love for it to win the Best Original Score Oscar in the end, but…Really? Captain Underpants over Coco and Loving Vincent?
I approve of Phantom Thread’s victory and I’d love for it to win the Best Original Score Oscar in the end, but…Really? Captain Underpants over Coco and Loving Vincent?
I approve of Phantom Thread’s victory and I’d love for it to win the Best Original Score Oscar in the end, but…Really? Captain Underpants over Coco and Loving Vincent?
Well, it´s amazing – congrats to Jonny Greenwood!
I´m not allowing myself to believe this result will repeat at the Oscars, though… better to diminish the sorrow when Desplat´s name is called instead.
(Even though I´ve seen Shape of Water only a couple of days ago – and Phantom Thread three weeks ago – I almost forgot Desplat´s score while Greenwood´s is still very present in my mind)
IFMCA’s winner for Score of the Year also won the Oscar, only 3 out of 13 times: Those were Mychael Danna’s ”Life of Pi,” Michael Giacchino’s ”Up” & Dario Marianelli’s ”Atonement.”
Well, it´s amazing – congrats to Jonny Greenwood!
I´m not allowing myself to believe this result will repeat at the Oscars, though… better to diminish the sorrow when Desplat´s name is called instead.
(Even though I´ve seen Shape of Water only a couple of days ago – and Phantom Thread three weeks ago – I almost forgot Desplat´s score while Greenwood´s is still very present in my mind)
Well, it´s amazing – congrats to Jonny Greenwood!
I´m not allowing myself to believe this result will repeat at the Oscars, though… better to diminish the sorrow when Desplat´s name is called instead.
(Even though I´ve seen Shape of Water only a couple of days ago – and Phantom Thread three weeks ago – I almost forgot Desplat´s score while Greenwood´s is still very present in my mind)
IFMCA’s winner for Score of the Year also won the Oscar, only 3 out of 13 times: Those were Mychael Danna’s ”Life of Pi,” Michael Giacchino’s ”Up” & Dario Marianelli’s ”Atonement.”
One of the best scores for me this year, Hans Zimmers score for Dunkirk. Amazing and experimental.
The Orville? Eh… Didn’t think that was a great score. As for Phantom Thread, I’d rather that won the Oscar, but The Shape of Water will. In other news:
[Again, anyone who’s already read this – and voted -, please ignore everything below, of course!]
All of those willing to share their picks to post their rankings for this traditional BP voting simulation I’ve done pretty much every year since 2011, and help us all better understand how this year’s race might shape up, as well as how the preferential ballot works, in general, please do so here! I will, as always, post detailed, round-by-round descriptions of how the count went, and so on, at the end… Many thanks to all who have participated in these simulations in past years, as well as to all who will, perhaps, take part in them for the first time this year!
Sometimes, these are mostly indicative of the internet’s favorites, but sometimes they can also be very telling for what will happen at the Oscars. (Like in 2015 and 2017, when the winners were the same for both.) One interesting thing I will point out about the previous years’ results (which can be checked out, in detail, at the bottom of this post), is that the movie most people consider likely to have come in second place in the Best Picture race at the Oscars has finished in exactly second place in these every single time, for the last four years in a row, so perhaps this is something to look out for this year as well… So, without further ado…
7th Annual Best Picture Preferential Ballot Simulation:
Please rank the Best Picture nominees this year, according to how much (or how little) you want each of them to win the Oscar! In other words, just as if you were a voting Academy member (except, don’t try to think like one of them would, but rank them according to your own tastes and wishes instead, of course)!
I would say, ideally, a voter should have at least seen all of the following, which are the only ones I find likely to win or come close to winning this simulation – or win at the Academy Awards themselves -, based on what I’ve heard about other, similar polls taken this year, and so on: Call Me By Your Name, Dunkirk, Get Out, Lady Bird, The Shape of Water and Three Billboards Outside Ebbing, Missouri (I’ve listed them in alphabetical order, so as to minimally influence voting.) And maybe also Phantom Thread. I’m thinking this would be best because I expect even Academy voters, in this day and age, will pretty much have all seen at least the 2-3 (and, in this year’s case, maybe 4-5) movies that have the best chances of winning the Oscar in any given year, before completing their ballots. Beyond this, there are no guidelines. Vote as you like, but rank all of those first six I mentioned, please, don’t leave them off your ballot, or I might decide to not count it!
Voting will be open, I suspect, for no more than 3-4 days – I think there are solid reasons to do it this way. If somebody tells me they’re about to go see the last key contender they haven’t seen yet, and then want to vote, then I’ll, of course, extend the deadline for another day or two, like I did in previous years.
My ballot for this year (with a fairly obvious strategic placing of a certain movie, which 99% won’t help said movie at all, but also can’t hurt/alter anything significant):
1. The Post
2. Dunkirk
3. Get Out
4. Lady Bird
5. Three Billboards Outside Ebbing, Missouri
6. Darkest Hour
7. Phantom Thread
8. The Shape of Water
9. Call Me By Your Name
(My mother won’t be voting this year, as she just hasn’t seen enough of the nominees, and hasn’t seen The Shape of Water or Call Me By Your Name, of the strongest ones.)
The previous years’ results:
2011 The Social Network — details not saved
2012 – not held –
2013 Zero Dark Thirty —– 37-24 over Silver Linings Playbook
2014 Her —————— 33-33 tied with Gravity, won 19-18 on 1st round 1st places
2015 Birdman ————– 62-61 over Boyhood
2016 Mad Max: Fury Road — 51-37 over The Revenant
2017 Moonlight ———— 41-32 over La La Land
1. The Shape of Water
2. Call Me By Your Name
3. The Post
4. Dunkirk
5. Lady Bird
6. Get Out
7. Phantom Thread
8. The Darkest Hour
9. Three Billboards
1. Call Me By Your Name
2. Lady Bird
3. Get Out
4. Phantom Thread
5. Three Billboards
6. The Shape of Water
7. Dunkirk
8. The Post
9. Darkest Hour
One of the best scores for me this year, Hans Zimmers score for Dunkirk. Amazing and experimental.
great winners, in my opinion; glad they didn’t jump bandwagon and awarded the formidable and unique. Don’t know if Dunkirk was nominated or eligible for action but I thought that score was an integral part of the storytelling for that film, especially since there is minimal dialogue to go by. SOW is beautiful and a memorable enhancement to that movie but it lacks the depth/profundity and it is not as indispensable to appropriately transcend or amplify the nuance of the material as that of PT. It was a difficult tone to strike, musically, that movie; Greenwood was the aid to PTA that Herrman was to Hitchcock
“Phantom Thread will have this and the Oscar in the bag.”
Called it!
I hope so! Greenwood’s score is one of the most beautiful I’ve heard in years. I listen to it often, and it stands alone outside the film as well. I thought Desplat would get the Oscar but now I’m not so sure.
The Orville? Eh… Didn’t think that was a great score. As for Phantom Thread, I’d rather that won the Oscar, but The Shape of Water will. In other news:
[Again, anyone who’s already read this – and voted -, please ignore everything below, of course!]
All of those willing to share their picks to post their rankings for this traditional BP voting simulation I’ve done pretty much every year since 2011, and help us all better understand how this year’s race might shape up, as well as how the preferential ballot works, in general, please do so here! I will, as always, post detailed, round-by-round descriptions of how the count went, and so on, at the end… Many thanks to all who have participated in these simulations in past years, as well as to all who will, perhaps, take part in them for the first time this year!
Sometimes, these are mostly indicative of the internet’s favorites, but sometimes they can also be very telling for what will happen at the Oscars. (Like in 2015 and 2017, when the winners were the same for both.) One interesting thing I will point out about the previous years’ results (which can be checked out, in detail, at the bottom of this post), is that the movie most people consider likely to have come in second place in the Best Picture race at the Oscars has finished in exactly second place in these every single time, for the last four years in a row, so perhaps this is something to look out for this year as well… So, without further ado…
7th Annual Best Picture Preferential Ballot Simulation:
Please rank the Best Picture nominees this year, according to how much (or how little) you want each of them to win the Oscar! In other words, just as if you were a voting Academy member (except, don’t try to think like one of them would, but rank them according to your own tastes and wishes instead, of course)!
I would say, ideally, a voter should have at least seen all of the following, which are the only ones I find likely to win or come close to winning this simulation – or win at the Academy Awards themselves -, based on what I’ve heard about other, similar polls taken this year, and so on: Call Me By Your Name, Dunkirk, Get Out, Lady Bird, The Shape of Water and Three Billboards Outside Ebbing, Missouri (I’ve listed them in alphabetical order, so as to minimally influence voting.) And maybe also Phantom Thread. I’m thinking this would be best because I expect even Academy voters, in this day and age, will pretty much have all seen at least the 2-3 (and, in this year’s case, maybe 4-5) movies that have the best chances of winning the Oscar in any given year, before completing their ballots. Beyond this, there are no guidelines. Vote as you like, but rank all of those first six I mentioned, please, don’t leave them off your ballot, or I might decide to not count it!
Voting will be open, I suspect, for no more than 3-4 days – I think there are solid reasons to do it this way. If somebody tells me they’re about to go see the last key contender they haven’t seen yet, and then want to vote, then I’ll, of course, extend the deadline for another day or two, like I did in previous years.
My ballot for this year (with a fairly obvious strategic placing of a certain movie, which 99% won’t help said movie at all, but also can’t hurt/alter anything significant):
1. The Post
2. Dunkirk
3. Get Out
4. Lady Bird
5. Three Billboards Outside Ebbing, Missouri
6. Darkest Hour
7. Phantom Thread
8. The Shape of Water
9. Call Me By Your Name
(My mother won’t be voting this year, as she just hasn’t seen enough of the nominees, and hasn’t seen The Shape of Water or Call Me By Your Name, of the strongest ones.)
The previous years’ results:
2011 The Social Network — details not saved
2012 – not held –
2013 Zero Dark Thirty —– 37-24 over Silver Linings Playbook
2014 Her —————— 33-33 tied with Gravity, won 19-18 on 1st round 1st places
2015 Birdman ————– 62-61 over Boyhood
2016 Mad Max: Fury Road — 51-37 over The Revenant
2017 Moonlight ———— 41-32 over La La Land
1. The Shape of Water
2. Call Me By Your Name
3. The Post
4. Dunkirk
5. Lady Bird
6. Get Out
7. Phantom Thread
8. The Darkest Hour
9. Three Billboards
1. Call Me By Your Name
2. Lady Bird
3. Get Out
4. Phantom Thread
5. Three Billboards
6. The Shape of Water
7. Dunkirk
8. The Post
9. Darkest Hour
The Orville? Eh… Didn’t think that was a great score. As for Phantom Thread, I’d rather that won the Oscar, but The Shape of Water will. In other news:
[Again, anyone who’s already read this – and voted -, please ignore everything below, of course!]
All of those willing to share their picks to post their rankings for this traditional BP voting simulation I’ve done pretty much every year since 2011, and help us all better understand how this year’s race might shape up, as well as how the preferential ballot works, in general, please do so here! I will, as always, post detailed, round-by-round descriptions of how the count went, and so on, at the end… Many thanks to all who have participated in these simulations in past years, as well as to all who will, perhaps, take part in them for the first time this year!
Sometimes, these are mostly indicative of the internet’s favorites, but sometimes they can also be very telling for what will happen at the Oscars. (Like in 2015 and 2017, when the winners were the same for both.) One interesting thing I will point out about the previous years’ results (which can be checked out, in detail, at the bottom of this post), is that the movie most people consider likely to have come in second place in the Best Picture race at the Oscars has finished in exactly second place in these every single time, for the last four years in a row, so perhaps this is something to look out for this year as well… So, without further ado…
7th Annual Best Picture Preferential Ballot Simulation:
Please rank the Best Picture nominees this year, according to how much (or how little) you want each of them to win the Oscar! In other words, just as if you were a voting Academy member (except, don’t try to think like one of them would, but rank them according to your own tastes and wishes instead, of course)!
I would say, ideally, a voter should have at least seen all of the following, which are the only ones I find likely to win or come close to winning this simulation – or win at the Academy Awards themselves -, based on what I’ve heard about other, similar polls taken this year, and so on: Call Me By Your Name, Dunkirk, Get Out, Lady Bird, The Shape of Water and Three Billboards Outside Ebbing, Missouri (I’ve listed them in alphabetical order, so as to minimally influence voting.) And maybe also Phantom Thread. I’m thinking this would be best because I expect even Academy voters, in this day and age, will pretty much have all seen at least the 2-3 (and, in this year’s case, maybe 4-5) movies that have the best chances of winning the Oscar in any given year, before completing their ballots. Beyond this, there are no guidelines. Vote as you like, but rank all of those first six I mentioned, please, don’t leave them off your ballot, or I might decide to not count it!
Voting will be open, I suspect, for no more than 3-4 days – I think there are solid reasons to do it this way. If somebody tells me they’re about to go see the last key contender they haven’t seen yet, and then want to vote, then I’ll, of course, extend the deadline for another day or two, like I did in previous years.
My ballot for this year (with a fairly obvious strategic placing of a certain movie, which 99% won’t help said movie at all, but also can’t hurt/alter anything significant):
1. The Post
2. Dunkirk
3. Get Out
4. Lady Bird
5. Three Billboards Outside Ebbing, Missouri
6. Darkest Hour
7. Phantom Thread
8. The Shape of Water
9. Call Me By Your Name
(My mother won’t be voting this year, as she just hasn’t seen enough of the nominees, and hasn’t seen The Shape of Water or Call Me By Your Name, of the strongest ones.)
The previous years’ results:
2011 The Social Network — details not saved
2012 – not held –
2013 Zero Dark Thirty —– 37-24 over Silver Linings Playbook
2014 Her —————— 33-33 tied with Gravity, won 19-18 on 1st round 1st places
2015 Birdman ————– 62-61 over Boyhood
2016 Mad Max: Fury Road — 51-37 over The Revenant
2017 Moonlight ———— 41-32 over La La Land
great winners, in my opinion; glad they didn’t jump bandwagon and awarded the formidable and unique. Don’t know if Dunkirk was nominated or eligible for action but I thought that score was an integral part of the storytelling for that film, especially since there is minimal dialogue to go by. SOW is beautiful and a memorable enhancement to that movie but it lacks the depth/profundity and it is not as indispensable to appropriately transcend or amplify the nuance of the material as that of PT. It was a difficult tone to strike, musically, that movie; Greenwood was the aid to PTA that Herrman was to Hitchcock
great winners, in my opinion; glad they didn’t jump bandwagon and awarded the formidable and unique. Don’t know if Dunkirk was nominated or eligible for action but I thought that score was an integral part of the storytelling for that film, especially since there is minimal dialogue to go by. SOW is beautiful and a memorable enhancement to that movie but it lacks the depth/profundity and it is not as indispensable to appropriately transcend or amplify the nuance of the material as that of PT. It was a difficult tone to strike, musically, that movie; Greenwood was the aid to PTA that Herrman was to Hitchcock
“Phantom Thread will have this and the Oscar in the bag.”
Called it!
I hope so! Greenwood’s score is one of the most beautiful I’ve heard in years. I listen to it often, and it stands alone outside the film as well. I thought Desplat would get the Oscar but now I’m not so sure.