The other night I was invited to listen to a live performance of Alexander, who scored All is Lost. One of the many interesting things about the JC Chandor joint is how he put it together and what kind of talent he found. Chief among those is the talented enigma behind Edward Sharpe and the Magnetic Zeros who is really Alex Ebert. The party was held at a location which is as yet unnamed, and no press exists about it. You aren’t even really allowed to take photos. But if I could have taken any I would have taken hundreds. The two story room has a secret screening room upstairs, whereupon I met Mr. Ebert who was sitting there discussing how All is Lost looked playing on the projection wall. It looked fantastic, of course – those bright aqua blues, Redford’s shock of red-grey hair.
The bar provided endless amounts of liquor. Waiters passed around food to eat as people began to fill up the place. Ebert then took the stage after a brief intro by Chandor. Of scoring the film, Ebert told NPR:
It really felt like stepping into nothing, and just sort of putting that first color on that gigantic canvas. … Silence was the other main character, and … I really wanted to respect the silence — and by silence, of course, I mean the natural sounds, and the sounds that Redford is hearing.
As a fan of Edward Sharpe and the Magnetic Zeroes my mind was kind of blown. Do I get to do lots of groovy things on the job? I do. This was one of them. Even though there were no pictures available, I stole Tom O’Neil’s idea of using a small recorder to get some of it down for the record. You can listen to that below.
As for Best Score, it has never been my strong suit, predicting how that will go. Usually you start with the big names and work backwards from there. This year, there are several big names in the game. And several scores that already standout in the Oscar punditry world.
Here is how it’s shaping up over at Gold Derby:
I agree with the Derbyites that Steven Price’s score for Gravity probably has this category sewn up, as Gravity will take many awards this year, even if it doesn’t take Best Picture/Director/Screenplay. It will take visual effects in a walk, probably cinematography, sound and sound editing. It might also take score, like Life of Pi did last year.
I think there’s a very good chance Alexander Ebert can crack the five, the reason being, you just have to make people aware of who he is, what he does, and how big of a character his music plays in the film. Turns out, it plays a big part. It is anything but background music. In a film with no dialogue you have Redford. You have silence. And you have music. Is he a big name? He’s a big name among those in the know — maybe not those in the Academy.
You don’t necessarily need to have heard all of the scores to predict this category; a big name will do. For instance, if you’re wondering why The Book Thief keeps showing up, that’s because it’s scored by none other than the esteemed John Williams. You might as well take that one to the bank. I wish more people would see that movie because it is a worthy contender in many categories. Why do people have Monsters University on the list? Because Randy Newman did the score. You getting the picture now? Alan Silvestri scored The Croods, Thomas Newman scored Saving Mr. Banks, Hans Zimmer pulls a double header with Rush and 12 Years a Slave, Howard Shore scored Wolf of Wall Street, and Danny Elfman is on American Hustle.
Minus John Williams, there are exceptions to every Oscar rule. Are the scores going to be eligible is always the big question. But given that, the score category to my mind might look something like this.
1. Steven Price, Gravity – like Alexander Ebert for All is Lost the music IS a character in the film.
2. Hans Zimmer, 12 Years a Slave – big name, big movie. Unless it is somehow disqualified, it’s in.
3. John Williams, The Book Thief
4. Thomas Newman, Saving Mr. Banks
5. Randy Newman, Monsters University
Or it might not look like that at all. It might look like this:
1. Gravity
2. 12 Years a Slave
3. All is Lost
4. The Croods
5. Frozen
It’s too early to determine what will qualify so predicting the category is a tad futile. But you the one element that you can wind your watch by – big names always count in any category, that includes Score, Costume, Sound, etc.
I was not a big fan of the movie, but the score for Elysium was outstanding. Take a listen to this one track for an idea of its power and beauty:
http://www.youtube.com/watch?v=Pjc-caBtqKY
I was just thinking about how many categories have front runners, but score was still a mystery. 12 Years A Slave and Gravity have amazing scores, but they are definitely minimalist. Minimalist can be nominated (The Hurt Locker) and sometimes even win (The Social Network), but generally it is the lush scores which dominate this category.
If I had to pick nominations right now, I would say:
Gravity
12 Years A Slave
Monsters University
All Is Lost (based on your recommendation Sasha)
Elysium (a long shot, but it could happen)
John Williams is always a possibility, but predicting him is too safe.
The best scores of the year to my ears are a very eclectic (and not very baity) bunch: Short Term 12, Pacific Rim, Lore, Ain’t Them Bodies Saints, Rush, All is Lost, and Philomena.
I expect that at most, only two of them will get a nod, and even then it’d be from among the three at the end of my list. Sad.
I agree with Free’s top 4 choices above.
Could Craig Armstrong get in there for “The Great Gatsby”?
I also very much liked the score for “The Family” – but nobody saw it and the composer is not on the A list, so it doesn’t have a chance.
12 YEARS A SLAVE is the film to beat this year, in my opinion. Loved everything about it.
That being said, I don’t understand why so many believe the score will be nominated. The “composition” is just the track “Solomon” played at various points throughout the film. There’s not much variety in it. And I’m surprised more people haven’t said this, but both that piece and the final track from CAPTAIN PHILLIPS are essentially less enthralling versions of Zimmer’s “Time” from INCEPTION (so is the very beginning of RUSH, also by Zimmer).
As of now, I’d say the most Oscar-friendly pieces I’ve heard are as follows (in order):
1. “Philomena” – ALEXANDRE DESPLAT
2. “The Book Thief” – JOHN WILLIAMS
3. “Monsters University” – RANDY NEWMAN
4. “Gravity” – STEVEN PRICE
Attitude’s gonna go something like “ugg It’s been 23 years since I had 3 hours out of my time for Scorsese!!”
Holy cow. Is this confirmed?!?!?!
http://blogs.indiewire.com/theplaylist/the-wolf-of-wall-street-now-reportedly-runs-3-hours-will-be-martin-scorseses-longest-feature-to-date-20131125?utm_source=dlvr.it&utm_medium=twitter#.UpOH9fp3LbU.twitter
I can see people already rolling their eyes, getting the knives out, ready to go in hating the film before seeing the first frame –while denying everything
American Hustle new clip: Dinner
http://thescreenteen.blogspot.com/2013/11/american-hustle-dinner-clip.html
I saw PHILOMENA last night and heard Alexander Desplat’s lovely score, which I would definitely say is a contender.
I definitely agree that Steven Price is the frontrunner for Gravity. Hans Zimmer follows right behind for 12 Years a Slave. Other than that, my three other favorite scores of the year are not likely to be mentioned come Oscar morning: David Wingo and Explosions in the Sky for Prince Avalanche; Brian McOmber for A Teacher; and Daniel Hart for Ain’t Them Bodies Saints.
And John Williams’ score is lovely, if not one of his classics.
I just saw The Book Thief and was very affected by it. It takes a look at Nazy Germany from a different perspective (that of the smalltown German families who secretly loathed Hitler). Wonderful performances, gorgeous to look at, extremely moving. I dont cry often at movies but this one did the trick.
The Book Thief sucked
Glad I can skip it.
Clarification: In my first comment I was talking about Thomas Newman whose work in SAVING MR. BANKS is the one to beat according to some. I recently saw MARY POPPINS, and although not a fan, I get it folks, I get it, but based on the trailers/clips there is no indication whatsoever that BANKS has 1% of the “magic”.
Chris,
I know 🙁
In fact I think only GRAVITY will make it from my choices.
julian,
Fair enough, but the there was nothing memorable about MONSTERS UNIVERSITY, maybe a dry mouth. I’m going to check out his stuff outside films based on your recommendation. Are you a Pixar partisan? I loved his score in PLEASANTVILLE.
Also would love to add the fiercest and yet most soulful score of the year; powerful, beautiful and edgy. Daniel Pemberton’s music for THE COUNSELOR.
Bryce, nice call on Spring Breakers, but we all know that has zero shot of being recognized unfortunately.
The Book Thief sucked. And my favorite score this year is definitely Gravity’s, although there are several I’m interested to hear that I haven’t yet. Hans Zimmer’s 12 Years score is very effective as well.
Sasha what a great awards season you’ve already had, and it hasn’t even started yet!
Extraordinary score by Alexander Ebert. Extraordinary movie, which is looking to be the #1 most misunderstood movie of the year, to be incorrectly compared to “Gravity”
Bryce:
Any form of recognition for Randy Newman is fine with me, based on him being one of the most intelligent songwriters of his (or any) generation.
I’m not a huge fan of his soundtrack work, even though I think his formal skills as a songwriter shines through often enough.
But have you ever listened to his solo albums from the 70s?
They are exquisite showcases of a fantastic songwriter in his prime (full of the most sardonic and mordant wit imaginable). If you have never delved into his back catalogue, start with ‘Sail Away’ and then proceed to ‘Little Criminals’, ‘Good Old Boys’ and ’12 Songs’. His latest album of original compositions from 2008, ‘Harps and Angels’ is not shabby either.
That Gravity score is way too bombastic and overpowering. The whole film needed a lot more quiet, frankly. I liked it a lot when I saw it originally, but it has really diminished in my mind’s eye since then.
The Academy’s decisions in this category are often questionable, though.
In 12 YEARS, when that guy gets stabbed in the boat, I thought that was one of the weakest bits in the film. Everything about it was inadequate in my view, score included.
Impressive for Frozen, that wasnt even on Gold Derby 2 weeks ago and no one has barely seen, to get as high as 7 before wide release.
And IMO, the two frontrunner scores are pretty bad….I think right now Newman gets his overdue Oscar.
And some score trivia: if both Newman cousins Randy and Thomas were nominated this year in Original Score, it actually would be the second time, not the first. Both were nominated in 1995 for Original Comedy Score (Randy for Toy Story, Thomas for Unsung Heroes).
The extended Newman family (Alfred, Emil, Randy, Lionel, David, and Thomas) is far and away the most Oscar-winning/nominated family in history, with a total of 11 wins and 77 nominations so far.
For this film score geek, 2013 is Gravity >>> everything else. Steven Price’s magnificent work is thrilling and emotionally resonant, deftly showcasing both the terror and awe of space. I think it’s the favorite to win the Oscar, and it absolutely should.
My top 5 so far:
1. Steven Price – Gravity
2. Hans Zimmer – Man of Steel (a very solid homage to John Williams’s uplifting work in Superman while incorporating his own characteristically propulsive/darker motifs. As a huge Zimmer fanboy, his 12 Years a Slave score was way too derivative of his previous work for my tastes, although its more anachronistically dissonant moments were very effective. Have not seen Rush yet).
3. Ramin Djawadi – Pacific Rim
4. M83 – Oblivion
5. Rick Smith (Underworld) – Trance
Randy Newman? Why?
Only God Forgives, Prisoners, The Great Gatsby and Man of Steel are four of the best scores of the year!
murtaza,
PRINCE AVALANCE. What a great call! David Wingo & Explosions in the Sky.
Steven Price (GRAVITY) for the win, his is just so much better than anything else this year. Hans Zimmer definitely should be nominated for RUSH –I would argue his best work of the year was actually in MAN OF STEEL, but movie is garbage. Ramin Djawadi brought it down in PACIFIC RIM. Also noteworthy was Clint Massel’s work for STOKER -hauntingly beautiful shit. For understated scores, I’d recognize David Wingo for MUD (he was snubbed for his previous Nichols collaboration), Rob Simonsen for THE SPECTACULAR NOW, and Jóhan Johansson’s music in PRISONERS (so effective!). Cliff Martinez always delivers and he did again in ONLY GOD FORGIVES, actually “You’re My Dream” for the win in Best Original Song!!! Some people say Randy Newman is the frontrunner? That’s just terrible, heartbreaking travesty.
I have to think more about it, and more stuff I haven’t yet seen, but off the top of my head, here’re preliminary choices,
1. Steven Price – GRAVITY
2. Hans Zimmer – RUSH
3. Cliff Martinez & Skrillex – SPRING BREAKERS
4. David Wingo – MUD
5. Joel P. West – SHORT TERM 12
Some of the beautiful music scores this year also includes:
Side Effects
Only God Forgives
Prince Avalanche
Simon Killer
Ain’t Them Bodies Saints
But these are much smaller names in comparison to those in discussion above so probably they’ll never make it to top five but they deserve to be considered.
Not that I’m expecting it to, but I’d really, really love to see the score for “Ain’t Them Bodies Saints” get nominated. It’s pretty cool and maybe my favorite of the year. But “Gravity” and “12 Years a Slave” also have great music, so I’d be happy to see either one win.