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Good read. I like how Pfister and Nolan decided to play against the single shaft of light in an otherwise dark room, which we have seen in other interrogation scenes. Instead, they lit the whole thing up and made it harsh and overexposed.Antoine Doinel wrote:Nolan talks about his favorite scene from the film.
Here are the other two parts of the interview.Antoine Doinel wrote:Nolan talks about his favorite scene from the film.
) but it seems to me that if individual people feel like a score ought not to qualify, they can voice this opinion by just voting for something else. Like with the There Will Be Blood score from last year, everyone could have been informed before voting that some of the material had been recycled, and they could let this factor into their decision. If enough people feel like the score deserves to win even in spite of the technicality, then, um, it deserves to win! Either that, or they should level the playing field, and start disqualifying scores for such technicalities as being trite, unmemorable, or not composed by Alexandre Desplat.It's pretty arrogant for them to declare where art ceases past a certain number of participants. It's not exactly levers we're talking about here...Matt wrote:Why does it matter how many people collaborated on a score? Apparently three is not too many, and there were 12 people nominated for the score for The Color Purple!
This has long been a point of contention in the film score community. It was precisely because of The Last Emperor and The Color Purple that these arbitrary rules were put in place. Sometimes it's not a whole score that's disqualified, just an additional composer. Hans Zimmer alone was nominated for Gladiator, completely ignoring Lisa Gerard who reportedly wrote half the score.Matt wrote:Why does it matter how many people collaborated on a score? Apparently three is not too many, and there were 12 people nominated for the score for The Color Purple!
Yes, I can't imagine that it had much of a chance to begin with.Kirkinson wrote:It's totally ridiculous, of course, though I can't say I'll weep for this score, which I thought was terrible.
I gotta agree with that. But this is pretty typical of the Academy when it comes to the Best Score category. The film music geeks usually bitch and moan come award season, justifiably so.exte wrote:It's pretty arrogant for them to declare where art ceases past a certain number of participants. It's not exactly levers we're talking about here...
I've always wondered why there usually isn't more than one composer, or why they don't trial a composer for a while to see how it's going. Rarely do you hear stories akin to 2001 or Lawrence of Arabia, or Dark Knight... I would love to hear Horner and Williams join up for one monster-epic movie... But maybe it just wouldn't work - too many cooks in the kitchen.flyonthewall2983 wrote:I gotta agree with that. But this is pretty typical of the Academy when it comes to the Best Score category. The film music geeks usually bitch and moan come award season, justifiably so.exte wrote:It's pretty arrogant for them to declare where art ceases past a certain number of participants. It's not exactly levers we're talking about here...
If there was a better score out this year I'd like to hear it. Hiring Hans and James to score your action film is like getting Dylan or Lennon/McCartney to write a song for your film. This score isn't my favorite by either of them but it fits brilliantly with the world of the film, especially the stuff written for The Joker.
Ah, the memories.Antoine Doinel wrote:The Dark Knight returns to theaters on January 23rd
Undisqualified.Antoine Doinel wrote:The score has been disqualified for Oscar consideration for completely arbitrary reasons.
Antoine Doinel wrote:The quote by Bruce Davis in that article is fairly breathtaking in its idiocy.
Didn't the Coen brothers won las year Best Picture, Best Director and Best Screenplay? Are the Coen brothers only one person? Guys like Davis is what makes the Academy Awards lack credibility.When Davis and I spoke earlier last week, he was still defending the decision, saying that the Academy's music branch "sees this as an award, like cinematography or directing, where you want to award a single creator. This isn't like visual effects. Except for extraordinary circumstances, it's an award that should go to one person."