FILM SCORE OF THE YEAR
- CLOUD ATLAS, music by Tom Tykwer, Johnny Klimek and Reinhold Heil
- THE HOBBIT: AN UNEXPECTED JOURNEY, music by Howard Shore
- THE IMPOSSIBLE, music by Fernando Velázquez
- LIFE OF PI, music by Mychael Danna
- LINCOLN, music by John Williams
FILM COMPOSER OF THE YEAR
- MYCHAEL DANNA
- ALEXANDRE DESPLAT
- DANNY ELFMAN
- FERNANDO VELÁZQUEZ
- JOHN WILLIAMS
BREAKOUT COMPOSER OF THE YEAR
- NATHAN JOHNSON
- ZELTIA MONTES
- NIC RAINE
- DAN ROMER & BENH ZEITLIN
- JOSEPH TRAPANESE
BEST ORIGINAL SCORE FOR A DRAMA FILM
- ANNA KARENINA, music by Dario Marianelli
- THE IMPOSSIBLE, music by Fernando Velázquez
- LIFE OF PI, music by Mychael Danna
- LINCOLN, music by John Williams
- THERE BE DRAGONS – SECRETOS DE PASIÓN, music by Robert Folk
BEST ORIGINAL SCORE FOR A COMEDY FILM
- MOONRISE KINGDOM, music by Alexandre Desplat
- SALMON FISHING IN THE YEMEN, music by Dario Marianelli
- THE SESSIONS, music by Marco Beltrami
- SILVER LININGS PLAYBOOK, music by Danny Elfman
- TED, music by Walter Murphy
BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM
- THE AMAZING SPIDER-MAN, music by James Horner
- DANS LA MAISON, music by Philippe Rombi
- THE DARK KNIGHT RISES, music by Hans Zimmer
- SKYFALL, music by Thomas Newman
- ZERO DARK THIRTY, music by Alexandre Desplat
BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
- CLOUD ATLAS, music by Tom Tykwer, Johnny Klimek and Reinhold Heil
- THE HOBBIT: AN UNEXPECTED JOURNEY, music by Howard Shore
- JOHN CARTER, music by Michael Giacchino
- PROMETHEUS, music by Marc Streitenfeld, additional music by Harry Gregson-Williams
- SINISTER, music by Christopher Young
BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE
- BRAVE, music by Patrick Doyle
- FRANKENWEENIE, music by Danny Elfman
- PARANORMAN, music by Jon Brion
- RISE OF THE GUARDIANS, music by Alexandre Desplat
- SECRET OF THE WINGS, music by Joel McNeely
BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE
- KINGDOM OF PLANTS, music by Joel Douek, Freddy Sheinfeld and Elik Alvarez
- LOS MUNDOS SUTILES, music by Pascal Gaigne
- METSÄN TARINA, music by Panu Aaltio
- SAMSARA, music by Lisa Gerrard and Michael Stearns
- SHAKESPEARE & US, music by Miguel d’Oliveira
FILM MUSIC COMPOSITION OF THE YEAR
- “The Cloud Atlas Sextet for Orchestra” from CLOUD ATLAS, music by Tom Tykwer, Johnny Klimek and Reinhold Heil
- “The Impossible Main Title” from THE IMPOSSIBLE, music by Fernando Velázquez
- “John Carter of Mars” from JOHN CARTER, music by Michael Giacchino
- “Pi’s Lullaby” from LIFE OF PI, music by Mychael Danna and Bombay Jayashri
- “The Peterson House and Finale” from LINCOLN, music by John Williams
The IFMCA nominees cover much more ground than any other major organisation, regarding musical scores, which makes them a very welcome component, albeit a very small one, in the awards calendar. Some sound choices, particularly in recognising scores which have gone ignored by the Academy, like Cloud Atlas, The Hobbit, Moonrise Kingdom, The Dark Knight Rises, Zero Dark Thirty and Sinister (I never want to hear that music again ty). Winners will be revealed on the 21st of February, two weeks from today.
Good choices.
ReplyDeleteCloud Atlas' mention is particularly arousing.
Besides the incredible score in Moonrise Kingdom, comedy category is rather bland.
Desplat has no competition there. Probably the only win for him.
And Silver Linings Playbook NEVER ceases to amaze.
Couple of close-ups, stadium views and stands' shots would 've garnered the movie even a cinematography and production design nod. Too bad, they didn't shoot.
Howard Shore's score for Hobbit is too much resemblance of Lord Of the Rings' score. Its not bad by any stretch but not a top 5 score of the year either.
Absence of Alexandre Desplat's film score of the year is unfortunate though. But four nominations are nice.
He's a machine. Unbelievable achievement in last 2 years. 12 movie scores. Felt his work on Moonrise Kingdom and Zero Dark Thirty was more memorable than Argo.
And where is Johnny Greenwood ?
The Master is the victim of yet another ignorance.
If the movie hadn't been divisive, Greenwood and Malamaire.Jr would be close contenders to Donna and Miranda, even frontrunners.
I agree. The Master is a film that will be remembered better over time. We'll look back in twenty years and wonder how it could have been passed over by so many awards groups. It's too polarising, but the enthusiasm is there for it. I loved it, at least.
DeleteGreat to see the love for Fernando Velasquez, who also furnished an atmospheric score for the otherwise forgettable MAMA. After seeing THE IMPOSSIBLE, I was immediately taken by the mournful classically toned score, which recalled Barber to some extent, but which still original in large measure. My own top choice of the five in the main category remains Danna's lyrical work in THE LIFE OF PI (the lullaby, nominated for Best Song is exceedingly beautiful) though I can't really say there is a weak score in the lot. Dario Marianelli's textured work for ANNA KARENINA would have also been a worthy choice.
ReplyDeleteDario Marianelli's work is consistently some of my favourite film music these days. His scores for Pride and Prejudice, Atonement and Jane Eyre are gorgeous.
DeleteI first noticed Fernando Velazquez in the horror / thriller Devil, which was a film I rather liked, and a score I loved. But I wasn't quite as impressed by his score for The Impossible - it lacked focus and originality.