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'The Peanuts Movie': 2016 Best Original Score Oscar contender along with 111 other titles. Oscar 2016: Best Original Score contenders range from 'Mad Max: Fury Road' to 'The Peanuts Movie' Earlier this month (Dec. '15), the Academy of Motion Picture Arts and Sciences made public the list of 112 film scores eligible for the 2016 Oscar in the Best Original Score category. As found in the Academy's press release, “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.” The release adds that “to be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must »
- Mont. Steve
The Academy of Motion Picture Arts & Sciences unveiled 112 scores from 2015 films that are in contention for original-score nominations for the 88th Academy Awards.
Among the eligible feature-film titles are the final three scores from the late James Horner: “The 33” (in photo), “Wolf Totem” and “Southpaw.” And the exec committee Ok’d the Ennio Morricone score for “Hateful Eight,” which includes about 30 minutes of new material along with several minutes of old scores written by him. Notable exclusions include “Love & Mercy” (Atticus Ross), “Crimson Peak” (Fernando Velázquez), “The Revenant” (Alva Noto and Ryûichi Sakamoto) and “Youth” (David Lang).
The eligible scores and their composers are listed below, in alphabetical order by film title:
- Tim Gray
The Academy of Motion Picture Arts and Sciences today announced that 112 scores from eligible feature-length motion pictures released in 2015 are in contention for nominations in the Original Score category for the 88th Academy Awards.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
- Michelle McCue
"We kind of wanted to make the score sonically fairly ambiguous," says composer Dan Romer about his work on "Beasts of No Nation." Directed by Cary Joji Fukunaga, the film tells the story of Agu (Abraham Attah), a young boy who becomes a child soldier fighting a civil war in an unnamed African country. In our exclusive video interview (watch it below), Romer explains, "We didn't want to hammer you over the head with emotions that we wanted you to feel. We wanted to, as much as we could, let the action and the storytelling take over." -Break- Subscribe to Gold Derby Breaking News Alerts & Experts’ Latest Oscar Predictions He adds, "We tried out moments that were very big and emotional, and it seemed a little dishonest to try and push that. So we wanted to create a score that was emotionally ambiguous and sonically ambiguous, where all of our »
As Europe and Western nations grapple with the growing refugee crisis, particularly in the context of last week's horrific terrorist attacks in Paris, "Mediterranea" is particularly timely. Premiering at the Cannes Critics' Week, and picking up honors at the Munich Film Festival and Zurich Film Festival, the film is now gearing up to open stateside, and today we have an exclusive clip. Read More: Review: Jonas Carpignano's Topical, Intelligent, Empathetic 'Mediterranea' Starring Koudous Seihon and Alassane Sy, directed by Jonas Carpignano, and featuring a score composed by "Beasts Of The Southern Wild" duo Benh Zeitlin and Dan Romer, the story follows Ayiva and Abas, close friends from Burkina Faso determined to make it to Italy in order to find work and provide for their families back home. But even after surviving the harrowing journey — desert bandits, a treacherous sea voyage, arrest — nothing can prepare the two men for the hostility and. »
- Edward Davis
It’s a pretty good bet that if John Williams has an original score in play during a given Oscar season, he’s going to be Oscar-nominated for it. His 44 nods to date (plus five more for songs) don’t exactly lie. So how can you start a discussion of this year’s score contenders anywhere else but with “Star Wars: The Force Awakens?”
How much original music will be in the film, though, and how much will it distinguish itself from the iconic pre-existing themes? That’s the question. While all three original “Star Wars” films were nominated, none of the prequels made it. This will be just one more mystery held close to the vest until Disney decides to let the cat out of the bag next month. But it could yield a 50th Oscar nomination from the cinema legend.
From one legend to another, there’s Ennio Morricone, »
- Kristopher Tapley
The 2015 Hollywood Music in Media Awards Wednesday night honored film composers and entertainment music talent. Winners included Dan Romer (Netflix's "Beasts of No Nation"), Tom Holkenborg (Warner Bros.' "Mad Max: Fury Road") and Christophe Beck (Blue Sky's "Peanuts"). YouTube star Tiffany Alvord was also in attendance, offering a special performance after receiving her award for Outstanding Music Achievement in New Media. Winners were voted upon by music-media industry professionals comprised of members of the Society of Composers and Lyricists (Scl), The Television Academy, the AMPAS Music Branch, Naras, performing rights organizations, film music journalists, and music executives. The full list of visual media winners are below: 2015 Hmma Winners Original Score – Feature Film – Dan Romer ("Beasts of No Nation") Original Score – Sci-Fi/Fantasy Film – Tom Holkenborg ("Mad Max: Fury »
- Ruben Guevara
"Bring my brother back!" New Films International has debuted a trailer for James Franco's adaptation of William Faulkner's novel The Sound and the Fury, about the Compson Family living in the deep south in Mississippi in the early 20th century. Starring as Benjy Compson (as seen above) is none other than James Franco himself, with quite an ensemble cast to boot: Seth Rogen, Danny McBride, Scott Haze, Tim Blake Nelson, Loretta Devine, Joey King, and Ahna O’Reilly. This doesn't have the best reviews, but Dan Romer's Beasts of the Southern Wild score is a nice addition to the trailer. That's all to take not of. Here's the first official trailer for James Franco's The Sound and The Fury, on YouTube (via SlashFilm): A look at the trials and tribulations of The Compson siblings, living in the deep south during the early part of the 20th century. »
- Alex Billington
As a producer, band member, and a writer of original scores for narrative and documentary features, composer Dan Romer is no stranger to writing music beloved by audiences and critics alike. "My general concept of theme writing is that I want it to be a catchy enough melody to be a pop song," Romer explained. At the Toronto International Film Festival last month, Romer spoke with Indiewire Editor in Chief Dana Harris for this week's episode of Indiewire Influencers. In addition to working with Benh Zeitlin on "Beasts of the Southern Wild," Romer has also provided scores for Joe Swanberg's "Digging for Fire" and Bryan Carberry & Clay Tweel's documentary "Finder Keepers." But the African landscape of "Beasts of No Nation" called for a score with a different set of demands. "I originally did a score that was mostly strings and horns and piano," Romer says, describing his first »
After bursting on to the scene with his beautiful, string-heavy score for Beasts of the Southern Wild, composer Dan Romer has worked on a number of projects, but easily the highest-profile thus far is Cary Fukunaga‘s harrowing triumph Beasts of No Nation. Reteaming with the director after the 2012 short film Sleepwalking in the Rift (seen below), the full score, which employs ambient synthesizers to give an ethereal feel, is now available to stream.
“I didn’t write a note until I saw the film. Originally Cary gave me free reign. He was like, ‘Follow your heart.’ I came up with something with a lot of strings, percussion, horns, and piano. Cary was like, ‘Great, now let’s tear it apart,'” Romer tells Business Insider. “In the months that I worked on that film I don’t think a day went by that I didn’t cry. The experience Agu goes through, »
- Leonard Pearce
We live in a vastly changing cinematic universe. As more and more films steer further away from a release schedule that focuses on an actual in-theater run, the world of video on demand has become a landing ground for bigger and bigger pictures. Once the home of small independent releases trying to make a splash in niche markets, today even studios have begun shortening the theatrical window for specific films, looking to grab a hold of the ever growing VOD market. And now, Netflix may have just given the film world a true game changer.
Ostensibly going date and date, the mighty streaming service juggernaut has teamed with Bleeker Street to give the world a new film entitled Beasts of No Nation, arguably the biggest example of this changing theatrical landscape to date. With Bleeker handling the theatrical side of this release, the new film from director Cary Fukunaga has »
- Joshua Brunsting
Idris Elba is terrifyingly charismatic in this Oscar-tipped tale of a child soldier
Adapted from Uzodinma Iweala’s 2005 novel about an African boy recruited to a rebel militia, this Oscar-tipped production gets a brief UK theatrical outing prior to its high-profile Netflix release on 16 October. Newcomer Abraham Attah is a revelation as Agu, the playful youngster forced into horrifying acts of war after his father and brother are killed. Following in the footsteps of 2009’s extraordinary Johnny Mad Dog and 2012’s Oscar-nominated War Witch, Cary Joji Fukunaga’s uncompromising film leads us through a cycle of violence in which childhood is buried and kids are traumatically reborn as child soldiers.
Idris Elba brings a terrifying charisma to the role of the Commandant, who tells his young charges: “I am your future!”, but nothing is as distressing as the look on Agu’s face as he learns to kill. Fukunaga’s »
- Mark Kermode, Observer film critic
Netflix has released the full trailer for its first original film “Beasts of No Nation,” starring Idris Elba (“Luther,” “The Wire”), and it’s sure to send chills down your spine. Written and directed by Cary Fukunaga (“True Detective”), “Beasts” is a harrowing look at the experiences of Agu (Abraham Attah), a child soldier fighting a civil war in an unnamed African country. Elba plays a frightening army commander who simultaneously protects and manipulates the young boys in his battalion. With music composed by Dan Romer (“Beasts of the Southern Wild”), a performance by Elba set to stun, and Fukunaga at the helm, it’s fair to expect a great film out of “Beasts of No Nation,” out on Netflix and in theaters Oct. 16. Inspired by this post? Check out our film audition listings! »
During a rare moment of quiet amid the glass-smashing, brain-bashing mayhem of “Hitman: Agent 47,” a character offers the wise observation that we are all a bit more complicated than our internal circuitry might suggest. Applying this logic to the movie itself, it’s fair to conclude that while Aleksander Bach’s directing debut is indeed the junky, incoherent shoot-’em-up we feared it might be, to dismiss it as just another late-August studio craptacular doesn’t quite do it justice. But what to call it, exactly? The 47th best action film of 2015? A feature-length Audi commercial, or a promo reel for the Singapore Tourism Board? The most unnecessary artistic contribution ever made by someone named Bach? Fox is surely hoping that “surprise box office hit” might be a plausible alternative, though the best one will likely be able to say on that front is that where disastrous franchise relaunches are concerned, »
- Variety Staff
Cannes — In a first sale that speaks well of the title’s sales potential, France’s Haut et Court, producer of Cannes Palme d’Or winner “The Class,” has closed French distribution rights on Jonas Carpignano’s buzzed-up Cannes Critics’ Week player “Mediterranea.”
“Mediterranea’s” German producer, Dcm, will distribute in Germany, Austria and Switzerland.
Sold by Paris and Mexico City-based Ndm, “Mediterranea” is the feature debut of Carpignano, a filmmaker based out of Rome and New York who won Cannes Critics’ Week main prize with his short “A Ciambra.” The film is produced, among many others, by U.S. director-producer Chris Columbus. After Carpignano worked on Benh Zeitlin’s Sundance sensation “Beasts of the Southern Wild,” “Mediterranea” was developed out of Zeitlin’s company Court 12, and Zeitlin came on board to compose the film’s music with Dan Romer.
- John Hopewell
Read More: Cannes Film Festival Announces Un Certain Regard, Cinéfondacion and Short Film Juries "Mediterranea," a U.S. production written and directed by Jonas Carpignano and featuring music from "Beasts of the Southern Wild's" Ben Zeitlin and Dan Romer, will premiere at the Cannes Film Festival during Critics' Week, and Indiewire has the exclusive poster. The film's official synopsis reads: "Two best friends journey across desert and sea from Burkina Faso to Southern Italy in search of a better life, economically and otherwise. But when they arrive in Rosarno, the glittering snapshots they saw on Facebook detailing the immigrant's life abroad do not match with the tough challenges they are met with in their new lives. One friend begins to assimilate through hard work and a sympathetic employer, who welcomes him into his family, while the other friend grows increasingly disillusioned with his hardscrabble reality. A vicious attack on the migrant. »
- Casey Cipriani
Saturated with Hollywood actors, Digging for Fire is Swanberg's first truly Altmanesque ensemble piece, while also serving as an intelligent homage to the recently deceased filmmaker Paul Mazursky (Bob & Carol & Ted & Alice, An Unmarried Woman). Despite the assembly line of accomplished actors walking in and out of frame, the film never once loses its low-key, improvisational rhythm. It seems like this cast motivated Swanberg to make his most cinematic film to date, placing significantly more focus on the visual construction and sound design. Digging for Fire -- Swanberg's third collaboration in a row with cinematographer Ben Richardson -- is his first foray into shooting on 35mm film. The synthesized score by composer Dan Romer sets a moody and discordant tone that often functions contradictory to the onscreen events, suggesting that we are only seeing what the characters will allow others to see, their real inner drama is being shielded from us. »
- Don Simpson
I know what you’re thinking. Steven Spielberg – the guy behind Raiders of the Lost Ark, Schindler’s List, Close Encounters of the Third Kind, and Hook – influenced… Joe Swanberg? Any confusion you may have is fair. Swanberg isn’t a director known for his visual flare, but that may change soon. With Digging for Fire, he’s directed his most visually accomplished work to date. While the writer-director behind Drinking Buddies and Happy Christmas may not get the call to helm the Indiana Jones reboot anytime soon, when he mentions the Spielberg influence, it makes complete sense. The camera actually helps tell Digging for Fire‘s story, which cannot be said for plenty of indies these days. The roaming camera, which suits the story about a husband (Jake Johnson) and wife (Rosemarie DeWitt) and their weekend of freedom and temptation, provides a sense of dread over the idea of infidelity. Even »
- Jack Giroux
Joe Swanberg is 33. I don't know whether to be amazed by how high or low that number is. On one hand, that's ridiculously young for a filmmaker who broke out back in 2006 and 2007 with "Lol" and "Hannah Takes The Stairs" and has been absurdly prolific since then. On the other hand, though, the filmmaker who made his name -- and, depending on your generosity, made a genre -- chronicling the dramatically limited foibles of recent college graduates has reached the "thirtysomething" phase of his career. The erratic and misdirected youths at the center of Swanberg's earlier films have become the pesky nubiles who show up to make Swanberg's new leads feel either old or optimistically mature. It's a transition that has been in the works for a little while. Last year's Swanberg Sundance entry "Happy Christmas" featured the director and Melanie Lynskey as a grown-up, responsible couple whose house nearly »
- Daniel Fienberg
Joe Swanberg continues his march toward the mainstream even as he deepens his signature brand of hangout film in “Digging for Fire,” a lovely slice of everything and nothing centered on a housesitting couple who discover possible evidence of a murder. There are feints toward a bona fide mystery plot, but that genre element is just a pretext for a stealth marital drama. The film is held together through strong improv, tight editing (by Swanberg himself), moody cinematography and a synth score (from Dan Romer) that parties like it’s 1991. This is Swanberg’s starriest picture to date — even if some appearances, like Jenny Slate’s, amount to glorified walk-ons — making breakout success eminently possible.
Concerning the adventures of married parents Tim (co-screenwriter Jake Johnson) and Lee (Rosemarie DeWitt), “Digging for Fire” opens with the two of them and their son, Jude (played by Swanberg’s toddler, Jude, the finest »
- Ben Kenigsberg
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