So far, we’ve had the shortlists for the Best Animated Feature, the Best Visual Effects, and the Best Documentary categories.
Now the Academy has announced the list of 104 films that are eligible in the Best Original Score category, and it’s going to be very interesting to see what makes the final cut come nominations time next month.
I think Hans Zimmer’s score for The Dark Knight Rises is, hopefully, a lock, because it is amazing. I also loved James Horner’s score for The Amazing Spider-Man, but can’t decide whether or not I think it will earn a nomination.
Alexandre Desplat has three films in the running this year, with Argo, Rise of the Guardians,
Rahman composed for the Alex Kurtzman directed “People Like Us” starring Chris Pine, Elizabeth Banks, Olivia Wilde, Jon Favreau and Michelle Pfeiffer.
Rahman won two Academy Awards for Best Original Music Score and Best Original Song at the 81st Academy Awards in 2009 for “Slumdog Millionaire”.
104 scores from eligible feature-length motion pictures released in 2012 are in contention for nominations in the Original Score category.
The 85th Academy Awards nominations will be announced on Thursday, January 10, 2013.
Academy Awards for outstanding film achievements of 2012 will be presented on February 24, 2013. The eligible scores along with their composers are listed below in alphabetical order by film title:
“Abraham Lincoln: Vampire Hunter,” Henry Jackman, composer “After the Wizard,
In February, Ludovic Bource won the Oscar for Achievement in Music Written for Motion Pictures (Original Score) for The Artist at the 84th Academy Awards.
The eligible scores along with their composers are listed below
What we didn't know was that their musical contributions to the film would be
The new site gives you a look at the storyline, the cast & filmmakers, a gallery of photos from the film, downloads such as animated GIFs, wallpapers, icons and Twitter skins, as well as videos. The site also features samples of the score by David Sardy.
(One Little Indian)
Usually with each new Björk album comes the often wishful mutterings of it finally representing her "return to pop", as if she's about to recreate Debut, move back to London and start dating Goldie again. Needless to say, Biophilia – an album prefaced by an elaborate iPad app and thematically encompassing the entire universe – isn't loaded with singles. Björk chooses instead to flit between the beautiful ("Cosmogony"), the downright creepy ("Hollow") and, in "Mutual Core", the world's first song about tectonic plates set to a ravey mesh of bleeps and whooshes. Lyrically, it finds Björk musing on both the universal and the personal in a way she's only hinted at before,
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