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Oscars 2018: Listen to Selections from 141 Scores Eligible for This Year’s Academy Award

  • Indiewire
Oscars 2018: Listen to Selections from 141 Scores Eligible for This Year’s Academy Award
141 original scores just made the Oscar shortlist, meaning that we have no real idea which soundtracks will go on to be nominated for the actual Academy Award — “Phantom Thread” composer Jonny Greenwood looks poised to finally be recognized for his work, but might “Baywatch” be a spoiler? We simply don’t know, dear reader. We simply don’t know.

As you await the nominations — which will be announced on Tuesday, January 23 — treat yourself to this selection of tracks from the shortlist.

Read More:2018 Oscar Predictions: Best Original Score



Read More:Oscars 2018: Best Original Score Shortlist Includes ‘The Shape of Water,’ ‘All the Money in the World,’ and More

Here are the 141 scores vying for an Oscar nod:

Alien: Covenant,” Jed Kurzel, composer

“All I See Is You,” Marc Streitenfeld, composer

“All the Money in the World,” Daniel Pemberton, composer

“Annabelle: Creation,” Benjamin Wallfisch, composer

“Band Aid,” Lucius, composer

“Battle of the Sexes,
See full article at Indiewire »

‘American Gangster’ and the Two Sides of Ridley Scott

Looking back on this still-young century makes clear that 2007 was a major time for cinematic happenings — and, on the basis of this retrospective, one we’re not quite through with ten years on. One’s mind might quickly flash to a few big titles that will be represented, but it is the plurality of both festival and theatrical premieres that truly surprises: late works from old masters, debuts from filmmakers who’ve since become some of our most-respected artists, and mid-career turning points that didn’t necessarily announce themselves as such at the time. Join us as an assembled team, many of whom were coming of age that year, takes on their favorites.

There are at least two Ridley Scotts working in Hollywood. Ridley Scott, auteur — the man who revolutionized science fiction and horror cinema at the same time with Alien, who single-handedly resurrected the swords-and-sandals epic with Gladiator, who
See full article at The Film Stage »

Blake Lively shines in “All I See Is You”

For a few years now, Blake Lively has been quietly doing really strong work. She’s quickly becoming incredibly underrated in Hollywood. Lively is just waiting for the right project to really break out, and her latest work in the independent film All I See Is You showcases her best performance to date. It opens this week and could even present her as a dark horse Best Actress candidate. The field is probably far too stacked to realistically get her in, but this is another hint that she’s going to be a force in the industry. A well deserved nomination could easily be in Lively’s future. The film is a character study with some thriller elements thrown in as well. Gina (Lively) lives with her husband James (Jason Clarke) in Bangkok. They’re there due to James’ work, though the experience is far different Gina. After all, she’s blind.
See full article at Hollywoodnews.com »

Prometheus Scribe Has A Theory About Where Ridley Scott’s Alien Franchise Is Headed Next

In the years leading up to Prometheus‘ release, Alien fans were beside themselves with gleeful anticipation. Here was a prequel set to right the wrongs of past entries in the iconic franchise and, by effect, wipe away any lingering memory of those shoddy crossover movies featuring the Predator. At least, that was the idea.

Prometheus was by no means a disaster, but for all of its world-building and haunting cinematography – not to mention Marc Streitenfeld’s spine-tingling score – Scott’s wildly ambitious prequel was undercut by asinine characters and a script that raised more questions than it answered. One writer who contributed to the film’s screenplay was Damon Lindelof, who signed on to fine-tune the spec script hatched by Jon Spaihts and Ridley Scott himself.

Back then, Lindelof was privy to the minutia of Scott’s prequel franchise, including how it’ll eventually dovetail with the Alien movie of
See full article at We Got This Covered »

Toronto Film Review: ‘All I See Is You’

Toronto Film Review: ‘All I See Is You’
Cinema is an inherently handicapped medium. Whereas humans experience the world through five senses, when we enter the theater, we are served by just two: sight and sound (the smell of popcorn butter notwithstanding). Perhaps this is why filmmakers are constantly trying to improve on these two fronts, with enhancements such as Atmos and IMAX and stereoscopic 3D. Marc Forster has another idea: In “All I See Is You,” the director of “World War Z” scales back to his indie roots (to the sort of relationship drama he made 15 years earlier with “Monster’s Ball”), building a movie around a blind woman who recovers her sight and literally starts to see her life differently.

It’s an intriguing conceit, to be sure, and must have been fascinating for Forster to try implementing, allowing the director to experiment with new ways of representing the other senses. (At many times, the screen
See full article at Variety - Film News »

Past Winners and Nominees Back in Contention: 88th Academy Awards' Best Score

'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
See full article at Alt Film Guide »

112 Film Scores Declared Eligible for Oscar

112 Film Scores Declared Eligible for Oscar
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:

Adult Beginners,” Marcelo Zarvos, composer

The Age of Adaline,” Rob Simonsen, composer

Altered Minds,” Edmund Choi, composer

Alvin and the Chipmunks: The Road Chip,” Mark Mothersbaugh, composer

Anomalisa,” Carter Burwell, composer

Ant-Man,” Christophe Beck, composer

Beasts of No Nation,
See full article at Variety - Film News »

112 Original Scores Advance In The 88th Oscar Race

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:

Adult Beginners,” Marcelo Zarvos, composer

The Age of Adaline,” Rob Simonsen, composer

Altered Minds,” Edmund Choi, composer

Alvin and the Chipmunks: The Road Chip,” Mark Mothersbaugh, composer

Anomalisa,” Carter Burwell, composer

Ant-Man,” Christophe Beck, composer

Beasts of No Nation,” Dan Romer, composer

The Big Short,” Nicholas Britell, composer

Black Mass,” Tom Holkenborg, composer

Bridge of Spies,” Thomas Newman, composer

Brooklyn,” Michael Brook, composer

Burnt,” Rob Simonsen, composer

By the Sea,” Gabriel Yared, composer

Carol,” Carter Burwell, composer

Cartel Land,” H. Scott Salinas and Jackson Greenberg, composers

Chi-Raq,” Terence Blanchard, composer

Cinderella,” Patrick Doyle, composer

Coming Home,” Qigang Chen, composer

Concussion,
See full article at WeAreMovieGeeks.com »

Say What You Will About the Academy - But Some Cool International Names Among 2015 New Member Invitees

Academy invitee Eddie Redmayne in 'The Theory of Everything.' Academy invites 322 new members: 'More diverse and inclusive list of filmmakers and artists than ever before' The Academy of Motion Picture Arts and Sciences has offered membership to 322 individuals "who have distinguished themselves by their contributions to theatrical motion pictures." According to the Academy's press release, "those who accept the invitations will be the only additions to the Academy's membership in 2015." In case all 322 potential new members say an enthusiastic Yes, that means an injection of new blood representing about 5 percent of the Academy's current membership. In the words of Academy President Cheryl Boone Isaacs (as quoted in the press release), in 2015 "our branches have recognized a more diverse and inclusive list of filmmakers and artists than ever before, and we look forward to adding their creativity, ideas and experience to our organization." In recent years, the Academy membership has
See full article at Alt Film Guide »

Oscar News: 322 Invited To Join; The Academy Museum Receives Approval

©Renzo Piano Building Workshop/©Studio Pali Fekete architects/©A.M.P.A.S.

The Academy of Motion Picture Arts and Sciences announced this week that the Los Angeles City Council, in a unanimous vote, approved plans for the Academy Museum of Motion Pictures. Construction will begin this summer, and ceremonial groundbreaking festivities will occur this fall.

“I am thrilled that Los Angeles is gaining another architectural and cultural icon,” said Mayor Eric Garcetti. “My office of economic development has worked directly with the museum’s development team to ensure that the Academy Museum of Motion Pictures will create jobs, support tourism, and pay homage to the industry that helped define our identity as the creative capital of the world.”

“We are grateful to our incredible community of supporters who have helped make this museum a reality,” said Dawn Hudson, the Academy’s CEO. “Building this museum has been an Academy
See full article at WeAreMovieGeeks.com »

Benedict Cumberbatch, Kevin Hart, Emma Stone and 319 others invited to vote for Oscar

  • Hitfix
Benedict Cumberbatch, Kevin Hart, Emma Stone and 319 others invited to vote for Oscar
Strangely dropping a press release on a historic day where the nation's attention is elsewhere, the Academy of Motion Picture Arts and Sciences revealed their annual list of new member invitees this morning. For those who criticize the makeup of the Academy there was some good news and the stark realization the organization still has a long way to go. The Academy has spent the last eight to 10 years attempting to diversify its membership and this year's class mostly reflects that. There are significantly more invitees of Asian and African-American descent, but the male to female disparity is still depressing. Out of the 25 potential new members of the Actor's Branch only seven are women. And, no, there isn't really an acceptable way for the Academy to spin that sad fact. Additionally, It's important to realize the 322 people noted in the release have only been invited to join Hollywood's most exclusive club.
See full article at Hitfix »

Academy Invites Record 322 New Members in Push for More Oscar Diversity

Academy Invites Record 322 New Members in Push for More Oscar Diversity
The Academy of Motion Picture Arts & Sciences continues to push for diversity, sending membership invitations to 322 individuals, including a healthy number of people who can help change the org’s demos.

Among the invitees are David Oyelowo, Gugu Mbatha-Raw, Felicity Jones, Emma Stone, Rosamund Pike, Bong Joon-ho, Justin Lin and Francois Ozon. The Academy has been reaching out to women, foreign-born artists and people of various races, ethnic backgrounds and ages.

Accusations of Academy bigotry surfaced yet again in January when the list of Oscar nominees included Caucasians in all 20 acting categories, and few women or racial minorities among the other categories. Director Ava DuVernay and actor David Oyelowo of “Selma” had seemed like strong contenders, giving many people hopes of breakthroughs. After initial anger at the Acad, activists began to shift their protests to industry hiring practices. For example, 323 films were eligible for 2014 awards — which means AMPAS should theoretically
See full article at Variety - Film News »

Poltergeist (2015) – The Review

Well, the big studios have finally gotten around to another summer cinema staple. Let’s see, for 2015 we’ve had a couple of sequels (Avengers: Age Of Ultron and Pitch Perfect 2), a reboot (Mad Max: Fury Road), and a brassy lady-driven comedy (Hot Pursuit). So now, it’s time for that other, often dreaded, “R-word”: the remake (usually called a “re-imagining” by sneaky PR types). Oh, and this is another 1980’s classic like January 2014’s Robocop. But we’ll go back a few years before that shoot-em-up satire of 1987. It’s 1982, the summer of Spielberg, when he had his biggest (at that time) box office smash with E.T. The Extra-terrestrial. Now Mr. S wrote and directed that one, but a few weeks before that opened, he produced and wrote another huge hit. Now, yet another prominent blockbuster director, Sam Raimi, is the producer of this new scare-fest. To paraphrase
See full article at WeAreMovieGeeks.com »

Marc Streintenfeld’s Collaborators Cite Film Composer’s Ability to Burrow Into Characters

Marc Streintenfeld’s Collaborators Cite Film Composer’s Ability to Burrow Into Characters
“He’s a filmmaker who has not made a film,” says director Saar Klein of composer Marc Streitenfeld. “He discusses things on a story level. He has an overall macro understanding of the film. And incredible taste.”

The two met while Klein was editing “The Thin Red Line” and Streitenfeld was assisting composer Hans Zimmer. By the time Klein was ready to make his own, “After the Fall,” Streitenfeld had begun composing on his own and Klein enlisted him while the film was still in the writing and prep stages.

“I think he really got to the soul of this man,” Klein says, referring to the lead character (Wes Bentley, as an unemployed family man who turns to crime). “There’s a lot going on inside this man who’s falling apart. The music almost illustrates the sadness, the tragedy of this man.”

Mike Knobloch, the president of music at
See full article at Variety - Film News »

Composer Marc Streitenfeld Is Arduous In His Search for the Lost Chord

Composer Marc Streitenfeld Is Arduous In His Search for the Lost Chord
Marc Streitenfeld — the composer of “Prometheus,” “American Gangster” and the upcoming “Poltergeist” — can trace his musical roots back to a 19th-century troubadour whose family was executed after he wrote a song mocking the emperor of Germany.

“Which is funny, you know?” he says, laughing in his spacious, comfortable Venice, Calif., studio just days after completing the mix for the “Poltergeist” soundtrack. “That’s the only family musical connection I can find.”

It must have been enough.

The 40-year-old German native has joined the ranks of billion-dollar composers with five films for director Ridley Scott, including “Gangster” and “Prometheus,” and four more for other directors including “The Grey,” “Killing Them Softly” and “After the Fall.” He’s now scoring the series “Hand of God” for Amazon.

It seems like a meteoric rise, considering he’s only been composing for nine years. But this ex-guitarist has been working in various capacities in
See full article at Variety - Film News »

Static, Ambient Noise Permeates Marc Streitenfeld’s Score for ‘Poltergeist’

Static, Ambient Noise Permeates Marc Streitenfeld’s Score for ‘Poltergeist’
Composer Marc Streitenfeld, vacationing in a villa in Florence, Italy, felt guilty about not working on “Poltergeist,” his latest assignment.

So he pulled out his laptop, plugged in the keyboard, and heard “this weird static interference,” he says. “It scared the crap out of me.” But, ever on a quest for new sounds, he quickly pulled out his iPhone, recorded the sound — and it’s in the score for MGM’s remake of the 1982 classic, out May 22.

As director Gil Kenan explains: “There’s a subtheme in the film: the way that electricity permeates our lives, and that’s part of the way the haunting is able to express itself. Marc picked up on that idea, brought in these electronic signals and weaved them, sometimes melodically, sometimes in more discordant or troubling ways, in scenes of suspense or drama.”

Both Streitenfeld and Kenan acknowledge that the original “Poltergeit” casts a big shadow.
See full article at Variety - Film News »

Film Review: ‘Poltergeist’

Film Review: ‘Poltergeist’
The closing credits for Gil Kenan’s remake of the 1982 horror classic “Poltergeist” feature the band Spoon covering the Cramps’ 1980 punk classic “TV Set.” Spoon is a tasteful, studious yet largely anodyne indie rock outfit that has become an NPR staple; the Cramps were a scuzzy, unhinged psychobilly band whose most famous gig took place in an actual mental hospital. It’s hard to think of a more fitting postscript for this professionally executed yet bloodless film, itself an act of homage that hews reverently to its source material while missing the essential spirit and vitality that once powered it. Generally entertaining yet fundamentally unnecessary, this tribute-band take on one of the genre’s greatest hits should score decent opening weekend numbers before finding its way into the light.

In addition to being one of the most unsettling PG-rated films ever made, the original “Poltergeist” — directed by Tobe Hooper, with
See full article at Variety - Film News »

Now Playing: Poltergeist Ost, Music To Fight Ghosts

Marc Streitenfeld's original musical score for Poltergeist made me extremely tense and nervous. Which actually made me feel better, once I realized it was the music I was playing and not my mind playing tricks with me. I have no idea how Gil Kenan's remake will turn out, but "Poltergeist Openings" sets a good beginning point, with minor chords mixing into the predominantly major chords. The next two tracks, "They're Here" and "Angry Spirits" descend further into the spirit of anxiety and turbulence of emotion that one would expect from this movie. After all, it's about a little girl who is snatched up by evil spirits from the loving embrace of a family home, to the frantic torment of her parents (Sam Rockwell and Rosemarie...

[Read the whole post on twitchfilm.com...]
See full article at Screen Anarchy »

Marc Streitenfeld’s Soundtrack For Gil Kenan’s Poltergeist Available May 19

British director Gil Kenan proved his atmospheric take on the horror and fantasy genres with his movies Monster House and City of Ember. Now, with legendary filmmaker and producer Sam Raimi (Spiderman, Evil Dead, The Grudge), Kenan directs the remake of the classic 1982 horror movie Poltergeist.

For the soundtrack, available May 19 via Sony Classical, Kenan chose German film score composer Marc Streitenfeld, known for his collaborations with director Ridley Scott.

Poltergeist contemporizes the scary tale about a family – starring Sam Rockwell (Moon, The Hitchhiker’s Guide To The Galaxy) and Rosemarie DeWitt (Cinderella Man, Rachel Getting Married) – whose suburban home is haunted by evil forces.

When the terrifying apparitions escalate their attacks and hold the youngest daughter (Kennedi Clements) captive, the family must come together to rescue her before she disappears forever.

Acknowledged for his ambitious and intelligent score for Prometheus, as well as the multi-faceted soundtrack, The Grey, Streitenfeld
See full article at WeAreMovieGeeks.com »
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