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Varèse Sarabande and Craft Recordings have announced today that they are bringing the scores for Blade and sequel Blade II, from prolific composers Mark Isham and Marco Beltrami, to vinyl for the first time.

Both will receive deluxe editions in multiple color variants, releasing on May 16 and available for pre-order today.

The scores will be pressed on“Bloodbath” red vinyl exclusivelyvia Barnes & Noble, and“Blood Splatter” clear and black translucent vinylin alimited-edition run of 500 on the Varèse Sarabande store. Both scores will be available as 2-lp gatefold packages with brand-new artwork by acclaimed illustrator Micha Huigen.

“Blade was a very interesting movie to be on,” Mark Isham told author Randall D. Larson. “There were two factions that had a very strong musical voice. One was Wesley Snipes. He was involved in the hip-hop community, which was material that he felt reflected the urban part of the story. Then you had this young,...

With Valentine’s Day around the corner, you’ll no doubt find a number of genre outlets running lists of horror movies to watch for the most romantic day of the year. Warm Bodies is likely to appear on most if not all of them, but there’s another reason to revisit the 2013 film this year: Lionsgate is celebrating its 10th anniversary with a 4K Ultra HD (with Blu-ray and Digital) edition in Steelbook packaging, available exclusively at Best Buy.

I realize Twilight is practically a pejorative on a horror site, but we probably wouldn’t have Warm Bodies if sparkling vampires hadn’t paved the way. Both films are coming-of-age romances with monsters based on young adult books. Warm Bodies has the added benefit of the proliferation of zombies in pop culture heralded by The Walking Dead, plus a sense of humor akin to Shaun of the Dead or Zombieland.

LA-La Land Records and Paramount Pictures proudly present renowned composer Marco Beltrami’s original motion picture score to the new Paramount Pictures big-screen thriller A Quiet Place Part II, starring Emily Blunt, Cillian Murphy and Djimon Hounsou, and directed by John Krasinski. The film has received stellar reviews and presently sits at 91% on Rotten Tomatoes.

Beltrami also provided the amazing eerie score for World War Z. Read our interview with the composer: http://www.wearemoviegeeks.com/2013/06/interview-wamg-talks-to-world-war-z-composer-marco-beltrami/

His score for A Quiet Place was nominated for a Golden Globe for Best Score and shortlisted for Best Score for the Oscars.

His other recent projects include Guillermo Del Toro’s Scary Stories to Tell in the Dark, Jordan Peele’s “The Twilight Zone” for CBS All Access, the Lionsgate comedy Long Shot starring Charlize Theron and Seth Rogen, the Zac Efron-starrer Extremely Wicked, Shockingly Vile, and Evil, Lionsgate sci-fi feature...

“The Way I See It,” the new documentary about White House photographer Pete Souza, is starting off award season with a pair of victories. The film just won the Critics’ Choice Documentary Award for Best Score, which was written by Marco Beltrami, Brandon Roberts and Buck Sanders, and the organization’s non-competitive Most Compelling Living Subjects of a Documentary award. It was also nominated for Best Political Documentary.

Directed by Dawn Porter, who also helmed another acclaimed political doc this year, “John Lewis: Good Trouble,” “The Way I See It” goes through Souza’s life as a photographer for the Ronald Reagan and Barack Obama presidencies. The film predominantly centers on the Obama years, as we see such iconic photographs as the Situation Room, taken on the night that led to the killing of Osama bin Laden, and “Hair Like Mine,” in which a young Black boy touches the president’s hair.

A super-crowded documentary field means that many are called and few are chosen. And critics carry more sway than ever in this pandemic year, helping to cull the long list of would-be awards contenders. Every win from whatever source helps to turn a movie into a must-see.

Thus Monday’s fifth annual Critics Choice Documentary Award winners — which recognize the year’s achievements in documentaries released in theaters, on TV and on digital platforms, for which I voted in several categories — push Best Documentary Feature “Dick Johnson Is Dead” (Netflix) and its Best Director Kirsten Johnson into the lead for the Oscar shortlist of 15, which the Academy will announce on February 9, 2021.

Netflix dominated the field with six wins, including “Dick Johnson is Dead,” popular hit “My Octopus Teacher,” which took home Best Cinematography and Best Science/Nature Documentary, Best Narration winner “David Attenborough: A Life on Our Planet,” and, with “Athlete A,...

Dick Johnson Is Dead, Netflix’s personal documentary exploring a daughter’s look into the decline of her aging father, took top honors from the Critics’ Choice Documentary Awards for Best Documentary Feature as well as Best Director for Kirsten Johnson.

The awards, which were spread out among several winners, saw no single docu dominate, and in fact another Netflix film, My Octopus Teacher, was the only other film to win more than one trophy, taking Best Science/Nature Docu and Best Cinematography.

Crip Camp: A Disability Revolution and Gunda had led nominations with five each but were shut out. Mr. Soul! which also had five noms, did take Best First Documentary Feature. Among other significant winners were John Lewis: Good Trouble for Best Historical/Biographical docu, and Apple TV+’s Boys State as Best Political Documentary.

“We couldn’t be more excited about being able to celebrate such a...

The fifth annual Critics Choice Documentary Awards announced the 2020 winners Monday morning, honoring “Dick Johnson Is Dead” for best documentary feature as well as the film’s Kirsten Johnson for best director.

The film focuses on Richard Johnson, the director’s father, who suffers from dementia and imagines different ways in which he could die with a darkly comedic tone. The film premiered at the 2020 Sundance Film Festival and won the special jury award for innovation in non-fiction storytelling.

“My Octopus Teacher” took home two awards for best cinematography and best science/nature documentary.

Like most award shows this year, the Critics Choice Doc Awards had to go virtual due to the coronavirus pandemic.

“We couldn’t be more excited about being able to celebrate such a diverse group of films and filmmakers and subjects this year of all years, on the fifth occasion of the CCDAs, and with 2020 being what it is,...

“Dick Johnson is Dead” won both Best Documentary Feature and Best Director (Kirsten Johnson) at the fifth annual Critics’ Choice Documentary Awards. This Netflix film came into the competition with four bids; it lost the cinematography race to another Netflix title, “My Octopus Teacher,” and thee narration award to “David Attenborough: A Life on Our Planet.” “The Way I See It” won for score while “Totally Under Control” took editing. See the full list of Ccda winners announced on November 16 below.

The six genre prizes were awarded as follows: “MLK/FBI” (Best Archival Documentary); “John Lewis: Good Trouble” (Best Historical/Biographical Documentary); both “Beastie Boys Story” and “The Go-Go’s” (Best Music Documentary); “Boys State” (Best Political Documentary”); “My Octopus Teacher” (Best Science/Nature Documentary); and both “Ali & Cavett: The Tale of the Tapes” and “Athlete A” (Best Sports Documentary).

The Shoes in the Bed title “Mr. Soul!” won one of its...

Kirsten Johnson’s playful “Dick Johnson Is Dead” has been named the best nonfiction film of 2020 at the fifth annual Critics Choice Documentary Awards, which were announced on Monday morning.

Johnson also won the Best Director award for her Netflix film, in which she deals with the impending death of her father by staging his death in a variety of ways.

Melissa Haizlip won the Best First Documentary Feature award for “Mr. Soul!,” while other awards went to “My Octopus Teacher” for cinematography, “Totally Under Control” for editing, “The Way I See It” for music and “David Attenborough: A Life on Our Planet” for narration.

“MLK/FBI” was named Best Archival Documentary, “John Lewis: Good Trouble” Best Historical/Biographical Documentary, “Boys State” Best Political Documentary” and “My Octopus Teacher” Best Science/Nature Documentary.

There were two ties: “Ali & Cavett: The Tale of the Tapes” and “Athlete A” tied in the Best Sports Documentary category,...

Three films lead the fifth annual Critics’ Choice Documentary Awards with five nominations apiece. “Crip Camp: A Disability Revolution” and “Gunda,” both nabbed nominations for Best Documentary Feature and Best Director as well as three others apiece while “Mr. Soul!” was nominated for Best Documentary Feature and Best First Documentary Feature as well as three more.

Netflix led the way of all distributors with an impressive 31 nominations. In addition to “Crip Camp,” the studio also earned Best Documentary Feature bids forr “Athlete A,” “Dick Johnson Is Dead,” “My Octopus Teacher,” “A Secret Love,” and “The Social Dilemma.” Rounding out the top category nominees are “Belushi” and “The Go-Gos” from Showtime, “Feels Good Man” from Wavelength and PBS Independent, “The Fight” from Magnolia, “The Painter and the Thief” from Neon, and “Time” from Amazon. “Gunda” is Neon’s second nominee and “Mr. Soul!” comes to us from Shoes in the Bed.

“Crip Camp: A Disability Revolution,” “Gunda” and “Mr. Soul” lead the fifth annual Critics Choice Association’s documentary nominations, with five apiece. Among the eclectic list of nominees are Taylor Swift, Greta Thunberg, veteran filmmaker Werner Herzog and longtime disability advocate Judith Heumann, as well as docs about such notables as John Lewis, Muhammad Ali, Bruce Lee and Frank Zappa.

Recognized with four nominations each are “Athlete A,” “Dick Johnson Is Dead,” “My Octopus Teacher” and “Totally Under Control.”

In terms of distributors, Netflix led with 31 nominations, followed by Neon with 14 and Magnolia Pictures with nine. Showtime had six, while HBO, Amazon, National Geographic, PBS Independent Lens and Shoes in the Bed Productions earned five each.

It’s the fifth annual documentary honors for the group, honoring projects released in theaters, on TV and on major digital platforms, as determined by the voting of Cca members. Winners will be announced at a presentation on Nov.

“Crip Camp,” “Gunda” and “Mr. Soul!” led all films in nominations for the fifth annual Critics Choice Documentary Awards, which were announced on Monday by the Critics Choice Association.

The three films each received five nominations, including nods in the Best Documentary Feature category. As usual, that category cast a very wide net and contains far more nominees than other awards for nonfiction filmmaking — 14 this year, with nominations also going to “Athlete A,” “Belushi,” “Dick Johnson Is Dead,” “Feels Good Man,” “The Fight,” “The Go-Go’s,” “My Octopus Teacher,” “The Painter and the Thief,” “A Secret Love,” “The Social Dilemma” and “Time.”

Films with four nominations are “Athlete A,” “Dick Johnson Is Dead,” “Octopus Teacher” and “Totally Under Control.”

The list was missing many of the year’s most acclaimed nonfiction films, including “Welcome to Chechnya,” “The Dissident,” “Collective,” “Disclosure,” “76 Days” and “On the Record,” none of which received any nominations.

Photographing a President is about as apolitical a job as it gets. At least, that’s how it traditionally was. For Pete Souza, he was simply a photojournalist, albeit one of the most respected ones in the political sphere, until the most recent election, that is. This transformation, as well as the remarkable images and stories he found himself capturing, make up the terrific new documentary The Way I See It. Getting released in theaters on Friday, it will also be able to be seen on October 9th over on MSNBC. No matter where you watch it (though ideally go see it this weekend), it’s a must see. The documentary is a look at both how photographer Pete Souza captured images from two very different Presidents, but also how the current occupant of the Oval Office has driven him to speak up like never before. Based in part on...

As expected, James Mangold’s ’60s racing epic “Ford v Ferrari,” animated feature “Toy Story 4,” and documentary “Making Waves: The Art of Cinematic Sound” took top honors at the 56th Cinema Audio Society Awards recognizing outstanding sound mixing.

As an Oscar bellwether, though, six of the past 10 Cas winners have gone on to win the sound mixing Oscar, which bodes well for “Ford v Ferrari.” However, Oscar-nominated “1917,” Sam Mendes’ continuous-shot, World War I extravaganza, was not in contention at the Cas Awards, which makes the race very competitive.

“We threw out the production sound,” said Dave Giammarco, the “Ford v Ferrari” re-recording mixer. “But when we got the real GT40, it helped inform the cut because it has its own signature [sound], and you want to wind it out and feel the whole length of it. Sometimes they would cut the shot to match the engine whine. And sometimes you...

“1917” and “Ford v Ferrari” split the top sound editing prizes Sunday night at the 67th annual Mpse Golden Reel Awards at the Westin Bonaventure Hotel. “1917” took Dialogue/Adr and “Ford v Ferrari” scored for Effects/Foley. The Elton John musical fantasy, “Rocketman,” earned Musical honors and “Jojo Rabbit” topped Music Underscore.

The other Feature awards went to “Parasite” (Foreign Language), “Toy Story 4” (Animation), and “Echo in the Canyon” (Documentary).

This sets up a competitive sound editing Oscar race between Sam Mendes’ innovative, continuous-shot World War I drama and James Mangold’s thrilling race car biopic. “The absence of visible edits meant it would have been easy to be overwhelmed with sound at times, never being able to cut to a different location to reset,” said Oliver Tarney, supervising sound editor of “1917.” “We worked hard at making sure there were always multiple layers of detail in the work we were doing.

For movies that take place in ye grand olde 20th century, or earlier, directors often go for period-specificity for everything that appears on screen. When it comes to the music coming through the speakers, though, that can be another matter, as filmmakers tend to be fine with anachronisms in scoring and sometimes even songs. Here’s how six recent period films handled that soundtrack question.

1917

Thomas Newman’s score for Sam Mendes’ war film ignores the period entirely. “It’s a very visceral experience, and a very modern movie,” he says, referring to Mendes’ much-discussed conceit of making a two-hour movie appear to be one long shot.

Newman’s 95-minute score ranges from ambient, involving electronically created and processed sounds, to symphonic, with an 87-piece orchestra recorded at London’s Abbey Road. Mendes wanted the score to remain “in present tense,” accompanying the film’s two British soldiers without commenting on their desperate mission.

Grammy-Award winning Taylor Swift and Andrew Lloyd Webber are not in the Oscar race for their collaboration "Beautiful ghosts" in the upcoming movie "Cats".

The Academy on Monday revealed the Oscars shortlist, sharing the remaining contenders in nine categories including Best Original Song and Score, reports variety.com.

Also Read:?Taylor Swift all set to headline Glastonbury's 50th anniversary show

The biggest surprise was the omission of "Beautiful ghosts", the much-talked-about collaboration between Swift and Lloyd Webber.

The shortlisted contenders for Best Original Song and Score features five songs from Disney movies and three from documentaries. The 300-member music branch picked 15 songs from 75 entered this year, and 15 scores from an eligibility list of 170. The lists will be shortlisted further to five each when voting for the nominations begins on January 2. Nominees will be announced on January 13.

Elton John made it onto the song list twice: once with lyricist Bernie Taupin...

The Oscars shortlist was revealed today outlining remaining contenders in nine categories including best original song and score.

Credit the music branch for offering a few surprises in its choices for the year’s best song, including no fewer than five from Disney movies and three from documentaries.

The 300-member music branch chose 15 songs from 75 entered this year, and 15 scores from an eligibility list of 170. Both lists will be whittled down to five each when voting for the nominations begins Jan. 2. Nominees will be announced Jan. 13.

The biggest surprise may be the omission of “Beautiful Ghosts,” the much-talked-about collaboration between Taylor Swift and Andrew Lloyd Webber and the only new song in “Cats,” which opens this week. Few Academy members have seen the Tom Hooper film.

Elton John made it onto the song list twice: once with lyricist Bernie Taupin for “(I’m Gonna) Love Me Again” from “Rocketman,” and...

Beyoncé, Elton John, Thom Yorke, Pharrell Williams, Cynthia Erivo, Randy Newman and Diane Warren are among the songwriters who have made the shortlist in the Oscars’ Best Original Song category, the Academy announced on Monday.

John, in fact, has two of the 15 songs on the shortlist: He made the cut for “(I’m Gonna) Love Me Again” from the movie about his life, “Rocketman,” and also for “Never Too Late,” a new song he wrote for the remake of “The Lion King,” which landed him three nominations and an Oscar for “Can You Feel the Love Tonight” back in 1994.

Beyoncé was also nominated for her new song, “Spirit,” from “The Lion King.”

Among the 75 eligible songs, the biggest omission is “Beautiful Ghosts,” a new song from the upcoming “Cats” musical written by original “Cats” composer Andrew Lloyd Webber and Taylor Swift, and sung by Swift in the film. Oscar voters...

The partnership between famed car designer Carroll Shelby (Matt Damon) and British driver-engineer Ken Miles (Christian Bale) is the driving force behind Ford v Ferrari, James Mangold's racing drama chronicling the lead-up to the 1966 24-hour Le Mans race.

Paralleling that onscreen partnership is one behind the scenes between composer Marco Beltrami and his longtime engineer Buck Sanders, who've worked together for two decades, with Sanders crafting the electronic sound palette for each Beltrami-scored film. However, this fourth collaboration with Mangold is particularly special for Beltrami, a passionate racer himself. The pair spoke to THR about recording the 1960s-inspired score ...

The partnership between famed car designer Carroll Shelby (Matt Damon) and British driver-engineer Ken Miles (Christian Bale) is the driving force behind Ford v Ferrari, James Mangold's racing drama chronicling the lead-up to the 1966 24-hour Le Mans race.

Paralleling that onscreen partnership is one behind the scenes between composer Marco Beltrami and his longtime engineer Buck Sanders, who've worked together for two decades, with Sanders crafting the electronic sound palette for each Beltrami-scored film. However, this fourth collaboration with Mangold is particularly special for Beltrami, a passionate racer himself. The pair spoke to THR about recording the 1960s-inspired score ...

The Society of Composers & Lyricists has been around for nearly 75 years, but not until this year did the organization start its own annual awards program for music appearing in film, TV and videogames — and the nominees announced Tuesday for the inaugural show are certain to be scrutinized as a bellwether for what to expect as the Motion Picture Academy’s music branch votes on shortlists for the song and score categories.

As expected, Hildur Gudnadóttir scored nominations in film and TV categories alike, with nods for her work on “Joker” and “Chernobyl,” respectively. The latter limited series already won her an Emmy, and she’s being seen as a shoo-in for an Oscar nomination for scoring the blockbuster supervillain origin story.

The Scl Awards have instituted separate categories for scores of studio films and independent films. In the studio division, Gudnadóttir’s “Joker” music will face the scores written by Michael Abels for “Us,...

Marco Beltrami and Buck Sanders threw themselves entirely into the 1960s to create their Ford v Ferrari score. Centered on two mavericks who built a revolutionary race car in ’66, to challenge Ferrari at the 24 Hours of Le Mans, the drama appealed to the pair as an opportunity to depart from their typical musical methods. With their electric score, which drifts between jazz and rock sounds, the pair looked to honor the musical innovation of the era depicted on screen, while capturing an energy and excitement in their cues unlike any they’d created before.

Meeting over 20 years ago at West La video rental store Lazer Blazer, the longtime collaborators worked tirelessly in their fourth collaboration with director James Mangold to represent through their score all the tension, excitement and emotion inherent to life on the racetrack. “One of the biggest challenges was not getting in the way of the picture itself,...

The 10th annual Hollywood Music in Media Awards rewarded a diverse crop of composers, songwriters and music supervisors who contributed to film, TV and videogames over the last year, from scorers Alan Silvestri, Hildur Guðnadóttir, Marco Beltrami and Michael Abels to tunesmiths Cynthia Erivo, Bebe Rexha and the Avett Brothers to Quentin Tarantino’s longtime music sidekick, Mary Ramos.

The ceremony also included several performances, with rockers Jakob Dylan and Michelle Phillips (of the Mamas and the Papas) offering a sample of the ’60s pop that helped “Echo in the Canyon” win the award for best music documentary; composer Kris Bowers performing an excerpt from his music for Netflix’s “When They See Us,” which won him best original score for TV/limited series; veteran writer Charles Fox doing a medley that included his vintage themes for “Happy Days” and “The Love Boat”; and a rendering of Diane Warren’s...

James Mangold’s “Ford v Ferrari” is not only the most realistic racing movie ever made, but also a compelling bromance between innovative car designer Carroll Shelby (Matt Damon) and extraordinary British racer Ken Miles (Christian Bale). And the 24 Hours of Le Mans circa 1966 offered a 40-minute tour de force that served as a mini-movie, with underdog, eccentric Miles pushing Ford’s GT40 to the limit with a meditative grace. Naturally, the sound was imperative in capturing the powerful, immersive experience (custom-made for Dolby Atmos).

During the third-act Le Mans race itself, the narrative strategy was to primarily focus on Miles unleashing the beast inside the gorgeous blue and white GT40 in the head to head competition with the sporty red champion Ferrari. The sound, meanwhile, worked in parallel, sometimes loud, sometimes calmer, but always layered in a way that surrounded the viewer throughout the theater.

“We threw out the production sound,...

The thrill of driving a car at high speeds is one that many share. At the same time, the sport of auto racing is hard to compelling depict on screen. Car chases are a cinematic staple, but that’s a completely different beast. More often than not, racing movies focus as much on the humans as the machines. In the case of the new film Ford v Ferrari, there’s a strong balance between the two elements. Featuring some incredible technical work below the line, as well as a surprising sense of fun, this flick has more to offer than most other outings of this ilk. I’ve been pondering this one for over a month, hence waiting until the day of release to write about it, but the more I think on it, the more I find myself liking it. The film is a sports drama, centered on a...

The full tracklist for the forthcoming 20th Century Fox film “Ford v Ferrari,” starring Academy Award-winners Matt Damon and Christian Bale, has been revealed below.

The film is based on the true story of American car designer Carroll Shelby (Damon) and the British-born driver Ken Miles (Bale), who together battled corporate interference, the laws of physics, and their own personal demons to build a revolutionary race car for Ford Motor Company and take on the dominating race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966.

The film is directed by Academy Award-nominated filmmaker James Mangold (“Walk the Line” and “Logan”) and written by Jez Butterworth & John-Henry Butterworth and Jason Keller. And with a wild soundtrack of wide-ranging music from the era, which spans the Sonics and the Byrds to Buck Owens and Nina Simone,

Ford v Ferrari (Original Motion Picture Soundtrack)

1. Polk Salad Annie – Performed...

The Hollywood Music in Media Awards, known for recognizing music in film, TV, video games commercials and trailers, announced its 2019 nominees. Among the nominated films are “Joker” (composer Hildur Guðnadóttir is pictured), “Little Women,” “Us,” “Rocketman” and more.

Past honorees include Ludwig Goransson (“Black Panther”), Alexandre Desplat (“Shape of Water”), songs from “La La Land” and “A Star is Born.”

For the 10th anniversary concert & gala, the organization will host past winners. In addition to Jakob Dylan (“The Wallflowers”) and Kris Bowers (“Green Book”), composers and songwriters from The Society of Composers & Lyricists, The Alliance of Female Composers and the Guild of Music Supervisors will present and/or perform.

With over 500 submissions globally, Hmma nominations are selected by an advisory board and selection committee that includes journalists, music executives and music-media industry professionals comprised of select members of the Society of Composers and Lyricists, Television Academy, the AMPAS Music Branch and Naras.

Joker, Hildur Guðnadóttir

It isn’t often that an actor’s performance is transformed by the score (usually because the music is recorded long after the actors have gone home). But it happened on “Joker,” when director Todd Phillips played an early version of composer Hildur Guðnadóttir’s theme on the set and actor Joaquin Phoenix began dancing to it.

“I was so influenced by the score,” Phoenix later told ABC’s Jimmy Kimmel. “We wanted something that illustrated the transformation into Joker that was non-verbal, and that’s what we came up with.”

The composer read Phillips’ script, and submitted – prior to shooting – musical ideas she played on her Halldorophone. It’s a specially designed electro-acoustic cello that has a separate set of mic’d resonating strings, turning the instrument into “a kind of feedback mechanism. It’s like a Jimi Hendrix cello,” she says.

That melancholy, often raw...

20th Century Fox recently revved up their Oscar campaign for “Ford v Ferrari” with a panel discussion highlighting the film’s below-the-line talent. Gold Derby was on-hand at the event, which was hosted by Gregory Ellwood (The Playlist) at the DGA Theater in Los Angeles. It featured director James Mangold, production designer Francois Audouy, costume designer Daniel Orlandi, film editors Andrew Buckland and Michael McCusker, composer Buck Sanders, sound re-recording mixer David Giammarco and casting director Ronna Kress. Listen to the full 28 minute Q&a above.

“Ford v Ferrari” tells the true story of the Ford Motor Company’s efforts to build a race car that could challenge champion Ferrari at the 24 Hours of Le Mans endurance race in 1966. Matt Damon stars as auto designer Carroll Shelby, who teams up with expert racer Ken Miles (Christian Bale) to create the superior machine. By his own admission, Mangold is “not a big motor sports guy,...

When Dan Gilroy pairs with Jake Gyllenhaal and Rene Russo, you know you’re in for something twisted. After blowing folks away with Nightcrawler, Gilroy went for something very different as his follow up with Roman J. Israel, Esq. Now, tomorrow brings the release on Netflix, after the high profile debut at the Sundance Film Festival a few days ago, of Velvet Buzzsaw, Gilroy’s new collaboration with Gyllenhaal and Russo. Bizarre, satirical, oddly funny, and violent, sometimes all at once, it definitely stands out. Love it or hate it, Gilroy and company go for it. Despite some clear flaws, it has a unique vibe that you may just find intoxicating. Set in the world of art, art criticism, and art sales, this film is, at its core, a classy horror outing. Morf Vandewalt (Gyllenhaal) is an art critic who can make or break a show. This puts him into...

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,...

A total of 145 scores were recently announced as being eligible for this year’s Academy Award, with everything from perceived frontrunner “La La Land” (Justin Hurwitz) and “Jackie” (Mica Levi) to outliers like “Sausage Party” and “Elle.” The final five will be nominated on January 24. In the meantime, avail yourself of this Spotify playlist featuring selections from 110 of the eligible scores — as well as the full list of every eligible score.

Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners

Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award

The Abolitionists,” Tim Jones, composer

“Absolutely Fabulous The Movie,” Jake Monaco, composer

“The Accountant,” Mark Isham, composer

“Alice through the Looking Glass,” Danny Elfman, composer

“Allied,” Alan Silvestri, composer

“Almost Christmas,” John Paesano, composer

“American Pastoral,” Alexandre Desplat, composer

“The Angry Birds Movie,” Heitor Pereira, composer

“Anthropoid,” Robin Foster, composer

“Armenia, My Love,...

In case you didn’t notice last week, a number of categories had their ranks thinned out by the Academy. Well, in that regard, I’m here to help. Yes, AMPAS thinned the herd in Best Original Score, Best Original Song, and Best Foreign Language Feature. They also managed to include a handful of snubs, as always is the case. Those will be listed in just a moment, but definitely study these lists, as there are Oscar hints to be found within. For now though, these are just the remaining titles fighting it out for nominations. Take a look and be sure to see how it all impacts predictions going forward. Below you will see the 145 films in Original Score that are still eligible, the 91 tunes in Original Song, and the nine in Foreign Language Feature that remain in play. There were no real Song snubs, but notably Score has eliminated presumed nominee Arrival,...

The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards.

The eligible scores along with their composers are listed below, in alphabetical order by film title:

“The Abolitionists,” Tim Jones, composer

“Absolutely Fabulous The Movie,” Jake Monaco, composer

“The Accountant,” Mark Isham, composer

“Alice through the Looking Glass,” Danny Elfman, composer

“Allied,” Alan Silvestri, composer

“Almost Christmas,” John Paesano, composer

“American Pastoral,” Alexandre Desplat, composer

“The Angry Birds Movie,” Heitor Pereira, composer

“Anthropoid,” Robin Foster, composer

“Armenia, My Love,” Silvia Leonetti, composer

“Assassin’s Creed,” Jed Kurzel, composer

“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers

“The Bfg,” John Williams, composer

“Believe,” Michael Reola, composer

“Ben-Hur,” Marco Beltrami and Buck Sanders, composers

“Bilal,” Atli Ӧrvarsson, composer

“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...

The Academy of Motion Picture Arts and Sciences (AMPAS) has announced the 145 scores eligible in the Best Original Score category, includeing work from “Jackie” and “La La Land.” The latter film, a musical directed by “Whiplash” helmer Damien Chazelle, picked up the Los Angeles Film Critics Association’s award for Best Music earlier this month; “Jackie” was the category’s runner-up. Notably absent, meanwhile, are “Arrival” (which just landed a Golden Globe nod), “Manchester by the Sea” and “Silence.”

Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen

Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.

The Academy of Motion Picture Arts and Sciences today announced that 114 scores from eligible feature-length motion pictures released in 2014 are in contention for nominations in the Original Score category for the 87th Oscars®. The eligible scores along with their composers are listed below, in alphabetical order by film title: “American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer “Anita,” Lili Haydn, composer “Annabelle,” Joseph Bishara, composer “At Middleton,” Arturo Sandoval, composer “Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer “Bears,” George Fenton, composer “Belle,” Rachel Portman, composer “Big Eyes,” Danny Elfman, composer “Big Hero 6,” Henry Jackman, composer “The Book of Life,” Gustavo Santaolalla and Tim Davies, composers “The Boxtrolls,” Dario Marianelli, composer “Brick Mansions,” Trevor Morris, composer “Cake,” Christophe Beck, composer “Calvary,” Patrick Cassidy, composer “Captain America: The Winter Soldier,” Henry Jackman, composer “The Case against 8,” Blake Neely, composer “Cheatin’,” Nicole Renaud, composer “Dawn of the Planet of the Apes,...

In a very open Oscar race for Best Original Score, Marco Beltrami's compositions for Tommy Lee Jones' western "The Homesman" may well find themselves in the final five. He has earned two previous nominations somewhat unexpectedly ("3:10 to Yuma" and "The Hurt Locker") and his latest endeavor very much set the mood of Jones's progressive period piece. I recently had the chance to speak to Beltrami about the film working with Jones, his collaborations with Buck Sanders and his approach to film composing more generally. Check out the back and forth below. "The Homesman" is now playing in theaters. *** HitFix: When did you come aboard the film? Marco Beltrami: It was way before shooting, just after Tommy told me about the script when they were working on it. At the time, he had some other projects that were possibilities. Nothing was set. He said "come aboard" and...

Three hundred twenty-three feature films are eligible for the 2014 Academy Awards, the Academy of Motion Picture Arts and Sciences announced today.

To be eligible for 87th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.

Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format.

Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 87th Academy Awards” is available at http://www.oscars.org/oscars/rules-eligibility.

The Academy of Motion Picture Arts and Sciences also announced that 114 scores...

Original scores from The Boxtrolls, Divergent, Exodus: Gods And Kings and The Grand Budapest Hotel are among 114 scores eligible for nominations in the Original Score category for the 87th Oscars. The noms will be announced on January 15. The eligible scores along with their composers are listed below, in alphabetical order by film title:

“American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer

“Anita,” Lili Haydn, composer

“Annabelle,” Joseph Bishara, composer

“At Middleton,” Arturo Sandoval, composer

“Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer

“Bears,” George Fenton, composer

“Belle,” Rachel Portman, composer

“Big Eyes,” Danny Elfman, composer

“Big Hero 6,” Henry Jackman, composer

“The Book of Life,” Gustavo Santaolalla and Tim Davies, composers

“The Boxtrolls,” Dario Marianelli, composer

“Brick Mansions,” Trevor Morris, composer

“Cake,” Christophe Beck, composer

“Calvary,” Patrick Cassidy, composer

“Captain America: The Winter Soldier,” Henry Jackman, composer

“The Case against 8,” Blake Neely, composer

“Cheatin’,” Nicole Renaud,...

Marco Beltrami’s soundtrack for "The Homesman" is like an old photograph. Stare long enough at an 19th century relic and the memories start reverberating through space and time (not to get too "Interstellar" about it). Recreating pioneer era music, mining that Western language, is only part of Beltrami's goal for "The Homesman"; There are twists of ambience and metallic pangs that give old-timey melodies a contemporary sound. Intertwined and layered into the soundtrack, Tommy Lee Jones' film starts feeling less like a transportive period piece than a look backwards from our fixed position in 2014 — an unnerving quality that fits the film’s arduous travelogue. To achieve these sounds, Beltrami (the composer behind "World War Z," "Snowpiercer," "The Wolverine," and "The Hurt Locker") and his sound design-minded collaborator Buck Sanders constructed their own instruments that would meld the archaic and new. The creations were as tiny as a refitted lap steel guitar to giant,...

The Academy has announced the new class of invited members for 2014 and, as is typical, many of which are among last year's nominees, which includes Barkhad Abdi, Michael Fassbender, Sally Hawkins, Mads Mikkelsen, Lupita Nyong'o and June Squibb in the Actors branch not to mention curious additions such as Josh Hutcherson, Rob Riggle and Jason Statham, but, okay. The Directors branch adds Jay and Mark Duplass along with Jean-Marc Vallee, Denis Villeneuve and Thomas Vinterberg. I didn't do an immediate tally of male to female additions or other demographics, but at first glance it seems to be a wide spread batch of new additions on all fronts. The Academy is also clearly attempting to aggressively bump up the demographics as this is the second year in a row where they have added a large number of new members, well over the average of 133 new members from 2004 to 2012. As far as...

The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 271 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures.

Those who accept the invitations will be the only additions to the Academy’s membership in 2014.

“This year’s class of invitees represents some of the most talented, creative and passionate filmmakers working in our industry today,” said Academy President Cheryl Boone Isaacs. “Their contributions to film have entertained audiences around the world, and we are proud to welcome them to the Academy.”

The 2014 invitees are:

Actors

Barkhad Abdi – “Captain Phillips”

Clancy Brown – “The Hurricane,” “The Shawshank Redeption”

Paul Dano – “12 Years a Slave,” “Prisoners”

Michael Fassbender – “12 Years a Slave,” “Shame”

Ben Foster – “Lone Survivor,” “Ain’t Them Bodies Saints”

Beth Grant – “The Artist,” “No Country for Old Men”

Clark Gregg – “Much Ado about Nothing,” “Marvel’s The Avengers”

Sally Hawkins – “Blue Jasmine,...

Michael Fassbender and Lupita Nyong’o of 12 Years a Slave were two of the 271 artists and industry leaders invited to become members of the Academy of Motion Picture Arts and Sciences, which determines nominations and winners at the annual Oscars. The entire list of Academy membership—which numbers about 6,000—isn’t public information so the annual invitation list is often the best indication of the artists involved in the prestigious awards process. It’s worth noting that invitations need to be accepted in order for artists to become members; some artists, like two-time Best Actor winner Sean Penn, have declined membership over the years.

Pop quiz: What do Chris Rock, Claire Denis, Eddie Vedder and Josh Hutcherson all have in common? Answer: They could all be Oscar voters very soon. The annual Academy of Motion Pictures Arts & Sciences invitation list always makes for interesting reading, shedding light on just how large and far-reaching the group's membership is -- or could be, depending on who accepts their invitations. This year, 271 individuals have been asked to join AMPAS, meaning every one of them could contribute to next year's Academy Awards balloting -- and it's as diverse a list as they've ever assembled. Think the Academy consists entirely of fusty retired white dudes? Not if recent Best Original Song nominee Pharrell Williams takes them up on their offer. Think it's all just a Hollywood insiders' game? Not if French arthouse titans Chantal Akerman and Olivier Assayas join the party. It's a list that subverts expectation at every turn.

One hundred fourteen scores from eligible feature-length motion pictures released in 2013 will be vying for nominations in the Original Score category for the 86th Oscars®, the Academy of Motion Picture Arts and Sciences announced today.

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.

Nomination voting in all Oscar categories begins Friday, December 27 and ends Wednesday, January 8.

The eligible scores along with their composers are listed below, in alphabetical order by film title:

“Admission,” Stephen Trask, composer

“Ain’t Them Bodies Saints,” Daniel Hart, composer

“All Is Lost,” Alex Ebert, composer

“Alone Yet Not Alone,” William Ross, composer

“The Armstrong Lie,...

Senior executives at the Academy announced on Dec 12 that 114 scores have been submitted for the original score Oscar category.Scroll down for full list

A reminder list of works submitted will be made available with a nominations ballot to all members of the music branch, who will vote in the order of their preference for up to five scores.

Those five that receive the highest number of votes will be announced as nominees on January 16 2014.

According to the rules, to be eligible the original score must be a “substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer.

Scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible.”

Admission, Stephen Trask

Ain’t Them Bodies Saints, Daniel Hart

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The Oscars are a little over two months away, and with so many fantastic films released throughout this year, the anticipation surrounding the announcement of the nominations next month is running on high.

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,...

Indian composer A.R. Rahman is in the Oscar race once again for the original score at the 85thAcademy Awards. His composition for the film “”People Like Us” has found place in the long list of 104 composers vying for the nominations.

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,...

One hundred four scores from eligible feature-length motion pictures released in 2012 are in contention for nominations in the Original Score category for the 85th Academy Awards, the Academy of Motion Picture Arts and Sciences announced today. As noted by various online Oscar pundits, most noticeably missing is Moonrise Kingdom. 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. Click Here for the complete rules.

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...