By mcneditor editor@moviecitynews.com

97 ORIGINAL SCORES IN 2011 OSCAR RACE

Posted Friday, December 23rd, 2011 - No Comments »

December 22, 2011
FOR IMMEDIATE RELEASE

Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.

The eligible scores along with the composer are listed below in alphabetical order by film title:

  • “The Adjustment Bureau,” Thomas Newman, composer
  • “The Adventures of Tintin,” John Williams, composer
  • “African Cats,” Nicholas Hooper, composer
  • “Albert Nobbs,” Brian Byrne, composer
  • “Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer
  • “Anonymous,” Thomas Wander and Harald Kloser, composers
  • “Another Earth,” Phil Mossman and Will Bates, composers
  • “Answers to Nothing,” Craig Richey, composer
  • “Arthur Christmas,” Harry Gregson-Williams, composer
  • “The Artist,” Ludovic Bource, composer
  • “@urFRENZ,” Lisbeth Scott, composer
  • “Atlas Shrugged Part 1,” Elia Cmiral, composer
  • “Battle: Los Angeles,” Brian Tyler, composer
  • “Beastly,” Marcelo Zarvos, composer
  • “The Big Year,” Theodore Shapiro, composer
  • “Captain America: The First Avenger,” Alan Silvestri, composer
  • “Cars 2,” Michael Giacchino, composer
  • “Cedar Rapids,” Christophe Beck, composer
  • “Conan the Barbarian,” Tyler Bates, composer
  • “The Conspirator,” Mark Isham, composer
  • “Contagion,” Cliff Martinez, composer
  • “Coriolanus,” Ilan Eshkeri, composer
  • “DAM999,” Ousepachan, composer
  • “The Darkest Hour,” Tyler Bates, composer
  • “The Debt,” Thomas Newman, composer
  • “Dolphin Tale,” Mark Isham, composer
  • “Don’t Be Afraid of the Dark,” Marco Beltrami and Buck Sanders, composers
  • “Dream House,” John Debney, composer
  • “The Eagle,” Atli Orvarsson, composer
  • “Extremely Loud & Incredibly Close,” Alexandre Desplat, composer
  • “Fast Five,” Brian Tyler, composer
  • “The First Grader,” Alex Heffes, composer
  • “The Flowers of War,” Qigang Chen, composer
  • “The Girl with the Dragon Tattoo,” Trent Reznor and Atticus Ross, composers
  • “The Greatest Miracle,” Mark McKenzie, composer
  • “Green Lantern,” James Newton Howard, composer
  • “Hanna,” Tom Rowlands, composer
  • “Happy Feet Two,” John Powell, composer
  • “Harry Potter and the Deathly Hallows Part 2,” Alexandre Desplat, composer
  • “The Help,” Thomas Newman, composer
  • “Hop,” Christopher Lennertz, composer
  • “Hugo,” Howard Shore, composer
  • “I Don’t Know How She Does It,” Aaron Zigman, composer
  • “The Ides of March,” Alexandre Desplat, composer
  • “Immortals,” Trevor Morris, composer
  • “In Search of God,” Rupam Sarmah, composer
  • “In the Land of Blood and Honey,” Gabriel Yared, composer
  • “In Time,” Craig Armstrong, composer
  • “Insidious,” Joseph Bishara, composer
  • “The Iron Lady,” Thomas Newman, composer
  • “J. Edgar,” Clint Eastwood, composer
  • “Jane Eyre,” Dario Marianelli, composer
  • “The Lady,” Eric Serra, composer
  • “Like Crazy,” Dustin O’Halloran, composer
  • “Margaret,” Nico Muhly, composer
  • “Mission: Impossible – Ghost Protocol,” Michael Giacchino, composer
  • “Mr. Popper’s Penguins,” Rolfe Kent, composer
  • “Moneyball,” Mychael Danna, composer
  • “Monte Carlo,” Michael Giacchino, composer
  • “New Year’s Eve,” John Debney, composer
  • “Norman,” Andrew Bird, composer
  • “One Day,” Rachel Portman, composer
  • “Puss in Boots,” Henry Jackman, composer
  • “Rampart,” Dickon Hinchliffe, composer
  • “Real Steel,” Danny Elfman, composer
  • “Rebirth,” Philip Glass, composer
  • “Red Riding Hood,” Alex Heffes and Brian Reitzell, composers
  • “Restless,” Danny Elfman, composer
  • “Rio,” John Powell, composer
  • “Rise of the Planet of the Apes,” Patrick Doyle, composer
  • “The Rite,” Alex Heffes, composer
  • “The Rum Diary,” Christopher Young, composer
  • “Sanctum,” David Hirschfelder, composer
  • “Sarah’s Key,” Max Richter, composer
  • “Senna,” Antonio Pinto, composer
  • “Shame,” Harry Escott, composer
  • “The Skin I Live In,” Alberto Iglesias, composer
  • “The Smurfs,” Heitor Pereira, composer
  • “Snow Flower and the Secret Fan,” Rachel Portman, composer
  • “Super 8,” Michael Giacchino, composer
  • “Take Shelter,” David Wingo, composer
  • “The Thing,” Marco Beltrami, composer
  • “Thor,” Patrick Doyle, composer
  • “Tinker Tailor Soldier Spy,” Alberto Iglesias, composer
  • “Tower Heist,” Christophe Beck, composer
  • “W.E.,” Abel Korzeniowski, composer
  • “War Horse,” John Williams, composer
  • “Warrior,” Mark Isham, composer
  • “Water for Elephants,” James Newton Howard, composer
  • “The Way,” Tyler Bates, composer
  • “We Bought a Zoo,” Jon Thor Birgisson, composer
  • “We Need to Talk about Kevin,” Jonny Greenwood, composer
  • “Win Win,” Lyle Workman, composer
  • “Winnie the Pooh,” Henry Jackman, composer
  • “X-Men: First Class,” Henry Jackman, composer
  • “Young Adult,” Rolfe Kent, composer
  • “Your Highness,” Steve Jablonsky, composer

A Reminder List of works submitted in the Original Score category shall be sent 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.

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.

The 84th Academy Awards nominations will be announced live on Tuesday, January 24, 2012, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2011 will be presented on Sunday, February 26, 2012, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar® presentation also will be televised live in more than 225 countries worldwide.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards – in which the members vote to select the nominees and winners – the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

FOLLOW THE ACADEMY
www.oscars.org
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www.youtube.com/Oscars
www.twitter.com/TheAcademy

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“I’m in Locarno, my movie is premiering for 1,000 people, which is nuts. A huge-ass screening, second day of the festival, 7:30pm in the sidebar competition. It’s comparable to Un Certain Regard or Director’s Fortnight. Every movie I saw in that section was fun, brilliant movies from around the world. The main competition was like Aza Jacobs and Mia Hansen-Løve, people who have been around. And I was like, “This is crazy. What am I doing inside the bloodstream of this establishment? I’m 27. I don’t belong here.” Every person I talked to there couldn’t believe what the movie cost, and then couldn’t believe when I told them what other American movies cost. We were the cheapest movie there by 65%. The next cheapest movie cost I think three times as much as we did. And they were just like, “You can’t make movies for what you’re telling us your movie cost.” And I told them, “Well, I can, I’m here, I’m in the same section as you are, so you are wrong. People think I’m lying when I tell them my budget. And also everyone likes it. I’m having a great time and people are being very responsive. Maurice Pialat’s widow was like, “I heard your movie’s good, I want a copy of it.” I’m like, “Well this is f**kin’ crazy.” Pedro Costa saw it there and really liked it and I’m like, What am I doing? I had gone in two months from screening at BAM for a lot of friends to Pedro Costa? This is the exact sentence: “Pedro Costa saw your movie. He’s a huge Jerry Lewis fan. He wants to talk to you about your movie and also Jerry Lewis.” And I thought, “I’m out of my element. I cannot have that conversation because that’s ridiculous.” Because his retrospective was happening at Anthology when I worked at Kim’s, and his Criterion box set came out when I was working at Kim’s. He can’t want to talk to me. That’s not possible. That’s not allowed. There is no world where that makes any sense!”  Or like when you wrote me to say that David Gordon Green wrote you to say, “I’m watching The Color Wheel and then I’m going to see Tree of Life.” There is no world where this is allowed! Again, somebody whose DVDs I was putting on the shelf, as, like, a hero. And it’s just like, “Oh, I’ll watch this movie.” There’s just a very fuzzy area in the middle there and it happened very quickly and I don’t understand why.  I still have a voice-mail from Sean [Price Williams, cinematographer]. I wish he was here to talk about it, but the voice-mail is a long pause and he’s just like, “I don’t want to tell you this, because it’s gonna make you so insufferable. I hate having to tell you this, but Leos Carax watched your movie and he really loves it, and he wants to meet you when he comes to New York.” I can’t live in a world where Leos Carax knows who I am, watches my movie, likes it, and thinks, “I wanna meet that guy.”
~ It’s Alex Ross Perry’s World

“I don’t know. It’s been a lot harder than I thought it was going to be to make the films I really dream of making. I was in Italy a few years ago scouting for this very beautiful film I wanted to make with Richard Linklater. We worked really hard on the script for a couple of years and couldn’t get the money together. It was an expensive idea. It’s heartbreaking when that happens over and over again and then the movies that do get made are ones that have lots of women being beaten up or zombies being killed. It’s all fine, it’s all okay, but it’s hard. I remember when River Phoenix died, he was ahead of me on this curve. He kind of realized how hard it was to make serious movies. People like Sidney Lumet figured out how to walk that line, but it’s hard. And it requires patience. It’s a life’s work and I wonder if I’m up to the task.”
~ Weary, Wary Ethan Hawke

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