Best Original Score

anybody else notice that they had the other song performances play for much longer?

Michael Shannon wearing Givenchy at the Midnight Special premiere during the 66th Berlin International Film Festival held on February 12th, 2016 in Berlin, Germany.

@zonecassette

zombiesusingtheinternets:

What are you hungry for? Raw (2016) dir. Julia Ducournau | May 2017 Theme : 2016 Catch Up

Dev Patel and his mom Anita arrive on the red carpet at the Oscars 2017

Do Your Fucking Research *Nicki Minaj Voice*

Wow… Lmao.

Some people threw white paint on it a few years back.

They want to be a victim so bad.

Fun Fact: That’s a statue of the fist which Joe Louis used to knock out Max Schmeling, Hitler’s favored heavyweight boxer in 1938. Schmeling won the 1st bout by knockout in round twelve, but Joe Louis came back in the follow-up match and laid him the fuck out in the 1st round.

Fun Fact: Schmeling was hated by the Nazis for losing to a black man and for having a Jewish manager, and he hated them right back, stating in 1975 that he was glad he’d lost the fight because the thought of  the Nazis using him for propaganda purposes sickened him. He also personally saved the lives of two Jewish children and later became lifelong friends with Joe Louis.

So maybe don’t refer to him as “Hitler’s favored heavyweight boxer”…

Thank you for this additional info!

Reblogging this for the added facts and so people know that Schmeling wasn’t a Nazi or Nazi collaborator and was in fact a good man

Twin Peaks: Fire Walk With Me, 1992 (dir. David Lynch)

Just fill the poor boy in already.

The Handmaiden (2016) dir. Park Chan-wook

Rabbia E Tarantella

Composer: Ennio Morricone

Film: Inglourious Basterds (2009)

There’s some cool stuff in this score. Too bad it won’t be eligible for the Oscars.

Not eligible? Why?

I believe it’s because Hans Zimmer is often very open in credits when it comes to his studio.  It often gets passed as “well he didn’t write enough of it himself” when in reality most composers with full studios so this in practice- he’s just one of the few who openly credits accordingly.  

Film score composing discourse, because some argue “well we don’t pass off as much creatively to those under us” but I’m not sure how true that is or isn’t.  

That’s what I understand of it anyway.  

Well it’s mostly because of this piece right here: https://www.youtube.com/watch?v=6lQLyaiMieU That is the Nimrod Variation from Elgar’s “Enigma Variations”. and it is used in this score album on 5 separate tracks.

As we’ve seen with scores like Arrival and Birdman being ineligible in the past, the Academy has a problem with scores that use pre-existing music during pivotal moments of the film, especially if the rest of the score is mostly atmospheric. If there’s no other strong melody to latch onto in the score, then the audience leaves remembering a piece of music that wasn’t original. Arrival was bookended by Max Richter’s “On the Nature of Daylight”, and Birdman used 2 or 3 Mahler pieces if I remember correctly, 1 of which during the climax of the film. Now the Academy also has issues with groups of composers working on scores (ala the score for The Revenant being ineligible because 3 composers worked on it), so Dunkirk has both of those problems working against it, since Hans Zimmer, Benjamin Wallfisch, Lorne Balfe, AND Edward Elgar are all credited on the album.