Gearing up with the screenings of “The Secret Life of Walter Mitty” on Saturday morning, the awards community is getting their first looks at many of the top contenders for this year’s Oscars. Word has it that Sony Pictures had planned a secret screening of David O. Russell’s “American Hustle” this week but was canceled due to “technical difficulties.” That is just one of the big mysteries of the season that can score big. I’m very excited as the season begins to unfold. Many races are wide open, films are living up to their potential in a big way, and there’s still so much more left to see. I make it no secret that I always spend special attention to two specific tech branches when watching film, cinematography and score. They have the real and tangible qualities in which you can judge the film. On Power Hour this week, we spoke about the two briefly. The Original Score race looks to have a few big names fighting for long overdue recognition from their branch.
“Saving Mr. Banks” is already hitting the ground without anyone getting a first look at yet. Walt Disney Pictures has put a strong team in place and believe very heavily in the works of director John Lee Hancock, Emma Thompson, and Tom Hanks. Versions of the script have leaked online from months back and some of our own readership has said there’s a lot more “umphf” to the script than the initial trailer suggested. Not to mention that one of the most overdue composers working today, Thomas Newman, is behind the music. Nominated for eleven Oscars, one for Original Song, Newman has composed some of the best compositions heard in film. Coming off a nomination for last year’s James Bond flick “Skyfall,” Newman has a vehicle that can bring him to the finish line. Disney can just throw buckets of money at “Banks” and I’m sure lots will be spent on Newman. I have a special appreciation for his works on “American Beauty,” which surprises me as something he didn’t win for judging on the love for that film. Also, love “WALL-E” in a big way and his snubbed work on Sam Mendes’ “Revolutionary Road.”
Alexandre Desplat sits in nearly the same boat as Newman. Nominated for five Oscars, four of them in which were nominated for Best Picture resulting in two winning (“Argo” and “The King’s Speech”), the French composer has come up short every time. This year, he works on George Clooney’s “The Monuments Men” from Sony Pictures, a company that knows how to push. He also lended his craft to Stephen Frears’ “Philomena” but not so many critics singling it out as one of the year’s best.
One of the most compelling and exciting elements of “Gravity,” which opens tomorrow is the work of Steven Price. In a film that opens up with a title card explaining there is no sound in space, Price steps up and creates his own character in his music. In our long sequences spent with Sandra Bullock and a whole lot of empty space, everything about his work stands out. It’s one of my favorites of the year so far.
Of course, there are the previous winners like John Williams, who will be going for his 49th Oscar nomination for “The Book Thief” and Hans Zimmer, who composes two of his finest efforts on “12 Years a Slave” and “Rush,” that will likely get love any way you slice it. Williams “coming out of retirement” to score Brian Perceival‘s adaptation of the popular book SHOULD mean something. Zimmer will ride in with which ever film brings the Best Picture heat. I think we know what that is.
With 20 nominations and 2 Oscars, Randy Newman‘s work on Pixar’s “Monsters University” was one of the film’s key highlights. There are also some composers getting a push already from studios. Daniel Pemberton is said to give a unique quality to Ridley Scott‘s “The Counselor” and you can never count out a possibility for Howard Shore for “The Hobbit: The Desolation of Smaug.”
You can’t ever count out the power of Disney. Christopher Beck is sure to be at least in conversation for “Frozen” later in November. That won’t be the only Animated film looking for recognition for its score. The campaign has lifted for Dreamworks’ “The Croods” and may be able to do something for composer Alan Silvestri, two-time nominee for “Forrest Gump” and Original Song for “The Polar Express.”
Hope you’re all catching some of the big contenders this weekend. “Captain Phillips” is doing a sneak preview screening in a bunch of cities on Saturday. I love the work of Henry Jackman, which is definitely taking some emotional cues from John Powell on the finale of “United 93” in his latest. It’s worth mentioning and worthy of Oscar consideration.
Include your favorite scores in the comment section.