Ludwig Göransson’s music for Oppenheimer won best original score last night.
Billie Eilish and Finneas O’Connell’s theme song from Barbie was voted best original song.
Zone of Interest won best sound.
Nothing for Bradley Cooper’s Maestro. It was accounted the most-nominated Oscar runner to emerge without a single win.
The Italian mezzo, who loves playing male roles,…
The family of James Loughran, long serving conductor…
Message from Jeremy Eichler: … After 18 years…
The Baltimore Chamber Orchestra has chosen Robert Moody…
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Also music related: The Last Repair Shop won Best Documentary Short Film. It’s about LA public school district’s instrument repair shop. Available on YouTube: https://www.youtube.com/watch?v=xttrkgKXtZ4
49 minutes is not ‘sbort’.
It’s “short” because it’s not feature-length
The running time is 39:58.
The Oscar animated shorts are 10 minutes in length.
This “Last Repair Shop” 40 miniute ‘short’ I find very boring and sleep-inducing. No doubt another woke trophy winner.
God, you people really think that anything these days involving poor people, black/latino people, or poor black/latino people is “woke”. It’s getting utterly irritating.
Leonard Bernstein used to be a household name in America even for those not into classical music. Today he has been largely forgotten. No wonder Bradley Cooper got turned down by all the Hollywood Studio bosses. He told the New Yorker why they all said no — “It’s a huge budget. It’s a subject that no one will be interested in, and we just can’t justify it.”
And the film “Maestro” only proved they were right.
How can these distorted synth sounds win a prize over John Williams’ wonderful “Helena’s Theme”?
It’s a matter of the music or sound matching the context of the film, and both Oppenheimer and Zone of Interest had far more substantial contexts, matched superbly well. (I can’t speak to Eilish’s song from Barbie, since I’ve not yet seen the film.)
No surprise on Maestro. I had trouble getting through it, it was so dull.
That winning music score was to my ears the worst thing by far in a movie that was otherwise quite good. The sound in The Zone was truly very well done. As for tremendous successes of utterly talentless BE in recent years, it is for me one of the most puzzling phenomena in contemporary popular culture.
The score and the “sound mixing” are not the same thing.
And could anyone please confirm what happened in the final bars of Andrea Bocelli’s performance at the Oscars? It sounded like the orchestra accidentally came in where they shouldn’t have (or at least some of the players) and thus the final chords were a train wreck.
Maestro was nominated for seven Oscars, Killers of the Flower Moon for 10. Neither won any. I’m not sure what your last sentence means.
The score for “Poor Things” was by far the most interesting and unique of the lot. Whimsical, noisy, even amateurish in a good way; I’d have been very happy to see it win.