Williams has scored all but five of Spielberg’s celebrated films since the director’s 1974 debut, “The Sugarland Express.” But “The Fabelmans” is special for two reasons: It marks Spielberg’s most personal film - and, with Williams’ impending retirement after “Indiana Jones 5,” it’s their last film together after a nearly 50-year collaboration. Hollywood, Music, and the Power of Cinema
In 2021, the bar for eligibility in the category was dropped from 60% original music to 35% - this potentially increases the number of eligible scores that rely heavily on pre-existing songs (or needle drops) and source music.
Still to come are Oscar winner Justin Hurwitz’s jazzy score for “Babylon” (Paramount), Nicholas Britell’s gripping score for “She Said” (Universal), Abel Korzeniowski’s uplifting score for “Till” (UA), and two-time Oscar winner Alexandre Desplat’s Italian-infused score for Guillermo del Toro’s stop-motion “Pinocchio” (Netflix).
'The Lord of the Rings': Everything You Need to Know About Amazon's Big Money Adaptationįrom 'Reality Bites' to 'Fatal Attraction,' Keep Track of All the Upcoming Film-to-TV AdaptationsĪdditionally, there are several composers (many winners in previous years) with multiple scores in contention, including Oscar winner Hildur Guðnadóttir (“Joker”) for both “Women Talking” (UA) and “TÁR” (Focus Features), Trent Reznor and Atticus Ross for “Empire of Light” (Searchlight) and “Bones & All” (UA), Michael Giacchino for “The Batman” (Warner Bros.) and “Lightyear” (Pixar/Disney) Ludwig Göransson for “Black Panther: Wakanda Forever” (Marvel/Disney) and “Turning Red” (Pixar/Disney) and Danny Elfman for “White Noise” (Netflix) and “Doctor Strange in the Multiverse of Madness” (Marvel/Disney). Oscars 2023: How Will Last Year's Rule Change Impact This Year's Score Race? They are joined by the legendary John Williams’ final collaboration with Steven Spielberg on his TIFF-winning, semi-autobiographical “The Fabelmans” (Universal) Carter Burwell’s mystical score for Martin McDonagh’s dark bromance “The Banshees of Inisherin” (Searchlight) Christopher Spelman’s spare score for James Gray’s semi-autobiographical “Armageddon Time” (Focus Features), Kris Bowers’ complex score for Stephen Williams musical biopic, “Chevalier” (Searchlight), Tom Holkenborg’s expansive score for George Miller’s romantic fantasy “Three Thousand Years of Longing” (UA), and Rob Simonsen’s nautical score for Darren Aronofsky’s somber “The Whale” (A24).Īna de Armas and Michelle Williams Make a Showy Entrance Into the Best Actress Race Among the early frontrunners are Michael Abels’ genre-bending score for Jordan Peele’s flipped-out “Nope” (Universal), Son Lux’s maximalist score for the Daniels’ multiverse action-adventure, “Everything Everywhere All at Once” (A24), and Terence Blanchard’s African-infused score for Gina Prince-Bythewood’s historical epic, “The Woman King” (Sony). In a season marked by movies about showbiz, social change, and superheroics, many of the contending scores experiment with new musical sounds uniting the past and present.
0 kommentar(er)
