# DNA of the Oscar winning soundtrack ?



## milesito (Mar 31, 2016)

hi all,

Just was pondering what it would take to win best soundtrack and I am curious to hear what you all feel are the main elements of an Oscar winning score...I know Ennio won last year. I haven't seen the hateful 8 yet but it must have been amazing - fitting the picture, moving, and innovative right?

All thoughts welcome..


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## bryla (Mar 31, 2016)

1 word:

lobbying


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## milesito (Mar 31, 2016)

To be honest, That's kind of depressing :(


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## Markus S (Mar 31, 2016)

milesito said:


> To be honest, That's kind of depressing :(


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## ghostnote (Mar 31, 2016)

You can hear that these scores deliver a kind of devotion. They are convincing. They let you forget you're watching a movie. Same goes for acting, directing, editing, etc. In most scores you can hear too much ego or/and small inconsistencies. Other times, everythings OK with the score, but the quality is simply missing. Lobbying and politics are also factors, but in the end the most convincing (big movie) score will win.


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## bryla (Mar 31, 2016)

Michael Chrostek said:


> In most scores you can hear too much ego or/and small inconsistencies. Other times, everythings OK with the score, but the quality is simply missing. Lobbying and politics are also factors, but in the end the most convincing (big movie) score will win.


Those scores are filtered out by the nomination – or even just in the consideration.


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## ghostnote (Mar 31, 2016)

bryla said:


> Those scores are filtered out by the nomination – or even just in the consideration.


Out of the nominees, wouldn't you say I'm right? I mean we're talking mainstream here, it's the Oscars, not an indie festival.


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## Greg (Mar 31, 2016)

Somethin like this 

http://www.independent.co.uk/arts-e...the-wall-twitter-academy-awards-a6902911.html

Lmfao


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## RiffWraith (Mar 31, 2016)

milesito said:


> what you all feel are the main elements of an Oscar winning score



The film. It's about the film first, and the score second. Sure, any great score can stand on it's own as well as serve the picture well, but the film needs to be of a certain caliber, in order for the music to really work. Crap film + great music doesn't get you a nomination. Good film and good music can.

Cheers.


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## Dean (Mar 31, 2016)

milesito said:


> hi all,
> 
> Just was pondering what it would take to win best soundtrack and I am curious to hear what you all feel are the main elements of an Oscar winning score...I know Ennio won last year. I haven't seen the hateful 8 yet but it must have been amazing - fitting the picture, moving, and innovative right?
> 
> All thoughts welcome..



At the risk of being lynched here,..I saw the 70mm extended version of Hateful 8,..thats 3 and 1/2 hours of my life I want back! I found the score distracting and painful to listen to in certain sections of the film,.(those piercing strings and that ear bleeding organ loosening my fillings),...Im pretty sure that was an Oscar he was given (and he deserved) for all the incredible scores hes composed,(The Good The Bad And The Ugly) is still mind blowing everytime I hear it Im a kid again watching those Spaghetti westerns.) D


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## Dean (Mar 31, 2016)

ps: I think 'Sicario' desereved to win best score. D


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## Saxer (Mar 31, 2016)

No matter how it sounds: the score can never be bad if the movie makes money.


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## givemenoughrope (Mar 31, 2016)

The Sicario score and film were totally limp to me. All the talk of tough thriller, Swans and spectral music (please) it was was just typical sap. The night vision scene was cool. 

Loved the Hateful 8 score more than the film. Those high strings rattling my fillings, that riff playing over and over, trumpet theme at the end...can't get enough of it. Pure classic Morricone terror reminiscent of his scores for La Piovra and Demons of St Petersburg.


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## givemenoughrope (Mar 31, 2016)

Oscar scores have to be part of an Oscar film. Past that, twee orchestra lite or morose electronica...and a "concept" that gets across while you are busy watching a film. I hope this year's winner changes this.


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## marclawsonmusic (Apr 1, 2016)

DNA ingredient #1 - the score should be written for a Best Picture nominee.


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## patrick76 (Apr 1, 2016)

Dean said:


> At the risk of being lynched here,..I saw the 70mm extended version of Hateful 8,..thats 3 and 1/2 hours of my life I want back! I found the score distracting and painful to listen to in certain sections of the film,.(those piercing strings and that ear bleeding organ loosening my fillings),..



Perhaps your displeasure was based somewhat upon the speakers and or volume you were listening to since your criticism is directed at the harshness of the score. I have found that recently the theaters have played films and trailers so loud that is all sounds harsh and poor to me.

As far as being lynched, no, but I have sent your information to the Academy of Motion Picture Arts and Sciences to put on their "watch list". If you see Tom Hanks at your home, get the hell out of there, as the Academy has made an unfavorable decision on your fate!


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## Baron Greuner (Apr 1, 2016)

Wasn't that the film that Kurt Russell inadvertently smashed up a priceless Martin guitar?


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## mwarsell (Apr 1, 2016)

This is a current topic for me. I commute 3h every day and, in addition to classical music, I started listening to every Oscar-winning score I could find (mostly on Youtube). Or at least a 'suite' if the full OST is not around. Started chronologically with the original Korngold Robin Hood. Today was E.T. Has been quite a journey  I've continually been impressed by Miklos Rozsa (among others).


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## Baron Greuner (Apr 1, 2016)

It's not so much about the winners, but more about the ones that didn't win that is much more interesting.


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## chibear (Apr 1, 2016)

Of course politics plays a huge role. In this case IMO the industry was trying to balance the failure to officially recognize his incredible work over the decades. Aside from the spaghetti stuff, consider The Red Tent or more importantly The Mission which was IMO some of the most creative writing ever.

While definitely not suffering pocketbook-wise, Zimmer has suffered much the same fate of having some of his best work like Gladiator ignored by the Academy.


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## dgburns (Apr 1, 2016)

You want to win an Oscar?

Pay your PR person,go on a year long election style campaign,and then leave it up to the "academy"to not pick you in favour of the guy who is either going to pass on soon,has been passed on for twelve years in a row,and it's his turn,or you came up withthe darling score for the oddball film of the year where the main actor either went on a hunger strike,changed their face or pretended to be insane or something.
fuggetaboutitt,not worth the freakin hassle.
yes I'm on my second beer,so what??


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## patrick76 (Apr 1, 2016)

Baron Greuner said:


> Wasn't that the film that Kurt Russell inadvertently smashed up a priceless Martin guitar?



Yep, an 1870's Martin. Supposedly Kurt Russell was supposed to switch the guitar with a prop before he destroyed it, but no one told him about it!


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## KEnK (Apr 1, 2016)

I have a rather jaded and cynical perspective on "awards"-
Oscars, Grammys, Golden Globes, Emmys etc are about politics.
Nothing to do w/ Quality
Nothing to do w/ Art
It's a Hoax
Just an overblown Industry congratulating itself.


k


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## givemenoughrope (Apr 1, 2016)

^I agree but Quincy Jones presenting Ennio an Oscar was pretty great.


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## Dean (Apr 2, 2016)

Howard Johnson is right! D


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## AR (Apr 3, 2016)

To me the DNA of an Oscar-winning score is; "It is there, and then it isn't. And it stands on it's own, and then it' kinda naked and bored you can't listen to it, without the picture." - I hope some of you can follow me and know what I'm talking about. 
I give you a few examples...Babel, ...that movie from this Polish composer with Johnny Depp, Tiger & Dragon, Grand Budapest Hotel,...you name it


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## LexDu (Apr 14, 2016)

I've talked to a bunch of directors, some hooked up to Hollywood through various means (and producers), and what has been said before I can confirm: it is a matter of politics. It sucks, but it is a chunk of the broader truth. Of course, all the lobbying and politics in the world won't save a crappy soundtrack for a crappy film, but a great film with a great score needs to pull the right strings (no pun intended). Or tickle the right nerves.

When I found out and assimilated all this a few years ago, Hollywood all of the sudden became very unappealing to me. And it's not just Hollywood, it is mostly everywhere "with stars and big names and big dollars". Even Sundance or Cannes. There are of course, the smaller festivals which can grant awards to indies on the "honesty principle" and (much) lesser politics, but not the big leagues, from my knowledge.

I for one, deep down, chose to stop chasing prestige and spot lights, and just calmed down and understood that things take time and genuine relationships are much more fruitful and enjoyable in the long term. True partnerships/friendships with directors or developers mean more than an etiquette.

I've been much happier since.


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## JohnG (Apr 14, 2016)

What you _could_ do is get the producers to license some really awesome classic film music by someone like, say, just to take a random example: Bernard Herrmann. Use that in a few key scenes and then everyone will say how awesome they remember the score being.

et voila!


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## JohnG (Apr 14, 2016)

and by the way I LOVED the score to Grand Budapest Hotel. For incredibly effective use of small ensembles it's my all-time favourite.


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