DNA of the Oscar winning soundtrack ?


summer of pickles and IPA beer
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??


Senior Member
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


Emotion is my craft.
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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Senior Member
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!


Senior Member
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.