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Golden Globe Nominations 2010

General Discussions » Golden Globe Nominations 2010 (Posts 1 to 30 of 35)

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      CommentAuthorDemonStar
    • CommentTimeDec 14th 2010
    BEST ORIGINAL SCORE – MOTION PICTURE

    ALEXANDRE DESPLAT - THE KING’S SPEECH
    DANNY ELFMAN - ALICE IN WONDERLAND
    A.R. RAHMAN - 127 HOURS
    TRENT REZNOR, ATTICUS ROSS - THE SOCIAL NETWORK
    HANS ZIMMER - INCEPTION


    BEST ORIGINAL SONG – MOTION PICTURE

    “BOUND TO YOU” — BURLESQUE
    Music by: Samuel Dixon
    Lyrics by: Christina Aguilera, Sia Furler

    “COMING HOME” — COUNTRY STRONG
    Music & Lyrics by: Bob DiPiero, Tom Douglas, Hillary Lindsey, Troy Verges

    “I SEE THE LIGHT” — TANGLED
    Music by: Alan Menken
    Lyrics by: Glenn Slater

    “THERE’S A PLACE FOR US” — CHRONICLES OF NARNIA: THE
    VOYAGE OF THE DAWN TREADER
    Music & Lyrics by: Carrie Underwood, David Hodges, Hillary Lindsey

    “YOU HAVEN’T SEEN THE LAST OF ME” — BURLESQUE
    Music & Lyrics by: Diane Warren
  2. Let's go, Desplat.
  3. If the Academy don't nominate Powell for HTTYD, I hope at least that Desplat wins. And if he can't, then Zimmer. Inception it's one of his few scores which I love to listen more often. By the way, Elfman's nomination was a real surprise.
  4. I would bet my money on Desplat
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  5. Thomas Glorieux wrote
    I would bet my money on Desplat

    "The King Is Dead" alone should put him on top.
  6. Kevin Scarlet wrote
    Thomas Glorieux wrote
    I would bet my money on Desplat

    "The King Is Dead" alone should put him on top.


    still have to hear the score, but I'm gonna before the year is over
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 14th 2010
    Alice in Wonderland is by far the best score from that list!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeDec 14th 2010
    I would go for INCEPTION.

    ALICE is great too, I haven't heard the others so my vote means nought.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeDec 14th 2010
    I think all of those titles are great, except the Desplat. I don't like Desplat.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 14th 2010
    Rahman again? It's ridiculous. There are dozens of better scores this year. Anyway, i don't particularly care.
    Love Maintitles. It's full of Wanders.
  11. Yeah, I think the woefully overrated Slumdog Millionaire catapulted him permanently.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 14th 2010
    Well, Slumdong had more stuff than 127 hours which is a Santaolalla spin (but they already awarded the latter 2 Oscars anyway).
    Love Maintitles. It's full of Wanders.
  13. Gustavo Santaolalla: Reason No. 231 why I don't put much credence in what the Academy declares as the best of anything, as fun as it is to follow them.
    •  
      CommentAuthorBregt
    • CommentTimeDec 14th 2010
    Where's James Horner in all this?
    Kazoo
    •  
      CommentAuthorBhelPuri
    • CommentTimeDec 15th 2010
    Christodoulides wrote
    Rahman again? It's ridiculous. There are dozens of better scores this year. Anyway, i don't particularly care.


    bhangra bhangra bhangra
    •  
      CommentAuthorBhelPuri
    • CommentTimeDec 15th 2010
    But seriously...

    No Ghost Writer sad
    127 Hours was a decent score apt for the film but it really shouldn't be on this list.
    Inception is ok but it's Hans up to his usual sonic wallpaper method.
    I don't understand what's great about the score for Social Network. Perhaps it's the popular-film-sweeping-technical-awards-effect a la Slumdog.
    Alice in Wonderland.. not heard the score but I love the main theme
    King's Speech.. not heard it.

    And hence I am not qualified to make a conclusion since I have insufficient data. Hope the Frenchman wins.
  17. Bregt wrote
    Where's James Horner in all this?

    He might be a dark horse this year. Karate Kid was surprisingly awesome.

    Also hoping The Deathly Hallows gets some mention. After listening to it again, this is a career best for the Maestro.
  18. BhelPuri wrote
    But seriously...

    No Ghost Writer sad


    Yeah, I know.

    Kevin Scarlet wrote
    Bregt wrote
    Where's James Horner in all this?

    He might be a dark horse this year. Karate Kid was surprisingly awesome.

    Also hoping The Deathly Hallows gets some mention. After listening to it again, this is a career best for the Maestro.


    Yeah, The Karate Kid was great. It has the typical Horner writing I love. "I Want To Go Home - The Forbidden City" and "From Master To Student To Master" are amazing.
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 15th 2010
    BhelPuri wrote
    I don't understand what's great about the score for Social Network. Perhaps it's the popular-film-sweeping-technical-awards-effect a la Slumdog.


    Bingo! The film would have been just as good without music. The score made no impact whatsoever!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorDemonStar
    • CommentTimeDec 15th 2010
    I'd bet the Statue Of Liberty that 127 Hours will win. Pity, because although I like the score, it's hardly the best in there IMO.

    My vote would go to Alice In Wonderland, I saw the movie yesterday and my appreciation for the score increased even more. Inception and King's Speech are also favourites and I'll be delighted if either of them wins too (by some miracle). I've only listened to the Social Network score once... it didn't really appeal to me but I think it possibly works fairly well in the film.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 15th 2010 edited
    BhelPuri wrote
    But seriously...

    No Ghost Writer sad
    127 Hours was a decent score apt for the film but it really shouldn't be on this list.
    Inception is ok but it's Hans up to his usual sonic wallpaper method.
    I don't understand what's great about the score for Social Network. Perhaps it's the popular-film-sweeping-technical-awards-effect a la Slumdog.
    Alice in Wonderland.. not heard the score but I love the main theme
    King's Speech.. not heard it.

    And hence I am not qualified to make a conclusion since I have insufficient data. Hope the Frenchman wins.


    I disagree. It was neurotic, fast and clever, even crazy at places, kinda like the main character himself. The social network is EXACTLY the kind of score the film needed. It's like it was tailor-made for every single frame in there and works perfectly. If we are awarding the functions of scores within the medium they were made for, then Social Network is a perfect example of a great score. I wouldn't re-visit on cd frequently, but that's indifferent.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 15th 2010 edited
    Christodoulides wrote
    I disagree. It was neurotic, fast and clever, even crazy at places, kinda like the main character himself. The social network is EXACTLY the kind of score the film needed. It's like it was tailor-made for every single frame in there and works perfectly. If we are awarding the functions of scores within the medium they were made for, then Social Network is a perfect example of a great score. I wouldn't re-visit on cd frequently, but that's indifferent.


    Too be totally honest... I didn't notice the music in the picture. It didn't help or enhance the film. Like I said above the film would have been just as good if there was no music at all.

    IMHO, it's a waste of a nomination when you have stuff like How To Train Your Dragon, The Ghost Writer, Tangled and even Tron on the outside looking in.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorBhelPuri
    • CommentTimeDec 15th 2010 edited
    Christodoulides wrote
    I disagree. It was neurotic, fast and clever, even crazy at places, kinda like the main character himself. The social network is EXACTLY the kind of score the film needed. It's like it was tailor-made for every single frame in there and works perfectly. If we are awarding the functions of scores within the medium they were made for, then Social Network is a perfect example of a great score. I wouldn't re-visit on cd frequently, but that's indifferent.


    OK. Then you would agree that 127 Hours is also a great score because it supported the movie very well and captured that feeling of loneliness, desperation and liberation which was so essential to the film. Right?
    •  
      CommentAuthorDemetris
    • CommentTimeDec 15th 2010
    No, i don't think it did that; it was very neutral and basic, and poor; apart the string-led bigger sounding pieces. The social network was clever, fast paced and energetic and if you follow the director's works, it's exactly what his films have and need all these years. I truly think that any other approach to that film would have ruined it. It was either such a score, or songs.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorNautilus
    • CommentTimeDec 15th 2010
    "How to train ", "Inception" and "King's speech deserve" have to be nominated in every award this year automatically.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 15th 2010
    Plus, no matter how i didn't like the musical choices made for Slumdong Millionaire, that score was much better for that movie compared to 127 hours which sounds like poor Santaolalla-isms; the latter would possibly provide a much better score for the film (see Babel or 21 grams and amorres perros for instance).
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBhelPuri
    • CommentTimeDec 15th 2010
    But they're entirely different movies. One is a witty and fast paced drama with many interesting characters and situations. Its score had to be that way. The other takes place almost entirely with a lone guy trapped in a crevice. Instead of a conventional score that could easily have been bleak and unattractive there you have a score that stands up well on its own too. I can't believe the amount of cognitive dissonance shown here.

    There is a lot more to the score than a Santaolalla-ism. If anything, I'd call it closer to John Murphy because some of the cues have the same kinetic feel.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 15th 2010 edited
    ". I can't believe the amount of cognitive dissonance shown here. "

    Here goes the smart-ass guy comment of the day wink Bp, it's a tastes' thing. How many scores like that are written each year that sound like that one but still nobody knows / talks about them? (Michael Brooks' "the fighter", everything by Tomanddandy or Asche and Spencer, "Things we lost in the fire" by Johan Soderqvist, Jon Brion's scores, Mark Isham during the last couple of year (and he got bad-mouthed for writing "drones"), John Murphy's smaller scores (he writes this style ages ahead btw) - and the list is endless, and nobody talks about them?

    Suddenly Rahman writes a couple of guitar chords and you run kissing his ass; it's pretentious. If you can listen to these scores above, view the said films and observe the functions of the scores within the films, and tell me how and where and why is Rahman's any better, that would be very interesting. YOu're not talking to anyone who doesn't see a shitload of movies each year and doesn't listen to the equal amount of scores, you know.

    And i never compared the two, social network and this; you did. Nor did i say the film 127 hours needed such a score; i said i'd take Santaolalla over Rahman for this one 'cause i prefer the more dramatic, sensitive and more melodic approach he showcased for a film like Babel, 21 grams and Amores Perros (for instance) over this anyday. Don't try and alter my words to emphasize your point.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSouthall
    • CommentTimeDec 15th 2010
    I think 127 Hours is lightyears beyond anything Santaolalla could conceive (there is evidence of a genuine feel for the dramatic needs of a film, which Santaolalla doesn't have, and there is evidence of a genuinely gifted compositional technique, which Santaolalla doesn't have) - I don't understand where the comparisons are coming from.

    Having said that - there are countless film composers who could have scored 127 Hours as well as Rahman did (and in fairness, countless who couldn't) and I don't see anything particularly special about it. It WILL crop up in a lot of lists of nominations, though, because of the film. All those other scores you mentioned, D, are not from films with the profile of 127 Hours. If Hans Zimmer had written Inception for a film which nobody saw then it wouldn't have got a nomination; if any unskilled member of the public (e.g. Gustavo) put a couple of chords together for a film which got critics jizzing themselves then that would be more than capable of getting a nomination, regardless of the lack of merit of the music.

    Surely we all know how these things work by now.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 15th 2010
    Southall wrote
    Surely we all know how these things work by now.


    It appears that a majority DON'T know how things work.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!

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