Sunday, February 1, 2015

Awards-Nazi Award Nominations: Best Original Score

Happy Superbowl Sunday, everyone! Today's updates to my own personal awards ballot are all about the music.

It was a remarkably rich and diverse year for film scoring, and I had a tough time narrowing my preferences down to just the five Best Original Scores. It was a bit tougher find suitable candidates for the adapted scores, but I'll get to those this afternoon.

Here are the originals. Have a listen!

Birdman (Antonio Sanchez)
Though foolishly disqualified by the Academy's music branch, Sanchez deserves enormous credit for giving such a unique pulse to this film.

Gone Girl (Trent Reznor, Atticus Ross)
Reznor & Ross have developed another trippy score that (appropriately enough) sounds artificially tender, 'massaging' us into a state of unease.

The Grand Budapest Hotel (Alexandre Desplat)
Desplat's folksy Russian-influenced stylings provide a delectable undercurrent for comedy, but are also highly enjoyable on their own.

The Homesman (Marco Beltrami)
Beltrami mixes traditional Western motifs with more modern atmospherics; Wind-swept yet beautiful, like the landscape itself.

Interstellar (Hans Zimmer)
The imposing reverberations of Zimmer's organ pipes pay due reverence to the astronomically grand scale of this epic sci-fi.

Just missed:
Dawn of the Planet of the Apes (Michael Giacchino)
How to Train Your Dragon 2 (John Powell)
Song of the Sea (Bruno Coulais)
The Theory of Everything (Jóhann Jóhannsson)
Under the Skin (Mica Levi)


  1. Best Original Score:

    Gone Girl
    The Grand Budapest Hotel
    Under the Skin