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IFMCA Award Winners 2009
INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES WINNERS FOR 2009; MICHAEL GIACCHINO’S UP WINS BEST SCORE
Michael Giacchino wins the 2009 Score of the Year award from the International Film Music Critics Association for his inventive and nostalgic score for the Disney Pixar film, UP, which also wins Best Original Score for an Animated Feature. Giacchino receives a total of four awards, including Composer of the Year, in part for also writing the Best Original Score to a Fantasy/Science Fiction Feature winner for the JJ Abrams STAR TREK reboot. Giacchino won the Association’s first Score of the Year award in 2004 for another Pixar film, THE INCREDIBLES.
Christopher Young wins two awards for DRAG ME TO HELL: Original Score for a Horror/Thriller Film and Film Music Compostion of the Year for “Concerto to Hell.” Also receiving two awards is James Peterson for Breakout Composer of the Year and Best Original Score for an Action/Adventure Feature for the mixed martial arts prison movie THE RED CANVAS.
Veteran composer Marvin Hamlisch wins Best Original Score for a Comedy Film for Steven Soderbergh’s THE INFORMANT!, while Polish composer Abel Korzeniowski wins Best Original Score for a Drama Film for director Tom Ford’s debut film, A SINGLE MAN. Rounding out the feature film winners is Armand Amar’s Best Original Score for a Documentary Feature for the French nature documentary HOME. Read more…
COP OUT – Harold Faltermeyer
Original Review by Jonathan Broxton
Nostalgia for the 1980s is all the rage these days. As someone who actually grew up in the 1980s I often find myself forgetting that it all happened almost 30 years ago, and that I remember all the new-nostalgia crazes and trends the first time around. In film music circles, the 1980s is remembered with both fondness and incredulity in equal measure, the latter due primarily to the popularity and success of a number of synth-pop composers. Harold Faltermeyer was one of those; over a six-year stretch he wrote music for box office smash after box office smash, with the likes of Beverly Hills Cop, Top Gun, Beverly Hills Cop II, Fletch and Tango & Cash. His music remains incredibly divisive, and he has as many detractors as fans who laud his creative synth programming and (at the time) cutting edge electronics. In many ways he was the Hans Zimmer of his day, and he can legitimately be considered the source of Zimmer’s über-heroic anthemic style, which originated from Faltermeyer’s collaborations with Jerry Bruckheimer and the late Don Simpson. However, for a multitude of reasons, his music fell out of fashion, and as a result he hadn’t scored an American feature film since Kuffs in 1992 – until now. Read more…
THE GHOST WRITER – Alexandre Desplat
Original Review by Jonathan Broxton
It’s impossible to talk about The Ghost Writer without talking about Roman Polanski. The director of The Ghost Writer and other such excellent films as Rosemary’s Baby, Chinatown, The Ninth Gate and The Pianist was arrested in Switzerland on 25-year old sexual abuse charges during post-production on this film, and has since become a divisive figure. Whether the scandal and scuttlebutt surrounding Polanski will affect The Ghost Writer’s reception remains to be seen, but the Pole has always been an excellent cinematic mind, and his films continue to impress. As a result of his incarceration, many of the film’s ‘finishing touches’ had to be made without him, including the recording of Alexandre Desplat’s original score for the film; thankfully, despite however you may feel about Polanski and his transgressions, Desplat’s score is yet another strong one. Read more…
THE WOLFMAN – Danny Elfman
Original Review by Jonathan Broxton
The story of the creation of the score for The Wolfman is a long and arduous one. Danny Elfman was attached to the project pretty much from its inception, and wrote a fully orchestral, Gothic horror score at the request of the film’s director, Joe Johnston. Originally scheduled to be released in November 2008, the film suffered numerous problems in post production, and was pushed back and back in the calendar; eventually, so much re-editing was done that Elfman’s score no longer fit the timings of the movie, meaning that much of it had to be re-written. However, a scheduling conflict with Tim Burton’s Alice in Wonderland meant that Elfman could not undertake any re-writes, and with time running out the original score was rejected. Austrian composer Paul Haslinger was brought in to replace Elfman, but following its recording his primarily electronic score was deemed ‘wrong’ for the picture, and Elfman’s original score was restored. However, Elfman himself was still unable to re-work his music to fit the new film, so several other composers and orchestrators – including Conrad Pope and Edward Shearmur – were brought in to re-track the music, write additional cues, and basically finish off the project before its February 2010 release. It’s a mess of quite horrific proportions, and one can only hope that debacles like these are avoided in the future. Read more…
PERCY JACKSON & THE OLYMPIANS: THE LIGHTNING THIEF – Christophe Beck
Original Review by Jonathan Broxton
Greek mythology has proven to be a fertile breeding ground for Hollywood films for decades. From the gods of Mount Olympus – Zeus and Poseidon, Aphrodite and Apollo – to human figures such as Jason, Odysseus, Achilles and Perseus in stories such as The Iliad and The Odyssey, these names are engrained into western culture and civilization, and provide classical inspiration for storytellers across the world. When you take these myths and combine them with a very modern variation on the Harry Potter world you end up with Percy Jackson & the Olympians, a series of novels by author Rick Riordan, whose first effort, “The Lightning Thief”, has now been turned into a major motion picture. Read more…
LO – Scott Glasgow
Original Review by Jonathan Broxton
“One of the band jestingly summoned him to join them, and lo, he appeared, as if by a descent from heaven”.
This quote from E.M. Butler’s “The Myth of the Magus” highlights the clever wordplay evident in the title of Travis Betz’s film Lo, a very unusual comedy-horror about the lengths to which people will go for love. The film stars Ward Roberts as Justin, a young man in love with a beautiful girl called April (Sarah Lassaez), who has had the misfortune to have been abducted by demons. Intent on rescuing his paramour, Justin finds an ancient book left behind by April, and uses it to summon a demon named Lo (Jeremiah Birkett), who is bound to obey whoever calls him. Lo, however, is a tricky little bugger, and intends to make Justin his dinner. So begins a battle of wits between the two, one intent on saving the soul of his love, the other just looking for his next meal… Read more…
Academy Award Nominations 2009
The Academy of Motion Picture Arts and Sciences (AMPAS) have announced the nominations for the 82nd Academy Awards, honoring the best in film in 2009.
In the Best Original Score category, the nominees are:
- MARCO BELTRAMI and BUCK SANDERS for The Hurt Locker
- ALEXANDRE DESPLAT for Fantastic Mr. Fox
- MICHAEL GIACCHINO for Up
- JAMES HORNER for Avatar
- HANS ZIMMER for Sherlock Holmes
This is the first Oscar nomination for Sanders. It is the second nomination for Beltrami, the 3rd nomination for Desplat, the 2nd nomination for Giacchino, the 8th nomination for Horner, and the 7th nomination for Zimmer. Horner previously won for Titanic in 1997. Zimmer previously won for The Lion King in 1994.
In the Best Original Song category, the nominees are:
- RYAN BINGHAM and T-BONE BURNETT for “The Weary Kind” from Crazy Heart
- RANDY NEWMAN for “Almost There” from The Princess and the Frog
- RANDY NEWMAN for “Down in New Orleans” from The Princess and the Frog
- REINHARDT WAGNER and FRANK THOMAS for “Loin de Paname” from Paris 36
- MAURY YESTON for “Take It All” from Nine
The winners of the 82nd Academy Awards will be announced on March 7, 2010.
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