The sixth installment in my annual series of articles looking at the best “under the radar” scores from around the world concentrates on music from films from Spain and Portugal. I have long been of the opinion that, pound for pound, the best film music in the world is being written on the Iberian peninsula, and this year’s nine entries more than confirm that theory yet again. Read more…
The fifth installment in my annual series of articles looking at the best “under the radar” scores from around the world concentrates on music from films and television from my home country, the United Kingdom. This year’s crop of British beauties includes a lovely animation score from a respected veteran, an exciting drama score from an increasingly impressive talent, and several outstanding scores for television. Read more…
In the Best Original Music category, which is named in memory of the film director Anthony Asquith, the nominees are:
- JUSTIN HURWITZ for La La Land
- JÓHANN JÓHANNSSON for Arrival
- ABEL KORZENIOWSKI for Nocturnal Animals
- MICA LEVI for Jackie
- DUSTIN O’HALLORAN and VOLKER “HAUSCHKA” BERTELMANN for Lion
This is the third BAFTA nomination for Jóhannsson, and the second nomination for Levi. All the other four nominees are first-time recipients, although Korzeniowski did win a BAFTA TV Award in 2015 for his television score Penny Dreadful. None of the nominees have previously won a British Academy Film Award.
The winners of the 70th BAFTA Awards will be announced on February 12, 2017.
In the Best Original Score category composer Justin Hurwitz won the award for his score for the original musical La La Land. In his acceptance speech, Hurwitz said:
“Thank you, thank you. HFPA, everybody who worked on the movie, everybody at Lionsgate, all the LA musicians. I could start going through names, but I would have to pick and choose and leave so many names out, and then I would feel bad and then I would also start imagining that people were angry at me for not saying their names, so, just kind of across the board everyone who worked on the movie. I feel like it was the kind of movie where … well, first of all I was lucky to get to work, because it was a musical, I got to work with or at least know, pretty much all the departments, and there was just this spirit across the movie where people kind of worked harder than I think they’re used to working, and went to bed later than they’re used to going to bed, and wore more hats than they’re used to, and because I think we were all … we didn’t believe that this movie was getting made, and we didn’t believe that Damien had created something so unique that allowed us to put so much of ourselves into it, so, we didn’t want to take it for granted, and everybody worked so hard, and so passionately, so thank you to everybody, and this is very much appreciated.”
The other nominees were Nicholas Britell for Moonlight, Jóhann Jóhannsson for Arrival, Dustin O’Halloran and Volker “Hauschka” Bertelmann for Lion, and Hans Zimmer, Pharrell Williams, and Benjamin Wallfisch for Hidden Figures.
In the Best Original Song category, the winners were Justin Hurwitz, Benj Pasek, and Justin Paul for their song “City of Stars” from La La Land.
The other nominees were Lin-Manuel Miranda for “How Far I’ll Go” from Moana, James Osterberg (Iggy Pop), Daniel Pemberton, Stephen Gaghan, and Brian Burton (Danger Mouse) for “Gold” from Gold, Justin Timberlake, Max Martin and Karl Schuster (Shellback) for “Can’t Stop the Feeling” from Trolls, and Stevie Wonder, Ryan Tedder, and Francis Farewell Starlite for “Faith” from Sing.
The fourth installment in my annual series of articles looking at the best “under the radar” scores from around the world concentrates on music from films from Scandinavia, one of the world’s most impressive sources of excellent scores. One score from Finland, one score from Sweden, and a veritable plethora of scores from Norway are showcased this year. Read more…
The third installment in my annual series of articles looking at the best “under the radar” scores from around the world concentrates on music from films from Eastern Europe. Here you will find two scores from Russia – one by a complete newcomer, one by an esteemed veteran – plus one score from Romania (via France and Israel), and three scores from Poland, all of which were written by one of that country’s film music rising stars. Read more…