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Golden Globe Winners 2015
The Hollywood Foreign Press Association (HFPA) have announced the winners of the 73rd Golden Globe Awards, honoring the best in film and American television of 2015.
In the Best Original Score category legendary composer Ennio Morricone won the award for his score for The Hateful Eight. Morricone was not present at the ceremony, and his award was accepted by the film’s director, Quentin Tarantino. In his acceptance speech, Tarantino said:
“Thank you! Wow, this is really cool. Do you realize that Ennio Morricone – who, as far as I am concerned is my favorite composer, and when I say favorite composer, I don’t mean movie composer, that ghetto, I’m talking about Mozart, I’m talking about Beethoven, I’m talking about Schubert, that’s who I’m talking about – and Ennio Morricone has never won an award for any one individual movie that he has done. He has in Italy! But not in America – and this is I know not America, it’s the Hollywood Foreign Press Association – but, I have to say – please wrap it up, I will – I have to say that I directed the movie that the great Ennio Morricone, at 87 years of age, did an original score for and won the Golden Globe. For Ennio, and his wife, I say thank you, and grazie. Grazie!”
The other nominees were Carter Burwell for Carol, Alexandre Desplat for The Danish Girl, Daniel Pemberton for Steve Jobs, and Ryuichi Sakamoto and Alva Noto for The Revenant.
In the Best Original Song category, the winners were Sam Smith and James Napier for their song “Writing’s On the Wall” from the James Bond movie Spectre.
The other nominees were Justin Franks, Andrew Cedar, Charlie Puth and Cameron Thomaz (Wiz Khalifa) for “See You Again” from Furious 7, David Lang for “Simple Song #3” from Youth, Max Martin, Savan Kotecha, Ilya Salmanzadeh, Ali Payami and Tove Nilsson for “Love Me Like You Do” from Fifty Shades Of Grey, and Brian Wilson and Scott Bennett for “One Kind Of Love” from Love and Mercy.
THE HATEFUL EIGHT – Ennio Morricone
Original Review by Jonathan Broxton
Ennio Morricone has been providing music for Quentin Tarantino’s films for a long time, but it is only recently that he has done so intentionally. Tarantino’s first six films – Reservoir Dogs, Pulp Fiction, Jackie Brown, Kill Bill, Death Proof, and Inglourious Basterds – featured an eclectic, hand-picked selection of music comprising classic rock songs and score cuts from Tarantino’s favorite movies. Kill Bill and Inglourious Basterds most notably made use of music from several classic Morricone scores, including tracks from films such as Navajo Joe, The Good the Bad and the Ugly, The Big Gundown, Revolver, and Allonsanfàn, among others. Tarantino has been both praised and criticized for this approach; some love his idiosyncratic re-purposing of this music in a new and vital setting, while others say that their familiarity with some of the pieces causes a disconnect, diminishing their impact in their new context. Years ago, when questioned about his musical ideology, Tarantino said that he didn’t trust any composer enough to understand, and then musically reinterpret, his cinematic visions – the “soul of his movie”. Tarantino’s stance on this matter began to soften somewhat prior to his seventh film, Django Unchained, and at one point the rumor was that Ennio Morricone had agreed to score it – if anyone could get Tarantino to change his mind about the impact and importance of an original score, it would be Morricone. However, circumstances led to this not happening, and the final soundtrack featured an original Morricone song, “Ancora Qui,” but no original score. Read more…
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