The process of choosing “best song” and “best score” for this year’s Academy Awards will be a little more complicated for voters. Revised Oscar rules mandate that the music branch choose 15 pre-nominees in each category, requiring them to see and evaluate all of the eligible works an entire month earlier than usual. This may alter the results and eliminate late-December releases from the race. I discuss this in an analysis story for this week’s Variety. Also this week: individual looks at 13 potential score nominees, including Mary Queen of Scots, A Quiet Place, Green Book, On the Basis of Sex, Widows, Red Sparrow and Fantastic Beasts 2, BlacKkKlansman, Stan & Ollie, Boy Erased, The Ballad of Buster Scruggs, If Beale Street Could Talk and Vice.
Thursday night, I had the pleasure of interviewing Oscar-nominated composer Carter Burwell (Carol, Three Billboards Outside Ebbing Missouri) after a Society of Composers & Lyricists screening of the newest film by Joel and Ethan Cohen, The Ballad of Buster Scruggs. Burwell has been scoring the Coen brothers’ films for more than 30 years, dating back to Blood Simple in 1984. This often amusing, sometimes harrowing Western is in six parts, which was like “scoring six movies,” Burwell said.
Every year Variety asks me to analyze the music races for the Academy Awards — not really handicapping them, as that entails choosing favorites, which I don’t like to do. But examining the five nominees, quoting the composers, hinting at what’s important about each, and subtly suggesting what Academy voters might be thinking. Alexandre Desplat’s The Shape of Water is the current favorite, but I think you cannot count out Jonny Greenwood’s Phantom Thread or Carter Burwell’s Three Billboards Outside Ebbing, Missouri. Hans Zimmer’s Dunkirk and John Williams’ Star Wars: The Last Jedi are admittedly outsiders at this point… but the Oscars love to surprise us. This story appeared only in print, so please click on the images to read it here.
For Variety‘s final roundup of potential award nominees in the music categories, I covered nine scores and broke them down into three categories: Suspense (Michael Abels’ Get Out, Patrick Doyle’s Murder on the Orient Express, Carter Burwell’s Three Billboards Outside Ebbing, Missouri); films that centered on families (Jon Brion’s Lady Bird, Randy Newman’s The Meyerowitz Stories, Marcelo Zarvos’ Wonder); and music for animation (John Powell’s Ferdinand, Mychael and Jeff Danna’s The Breadwinner, Michael Giacchino’s Coco). It certainly was a diverse and fascinating year for original music in films.
For Variety‘s first Contenders issue of the year, I profiled four early scores that could be vying for “original score” honors as the 2017 awards season gets underway: Dario Marianelli’s music for Darkest Hour; Thomas Newman’s music for Victoria & Abdul; Carter Burwell’s music for Wonderstruck; and Rupert Gregson-Williams’ music for Wonder Woman. This is just the beginning, of course — there will be other stories about composers and songwriters during November and December, as the season progresses.
It’s always fascinating to talk with composers about how they go about scoring a film, what their approach to the material is, how they work with different directors. For this story — that first appeared in last week’s Music for Screens section of Variety — I interviewed seven composers: Marcelo Zarvos (Fences), Carter Burwell (The Founder), Daniel Pemberton (Gold), Max Richter (Miss Sloane), Harry Gregson-Williams (Live by Night), Trent Reznor and Atticus Ross (Patriots Day). Many took their cues from the characters at the center of the story and developed themes and sounds specific to them, their goals and desires. And in a second story, I discuss the Academy’s surprising decision to include scores from musicals in its “original score” category for the first time in many years.
My last Variety story during the 2015 Oscar campaign examines each of the five nominees for Best Original Score: music by John Williams, Ennio Morricone, Thomas Newman, Carter Burwell and Johann Johannsson. Here is the link to the score story; also here is a second story, about this year’s Best Song category, that draws on my original interviews with nominees Lady Gaga and Diane Warren (“Til It Happens to You”), Sam Smith (“Writing’s on the Wall”) and J. Ralph (“Manta Ray”).
For Variety‘s second installment in our series on potential Oscar nominees in the music categories, I interviewed five composers, seven songwriters, a music supervisor and a director. Our main story features John Williams, in his first interview offering details of his new Star Wars score, as well as Hateful Eight music supervisor Mary Ramos talking about Ennio Morricone’s music; and The 33 director Patricia Riggen discussing the late James Horner’s contributions to her film. I also wrote four of the six composer profiles (on Thomas Newman, Michael Giacchino, Carter Burwell and Brian Tyler) and half of the song story (including interviews with Spectre singer-songwriter Sam Smith and The Hunting Ground songwriters Diane Warren and Lady Gaga). And there’s still more to come!
New York-based composer Carter Burwell flew out to L.A. to talk about his score for director Todd Haynes’ new film Carol. We did an on-camera interview that is now on SoundWorks Collection, but Friday night we also did an audience Q&A after a screening sponsored by the Society of Composers & Lyricists. Burwell — who is well-known for his scores for many Coen Bros. films including Fargo, as well as two in the Twilight series — was, as always, thoughtful and articulate. The Carol score, written for a small ensemble including strings, piano, harp and a few woodwinds, may well be a contender in this year’s awards season.