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.