It was a whirlwind four days, beginning with the first-ever Oscar concert at Royce Hall, then a really fun Oscar music reception (sponsored by the Society of Composers & Lyricists) and finally the Academy Awards themselves on Sunday. A roundup, with lots of colorful photos, is here.
The Academy’s musical choices were all fine in its first staged concert of Academy Award-nominated music. The problems were the host and the interviewer, neither of whom came off well. My editors chose to leave out my recitation of the more ludicrous moments. This is what didn’t make it into the Variety story:
Film critic Elvis Mitchell, enlisted to interview the composers between segments, was hit-and-miss, getting one of the Arcade Fire composers’ names wrong (“William Phillips”? It’s William Butler) and drawing head-scratching and irrelevant parallels with his favorite Western scores (Ennio Morricone for Gravity, Williams’ obscure The Missouri Breaks for The Book Thief, which could not be farther afield from one another).
I walked into a scoring session for Frozen, not really knowing what to expect (except that I knew Chris Beck’s score would be great, and it was). What I found was a surprising group of musicians, songwriters, Disney animators and executives who hoped that, somehow, this long-in-gestation version of “The Snow Queen” would somehow resonate with moviegoers. (Boy, did it.) We were proud to introduce the musical ideas first, in the pages of Variety.