Tag Archives: Kris Bowers

Music in “Green Book”

Although it wasn’t eligible for an original-score nomination — Kris Bowers’ 20 minutes of score was insufficient by comparison with all the other music in the film — Green Book still managed to be one of the year’s toughest assignments for a composer. That’s because Bowers came aboard early, trained actor Mahershala Ali in how to play convincing-looking piano, then transcribed and performed all of the Don Shirley music that was heard throughout the film. Oh, and then he wrote the original score, too. I discuss all this in a story that ran in the Feb. 12 issue of Variety (it’s not online, so click on the image at left to read it).

New twists in this year’s Oscar music race

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.

This year’s Emmy music races

It’s only a matter of weeks after Oscar season ends that Emmy season begins. I know, it’s hard to believe, but within the industry — especially the many publicists we deal with on a daily basis — the calendar year has become one long awards season. Still, Emmy season is a great way to catch up on the many fine shows that now grace the small screen, and in this first of a series of stories about Emmy-worthy work in music for television, we look at a handful of potential nominees in the series- and limited-series-scoring categories. In this second story, the role of music in current science-fiction series is examined. A third story looks at the music for four of the season’s top limited series, including Howards End and Patrick Melrose. And a fourth story looks at the odds of documentary scores, including The Vietnam War and Blue Planet II, attaining Emmy glory.