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.
Variety, which has been making a much greater effort to cover the Hollywood music scene this year, launched its inaugural Music for Screens Summit on Tuesday, October 30. I was privileged to moderate the score-composer panel, which I dared to declare the most diverse ever — Turkish-born Pinar Toprak (who is starting Captain Marvel), Dutch composer Tom Holkenborg (about to unveil Mortal Engines), Swedish-born Ludwig Goransson (Black Panther), German-Iranian Ramin Djawadi (Game of Thrones), African-American composer Terence Blanchard (BlacKkKlansman) and New Yorker Marco Beltrami (A Quiet Place). It was a wide-ranging discussion, covering everything from diversity issues to film — and, by extension, film scores — becoming part of the ongoing cultural conversation in America. Video of the entire session is here.