For another in Variety‘s series of looks at this year’s Oscar-worthy film music, I singled out four films that might be characterized as either fantasy or science-fiction: Alexandre Desplat’s The Shape of Water, Rolfe Kent’s Downsizing, Hans Zimmer and Benjamin Wallfisch’s Blade Runner 2049, and Michael Giacchino’s War for the Planet of the Apes. All four are terrific, and while Desplat’s Shape of Water seems to have the best chance at nomination, I wouldn’t count out any of them!
As part of Variety‘s series of examinations of awards-worthy work in this year’s film music, we looked at four films that depict either historical events (Dunkirk, Battle of the Sexes, All The Money in the World) or were rooted in historical fact (Mudbound). Hans Zimmer’s Dunkirk score would seem to have the best chance at an Oscar nomination this year, although Nicholas Britell did a great job with Battle of the Sexes and Daniel Pemberton’s faux-Italian-opera for All the Money in the World is fascinating. And don’t count out Tamar-kali’s chamber-music approach to Mudbound — at a time when diversity matters more than ever, she could easily make the final five.
Radiohead’s Jonny Greenwood, who rarely grants interviews, made an exception to talk to Variety about his music for Paul Thomas Anderson’s new film Phantom Thread, starring Daniel Day-Lewis in what may be his final acting role. Greenwood was fascinating, talking at length about his mostly piano-and-strings score for the period piece about an enigmatic London couture figure and his model/lover. Of Greenwood’s four films for Anderson (including the remarkable There Will Be Blood), this score stands the best chance to get the composer his first Oscar nomination.
Given the number of first-rate documentary scores this year, a number of people have posed this interesting question to me: Could a documentary score win an Oscar? Could one even be nominated? (In fact, that has never happened.) I interviewed a number of people about it and, in this story for one of Variety‘s awards-centric Extra Editions, offered an overview of three of this year’s best: Jeff Beal’s music for Boston (about the Boston Marathon), Philip Glass’ music for Jane (about scientist Jane Goodall), and Alex Heffes’ score for Earth: One Amazing Day (a great BBC film about a day in the life of the planet).
Variety editors asked me to take an early look at the original-score race at the Oscars, even though it was only November and there are still a number of films yet to be screened. Realistically, at this point there are about 25 legitimate contenders for the five available nomination slots, but at this early stage I think it’s best to present them without making predictions (which is always dicey anyway). Along the way I found room to talk about diversity and gender issues, which are likely to be a factor in the race; and what composers are talking about in terms of time and freedom to write the music that will best enhance their films. Composers quoted include Michael Giacchino (Coco), Dario Marianelli (Darkest Hour) and Tamar-kali (Mudbound).
This piece, the lead Artisans story in this week’s Variety, was both complicated and a joy to write. Disney/Pixar always goes to great lengths to find the right score (and often songs) for each of its films, but on Coco they went to extremes. Coco, which opens next week, is set during Mexico’s “Day of the Dead” celebration, and is about a boy who desperately wants to be a musician — something his family is dead-set against. The filmmakers hired the ever-reliable Michael Giacchino (Ratatouille, Up) to compose the score, but added Mexican-American composer Germaine Franco to orchestrate and co-write several of the songs. And they arranged for many of Mexico’s top musicians to perform much of the background music you hear. Oh, and not incidentally, they asked Frozen songwriters Bobby Lopez and Kristen Anderson-Lopez to pen a key song heard several times in the movie.
Movie music in the concert hall seems to be, as they say, “trending” — it’s more popular than ever, and in many different forms. For the lead story in this week’s Variety “Music for Screens” section, I interviewed three composers (David Newman, who recently conducted the New York Philharmonic in sold-out Star Wars shows ; Ramin Djawadi, whose Game of Thrones tour was so successful he’s planning another; and Hans Zimmer, whose European and American tours transformed the traditional “film music” show into more of a rock concert); and three producers, including Steve Linder and Jamie Richardson from Film Concerts Live! and Richard Kraft, who has produced a number of concerts of Danny Elfman and Disney 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.
With Blade Runner 2049 opening this weekend, and the colossal box-office success of It, I thought it was the perfect moment to talk at length with composer Benjamin Wallfisch about both scores — which, incidentally, couldn’t be farther apart in terms of style and execution. Wallfisch collaborated with Hans Zimmer on the all-electronic score for Blade Runner, and in this interview for Variety he discusses their intent to remind us of the sound of the original (composed in 1982 by Vangelis) while also making it fresh for a new story set 30 years later. Wallfisch also discusses his complex and frightening symphonic score for the Stephen King thriller It, which must rank among the finest orchestral scores of the year.
It was a genuine thrill to be the first journalist allowed to hear the songs that Oscar- and Tony-winning tunesmiths Benj Pasek and Justin Paul have penned for the upcoming Hugh Jackman film The Greatest Showman (debuting at Christmas), a musical biopic of the legendary P.T. Barnum. It’s the lead music story in this week’s Variety, and includes a brief look at four of the songs, plus interviews with the songwriters, Jackman and director Michael Gracey. I don’t think it’s an exaggeration to say that Pasek & Paul are today’s hottest musical-theater writers, only a few months after winning Oscars for La La Land and Tonys for Dear Evan Hansen. Plus they are really terrific guys who have an amazing sense of musical-theater history.