The classic is Tiomkin's Old Man and the Sea (not one of his better scores) winning over Moross' The Big Country (one of the most amazing scores ever).

But also interesting is Charles Previn's score to 100 Men and a Girl defeating Tiomkin's Lost Horizon--what were they thinking!

Spartacus lost to Exodus? For Whom the Bell Tolls lost to Song of Bernadette--a real tough call in my book. Goldsmith's ST:TMP losing to Delerue's A Little Romance is ridiculous. Delerue was nominated for Julia but was up against Star Wars. However, he was also nominated for Day of the Dolphin and lost to Hamlisch's The Way We Were! The Academy should hang their head in shame over that one. I think Grusin deserves an Oscar but not for Milagro Beanfield War. I think Conti deserves an Oscar but not for The Right Stuff. I do not think Georgio Moroder deserved an Oscar for Midnight Express. An interesting race was 1940 where Pinocchio beat out Rozsa'a Thief of Bagdad and 1947 where Rozsa beat out Captain From Castille and The Bishop's Wife. In some races, all the scores were great, like 1962--Lawrence of Arabia beating out To Kill A Mockingbird and Taras Bulba. Other races seem like no brainers like The Heiress by Aaron Copland winning over Beyond the Forset by Steiner and Champion by Tiomkin with no other films nominated.

I have the academy promo that they did for Full Monty and it is not in the same class as Men in Black.

1963
-"Tom Jones" beats out North's "Cleopatra" AND Newman's "How The West Was Won."

1970
-"Love Story" beats out Goldsmith's "Patton" the ONLY nomination the film didn't receive. Even Newman's last score for "Airport" would have been more worthy than "Love Story."

Oh man where to begin, well I can't go to far back. But based on my current knowledge of Oscars these should have won best score:

Glory
Born on the Fourth of July
Raiders of the Lost Ark
Star Trek TMP
Patton
The Empire Strikes Back
Mulan
Aimistad or LA Confidential over Titanic
Planet of the Apes although some people have made a case for The Lion in Winter
Saving Private Ryan

Another score that should have received Oscar attention (I can't recall if this score was even nominated) that people seem to forget is Goldsmith's Night Crossing. Of course Total Recall could have been thrown into the mix as well.

Steiner's score to King Kong is another that should have been nominated.

I'm curious about some of Herrmann's scores for Hitchcock as well:
Psycho
North by Northwest
Vertigo
The above would have made worthy nominations and possible Oscars
I can't remeber if any of them where nominated for Oscars.

Also any score Alan Menken won Oscars for should be removed. The songs were deserving (Well some of them) not the scores.

quote:

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Originally posted by Eric Paddon:
The three greatest travesties:

1963
-"Tom Jones" beats out North's "Cleopatra" AND Newman's "How The West Was Won."

1970
-"Love Story" beats out Goldsmith's "Patton" the ONLY nomination the film didn't receive. Even Newman's last score for "Airport" would have been more worthy than "Love Story."

1986
-"Round Midnight" beats out four worthier nominees "The Mission" (Morricone), Star Trek IV (Rosenmann), Aliens (Horner) and Hossiers (Goldsmith).

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In any case, the worst year was probably when Michael Gore won for "Fame", when the contenders were such heavy weights such as John Williams (Empire Strikes Back), John Corigliano (Altered States), John Morris (The Elephant Man), and Philipe Sarde (Tess). Of all these movies, "Fame" was a musical and used mostly songs, there was practically no underscore worth mentioning, yet it picked up the statue for "Best Original Score". Hahahahahaha....

The last Academy Award went to the right person though, Corigliano's "The Red Violin" was one of the best scores of the past year. Though I admit that Thomas Newman's "American Beauty" (a score of a completely different type) was also excellent and equally deserving. The one disappointment though was that Ennio Morricone (The Legend of 1900) was once again totally snubbed by the Academy and didn't even get nominated.

Becuase unlike most similar discussions I've heard 'Life is Beautiful' hasn't been mentioned. Now I for one think Thin Red Line is a masterpiece, (I've only heard 'Hymn to the fallen' from SPR) but I think Life is Beautiful is a beautiful, albeit short, score.

not that I want to argue with you...but, what were you saying? Did you agree that Life got the award? Did you think Zimmer should have released it? Do you want a full copy of SPR?

And one last question: Did you receive my mail with the link and did it help you?

I feel like a cop.

NP: Metallica - To Live Is To Die *****/*****

could you enlighten me in which way you think Zimmer's score outperforms Williams' SPR, when they are essentially the same in mood, style and atmosphere? While I personally would prefer SPR for it's more reverant and hidden theme, I do like Zimmer's Thin Red Line a lot. Yet if anyone would ask what is the difference, I would have to confess the major difference is that they were composed by two different composers.

I just can't understand how anyone can say Red line is great but SPR is different when you could intermix certain cues and not very many people would know the difference.

Mindboggling...

now I know how Scott felt when I called Hoosiers bad.

Barry's Main Title is chilling to the bone!
the choral music is A) written extremely well, and B) performed to perfection.
The last track is Barry at his best. Magnificent!

quote:

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Originally posted by JJH:
[b]Lion in Winter called "poo"!!!!!

now I know how Scott felt when I called Hoosiers bad.

Barry's Main Title is chilling to the bone!
the choral music is A) written extremely well, and B) performed to perfection.
The last track is Barry at his best. Magnificent!

oh well. that's my take on the score.[/B]

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just because someone works on a piece for ages, doesn't make it good.

I didn't say it was the same, I said the style and mood is the same.

SPR more militrilistic? Boy, most people I talk to would say the opposite.

Anyway, looks like we are completly divided on this one.

It's cool though...

I admit, SPR can be difficult to listen to on cd, especially since the theme is very much hidden behind a very peculiar style of writing.

I bet there might be some who were put off by Zimmer's Thin Red Line because it is so different. I, for one thing, was very shocked. Pleasently shocked. Zimmer did in outstanding job and his score is defenetly one of his best if not a masterpiece. It also shows that he is capable of more than the Zimmer sound....and all of this from a guy who can't read any notes. Very impressive.

I do not want a copy of SPR. From what i've heard 'Hymn' is enough for now.
What I meant to say was that much as I think Thin Red Line is a masterpiece, I was glad the nod went to Piovani's Life is Beautiful. The main theme is beautiful, and the score gels well together.

I wish Thin Red Line had been in another year, so I would have wished it had won.

And yes, I got your mail. Just like you got mine, and now I got yours and when I look into my crystal ball I see that after my imminent exam, you will get mine once more.

quote:

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Originally posted by Camillu:
And yes, I got your mail. Just like you got mine, and now I got yours and when I look into my crystal ball I see that after my imminent exam, you will get mine once more.

NP - Highlander

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Dang it, where is the Excedrin when you need it.

Scotty

quote:

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Dang it, where is the Excedrin when you need it.

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Scott,

I get the gist of your joke, but usually medicinals have different brand names here in Europe. What exactly does Excedrin do?

Bye for now.

Clay G.

now I am getting a little bothered. The Thin red ling more feeling than SPR.

Where do you guys come up this?

Or is it that we love Zimmer so much that we listened to Thin Red Line thousands of time and just barely heard two tracks from SPR?

What the heck does "blah" mean? Where is there more feeling in Thin Red Line than in Hymn to the Fallen?

Come on people, you need tho explain this to me, for the style and atmosphere of both scores are practiacally the same. They are both slow. They both don't offer readily available themes.

My gosh, these days Zimmer could bang two cd disks together and people would call the greatest and most rousing score ever composed.

Scott

talked to Clay tonight and he gave me permission to use part of the convestation here.

You see,
if you are going to hold a conversation with me about scores, I do expect one to have given, when comparing two scores, each score they're due playing time.

This is the problem I have,
Clay saw Saving Private Ryan three times.
He saw Thin Red Line twice.
He has listened to thin Red Line around 6 times.
Guess how many times he has listened to Saving Private Ryan? None, because he doesn't have the cd.
He judges his whole debate on the end title that he heard in the movies.

How can you compard two scores, when you never took the time to listen to both of them under the same circumstances.

What I see here is that some are so big zimmer fans, that they just automatically will love that score over Williams.

Mind you, I love both of them. For me they are very much the same. I prefer williams, but i am not saying his is better. But I have both scores, and have listened to both of them many, many times.

This upsets me, for the comparisons are not being made fairly.

I'm dropping this issue now.

Clay, thank you for allowing me to use our conversation. You know I love you man and I respect you, I just think you are very unfair here.

I am now going to go outside and look for someone to beat up...