I'd certainly give him the award. IMHO his score is the best of those nominated.

I reject any notion of the "classy" vote. Oscar history has proven time and again that superior scores are either not nominated or when they are, lose to FAME or FOOTLOOSE or some crud like that.

No, Red Violin won because someone got in their thick skulls that the music was actually desvering.
It's an accomplished score and WAS the best of 1999.

If "class" had gotten the vote, Under Fire would have won; Empire Strikes Back would have won.
Shakespeare in love is nowhere near as "classy" as Saving Private Ryan.
In 1998, Dangerous Beauty got completely ignored.

and this year, The Cell wasn't even nominated.

quote:

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Originally posted by JJH:
No offense to Mr Rocco, but

I reject any notion of the "classy" vote. Oscar history has proven time and again that superior scores are either not nominated or when they are, lose to FAME or FOOTLOOSE or some crud like that.

No, [b]Red Violin won because someone got in their thick skulls that the music was actually desvering.
It's an accomplished score and WAS the best of 1999.

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I think this is classy meaning that it's a score by a well respected classical composer who only occasionally does film work, as apposed to a composer who does pretty much exclusively film work, like say Goldsmith & Williams. Hence, these are not the same "classy":

quote:

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If "class" had gotten the vote, Under Fire would have won; Empire Strikes Back would have won.
Shakespeare in love is nowhere near as "classy" as Saving Private Ryan.
In 1998, Dangerous Beauty got completely ignored.

[/B]

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Although Shakespeare in Love wasn't nominated in the same category as SPR, so that doesn't quite work.

Incidentally, I'm really pleased that Tan Dun won. I had a horrible feeling that Gladiator might have taken it. That would have been depressing.