BEST ORIGINAL SCORE - MOTION PICTURE
a. CRAIG ARMSTRONG Moulin Rouge
b. ANGELO BADALAMENTI Mulholland Drive
c. LISA GERRARD & PIETER BOURKE Ali
d. JAMES HORNER A Beautiful Mind
e. HOWARD SHORE The Lord Of The Rings: The Fellowship of The Ring
f. JOHN WILLIAMS A.I. Artificial Intelligence
g. CHRISTOPHER YOUNG The Shipping News
h. HANS ZIMMER Pearl Harbor

BEST ORIGINAL SONG - MOTION PICTURE
a. COME WHAT MAY – Moulin Rouge
Music and Lyrics: David Baerwald
b. MAY IT BE – The Lord Of The Rings: The Fellowship Of The Ring
Music and Lyrics: Enya
c. THERE YOU’LL BE – Pearl Harbor
Music and Lyrics: Diane Warren
d. UNTIL… – Kate & Leopold
Music and Lyrics: Sting
e. VANILLA SKY – Vanilla Sky
Music and Lyrics: Paul McCartney

Go here for a complete list: http://www.hfpa.org/nominations2002.html

Hans Zimmer for PEARL HARBOR... LOL!

By the way, MOULIN ROUGE will win both categories because it's a musical and the HFPA thinks that the songs ARE the score! It's the Disney thing all over again. MHO

Of course Horner was nominated -- all 80 people of HFPA thought it was gorgeous, no doubt. It is nice, but whatever...we know better.

I say it's gonna be between AI and LotR, but pretty sure LotR will win. (which is fine by me...)

I mean...hello??

quote:

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Originally posted by Brad Wills:
BAH!!! Where in the world is the nomination for Naomi Watts in MULHOLLAND DRIVE??!?!? What an exciting performance (given a nomination by the AFI Awards a couple of days ago), my God! She goes from a beautiful, dewy, Lynchian goodness-is-false ingenue who apparently, in a scene in which she rehearses with her friend/lover, can't act a lick, only to give a knock-out reading of the same material in an improbable audition (this scene alone nearly made me jump out of my seat) and then, in the film's complete turnaround of events and characters, to an unrecognizable disturbed, strung-out version of her former character. Three different versions of the same person. I haven't been able to get this performance out of my head for two months.

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Naomi was good in that one scene...I'll grant you that. But I felt this film and David Lynch are EXTREMELY overrated. If you haven't read Brian Lowry's comments in the L.A. Times on 12/19/01, I suggest you do so. I TOTALLY agree with his assessment.

This film is a mess. It makes no real sense structurally and has many scenes which go no where as they were originally meant to be part of a TV series. Lynch could have cut this film down by an hour and it might have been better...but not by much.

A bigger waste of my 2.5 hours this past year, I can't imagine.

It is strange that there isn't a foreign film score in the bunch. ("Amelie" comes to mind as a possibility with all the buzz the film got).

It will be harder to call what the Academy will nominate, though I have a feeling Shore's score will make it, and "A.I." looks like it will win out over "Harry Potter."

Many of the selections of the awards seem to go mostly in a different direction than other announcements for films more than in the last few years. All pointing to how lame the past year has been.

Tell me, do you people really care about these ludicrous popularity contests?

quote:

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Originally posted by André Lux:
Tell me, do you people really care about these ludicrous popularity contests?

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Not really, but the studios do. They can release the film again in the hope of garnering some nominations at year-end, and then again in the new year with "Winner Of Eight Academy Awards" plastered all over the posters. This means that my local cinema is going to show me a film I've already seen, in place of a new, but less worthy film (eg Behind Enemy Lines). So, if I want to see Behind Enemy Lines I've got to travel, perhaps to a cinema where I have to pay more to get in; and I've got to pay for the petrol to get me there, increasing the profits of the evil multinational oil companies, and polluting the atmosphere past at least three schools and hospitals on the way. And the same on the way back. This also taks time out of my hectic schedule, which might possibly involve charity work that I will then feel guilty about abandoning in favour of watching Behind Enemy Lines. All of this could have been so easily avoided by Warners not re-releasing A.I. in order to win a popularity contest.

Well, then, I have two letters for the Hollywood Foreign Press:

F. U.

While I feel that Goldsmith's score on THE LAST CASTLE was good (but not great), and not (in my opinion) award material, I agree - if they're gonna give PEARL HARBOR a nomination, they might as well give THE LAST CASTLE one as well. Why stop at eight nominees? Let's have ten!

Jz