It hasn’t been a banner year for the Academy’s Music Branch. The Best Original Song category was marred by the disastrous “‘Glasgow’ Snubbing of 2020,” and the Best Original Score category has proven to be similarly dull and unadventurous. Where is Daniel Lopatin’s cosmically neurotic accompaniment to “Uncut Gems?” Or Alex Weston’s arch, contrapuntal, and heartbreaking score for “The Farewell?” What about the soul-stirring synth opus that Dan Levy wrote for “I Lost My Body,” or the bittersweet and playfully helpless orchestrations that Jung Jae-il contributed to “Parasite” (music so vital that it achieves a mutually symbiotic relationship with the film for which it was written)? Sigh.
Instead, the Academy defaulted to a set of old standards, as the five composers nominated for Best Original Score have now earned a grand total of 99 nominations between them. Yes, ninety-nine. And when you consider that “Joker” composer Hildur Guðnadóttir...
Instead, the Academy defaulted to a set of old standards, as the five composers nominated for Best Original Score have now earned a grand total of 99 nominations between them. Yes, ninety-nine. And when you consider that “Joker” composer Hildur Guðnadóttir...
- 2/4/2020
- by David Ehrlich
- Indiewire
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