Award Season 2013-2014

[Souchak]

Von den aktuellen Filmmusik-Grössen meldet sich keiner zu Wort? (Haste ma 'ne Quelle für die Zitate, Csongor?)

 

Ansonsten:

 

Wie hältst Du es eigentlich mit dem Gedanken der Religionsfreiheit?

 

Das Konzept "Religionsfreiheit" gibt es für die amerikanischen Evangelikalen überhaupt nicht.

[Csongor]

Quellen: Facebook & http://www.ipetitions.com/petition/in-support-of-bruce-broughton-and-dennis-spiegel/?utm_source=facebook&utm_medium=social&utm_campaign=create_petition
 

Das Konzept "Religionsfreiheit" gibt es für die amerikanischen Evangelikalen überhaupt nicht.

Aber sie gibt es sehr wohl für die anderen Christen dieser Welt. Deshalb wäre es gut wenn nicht alle in einen Topf geworfen würden!

Robert Townson:
 

 

The outrageous actions that the Academy took against Bruce Broughton were so ineptly explained in the statement by Cheryl Boone Isaacs that one can not genuinely believe that she believes her own argument. If the Academy Board can't see clearly the gaping holes and gaps of reason and logic in almost every sentence Isaacs wrote, then one has to question the intelligence and competence of the people concocting these statements and positions. The Academy's stance is unsupportable and inexplicable. They have inarguably proven this THEMSELVES. On the other hand, if they do not even believe in their own position and are disingenuously supporting it on behalf of outside influence, then the Academy is allowing themselves to be used as a pawn at the expense of their own integrity. Either way, Cheryl Boone Isaacs can no longer recover from the stance the Academy has taken under her leadership and representation. As Academy President she has undermined the organization she works for. Cheryl Boone Isaacs should resign. And THEN the song should be reinstated.

Bearbeitet 2. Februar 2014 von Souchak

[Souchak]

Aber sie gibt es sehr wohl für die anderen Christen dieser Welt. Deshalb wäre es gut wenn nicht alle in einen Topf geworfen würden!

 

Niemand wirft alle Christen mit US-amerikanischen Evangelikalen (oder dem Corpus Dei) in einen Topf. Das sind nur hässliche und hasserfüllte Auswüchse. Aber natürlich ist das keine gute Werbung für den Glauben. Da gehts den Christen eben nicht besser als z.B. den Muslimen, die sich auch ständig auf (angeblich) islamischen Terrorismus reduziert sehen, oder Juden, die (unabhängig von ihren politischen Überzeugungen) permanent für die israelische Regierung geradestehen sollen.

[horner1980]

Von den aktuellen Filmmusik-Grössen meldet sich keiner zu Wort? (Haste ma 'ne Quelle für die Zitate, Csongor?)

 

 

Hier unter anderen Hans Zimmer:

 

 

UNFAIR!!! ...and just undermines the joy of creating something humble, personal, independent - and having it recognized

Quelle: https://www.facebook.com/belinda.broughton/posts/10202957288595339?comment_id=7814068&offset=0&total_comments=21

 

 

Roque Banos

 

I really don't understand any of this, but I have one thing clear, Bruce you well deserve the nomination, the song is beautiful, and it must be reconsidered.All my support!

Quelle: https://www.facebook.com/bruce.broughton/posts/10152171003941113?stream_ref=10

 

Dazu haben wohl viele die Academy mit Mails bombardiert.. auch Veranstaltungen wie "Hollywood in Vienna" ist dabei und schrieb eine Mail..

 

Hier übrigens das offizielle Statement der Academy:

 

 

STATEMENT REGARDING “ALONE YET NOT ALONE” SONG DECISION

The Board of Governors’ decision to rescind the Original Song nomination for “Alone Yet Not Alone,” music by Bruce Broughton, was made thoughtfully and after careful consideration. The Academy takes very seriously anything that undermines the integrity of the Oscars® voting process. The Board regretfully concluded that Mr. Broughton’s actions did precisely that.

The nominating process for Original Song is intended to be anonymous, with each eligible song listed only by title and the name of the film in which it is used—the idea being to prevent favoritism and promote unbiased voting. It’s been a long-standing policy and practice of the Academy—as well as a requirement of Rule 5.3 of the 86th Academy Awards® Rules—to omit composer and lyricist credits from the DVD of eligible songs that are sent to members of the Music Branch. The Academy wants members to vote for nominees based solely on the achievement of a particular song in a movie, without regard to who may have written it.

Mr. Broughton sent an email to at least 70 of his fellow Music Branch members—nearly one-third of the branch’s 240 members. When he identified the song as track #57 as one he had composed, and asked voting branch members to listen to it, he took advantage of information that few other potential nominees are privy to. As a former Academy Governor and current member of the Music Branch’s executive committee, Mr. Broughton should have been more cautious about acting in a way that made it appear as if he were taking advantage of his position to exert undue influence. At a minimum, his actions called into question whether the process was "fair and equitable," as the Academy's rules require. The Academy is dedicated to doing everything it can to ensure a level playing field for all potential Oscar® contenders—including those who don’t enjoy the access, knowledge, and influence of a long-standing Academy insider.

Quelle: https://www.facebook.com/bruce.broughton/posts/10152170494101113?stream_ref=10

 

Kommentare darunter:

 

Robert Townsen

 

 

The more they say, the more hypocritical and misguided they look. This a shockingly weak support for the decision they made and actions they took.

Quelle: https://www.facebook.com/bruce.broughton/posts/10152170494101113?comment_id=30386174&offset=50&total_comments=65

 

John Debney

 

 

This fight is far from over....

Quelle: https://www.facebook.com/bruce.broughton/posts/10152170494101113?comment_id=30389263&offset=0&total_comments=65

 

Dan Goldwasser

 

 

Right, because no one knows who is behind the songs from FROZEN, or DESPICABLE ME 2, as well. I guess to vote on the Oscars, you have to live in a vacuum (and not just the bubble of Hollywood). And to be eligible for a nomination, you have to live in solitary confinement and hope that the film you worked on has enough money and studio clout to make noise.

Quelle: https://www.facebook.com/bruce.broughton/posts/10152170494101113?comment_id=30386335&offset=0&total_comments=65

 

Und in dem Ton geht es so weiter..

 

 

Ich sag zu dem Statement... das übliche bla bla bla...

 

 

Aber es ist unglaublich, was diese Disqualizierung für Wellen schlägt.. glaub das hat die Academy selber nicht erwartet.. das zeigt ja, wie wichtig und bedeutend noch ein Bruce Broughton für viele ist.

[Souchak]

Aber es ist unglaublich, was diese Disqualizierung für Wellen schlägt.. glaub das hat die Academy selber nicht erwartet.. das zeigt ja, wie wichtig und bedeutend noch ein Bruce Broughton für viele ist.

 

Ich sag nur:

 

die Academy hat sich mit diesem Widerruf der Nominierung auch keinen Gefallen getan: Wäre der Song nominiert gewesen, aber ohne Auszeichnung geblieben, hätte sich das "versendet", so greift jetzt gefühlt jede zweite Lokalzeitung die Nominierungs-Praktiken der Oscars als Thema auf. PR-mässig mindestens ein blaues Auge.

[horner1980]

Ich sag nur:

die Academy hat sich mit diesem Widerruf der Nominierung auch keinen Gefallen getan: Wäre der Song nominiert gewesen, aber ohne Auszeichnung geblieben, hätte sich das "versendet", so greift jetzt gefühlt jede zweite Lokalzeitung die Nominierungs-Praktiken der Oscars als Thema auf. PR-mässig mindestens ein blaues Auge.

 

Und bei dem stimme ich dir zu.. nun ist sie selber schuld, aber unter uns, so eine Presse über ihre Praktiken ist alles andere als unverdient.

 

 

Bei den Songs ist es für mich eh irgendwie klar, das der Bruce Song nicht gewinnen wird, großer Favorit ist da dieses "Happy"-Ding.

Chartshit und Pharell ist ja derzeit bei allen im Gespräch.. dazu ist es durch den Erfolg in den Charts weltweit wohl auch der bekannteste Song der Nominierten.

[Siddl]

Audio Interview mit Bruce zu der ganzen Sache: 

 

http://www.scorecastonline.com/2014/02/01/scorecast-42-bruce-broughton/

[Sebastian Schwittay]

Wie hältst Du es eigentlich mit dem Gedanken der Religionsfreiheit?

Jeder kann glauben und sich erbauen, an was er will. Da für mich jedoch Kunst nicht nur eine emotionale, sondern auch eine intellektuelle Angelegenheit und damit eng mit weltanschaulichen Fragestellungen verknüpft ist, interessiere ich mich schon dafür, welche Einstellungen der Künstler vertritt, mit dessen Werk ich mich beschäftige.

[Stempel]

Die Nominierten für den IFMCA AWARD:

 

 

 

INTERNATIONAL FILM MUSIC CRITICS AWARD NOMINATIONS ANNOUNCED; POLISH COMPOSER ABEL KORZENIOWSKI LEADS FIELD

 

FILM SCORE OF THE YEAR

• Evil Dead, music by Roque Baños
• Grand Piano, music by Víctor Reyes
• Gravity, music by Steven Price
• The Hobbit: The Desolation of Smaug, music by HowardShore
• Romeo and Juliet, music by Abel Korzeniowski

FILM COMPOSER OF THE YEAR

• Roque Baños
• Laurent Eyquem
• Abel Korzeniowski
• Steven Price
• Brian Tyler

BREAKTHROUGH FILM COMPOSER OF THE YEAR

• César Benito
• Sarah Class
• Alexander Ebert
• Laurent Eyquem
• Steven Price

BEST ORIGINAL SCORE FOR A DRAMA FILM

• The Best Offer [La Migliore Offerta], music by Ennio Morricone
• The Book Thief, music by John Williams
• Copperhead, music by Laurent Eyquem
• Romeo and Juliet, music by Abel Korzeniowski
• Summer in February, music by Benjamin Wallfisch

BEST ORIGINAL SCORE FOR A COMEDY FILM

• Instructions Not Included [No Se Aceptan Devoluciones], music by Carlo Siliotto
• Quai d’Orsay, music by Philippe Sarde
• The Secret Life of Walter Mitty, music by Theodore Shapiro
• This is the End, music by Henry Jackman
• Venus in Fur [La Vénus à la Fourrure], music by Alexandre Desplat

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM

• Grand Piano, music by Víctor Reyes
• Iron Man 3, music by Brian Tyler
• Passion, music by Pino Donaggio
• Rubinrot, music by Philipp F. Kölmel
• Stalingrad, music by Angelo Badalamenti

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM

• Escape From Tomorrow, music by Abel Korzeniowski
• Evil Dead, music by Roque Baños
• Gravity, music by Steven Price
• The Hobbit: The Desolation of Smaug, music by HowardShore
• Star Trek Into Darkness, music by Michael Giacchino

BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE

• The Croods, music by Alan Silvestri
• Epic, music by Danny Elfman
• Frozen, music by Christophe Beck
• Planes, music by Mark Mancina
• The Wind Rises [Kaze Tachinu], music by Joe Hisaishi

BEST ORIGINAL SCORE FOR A DOCUMENTARY

• Africa, music by Sarah Class
• Anne & Alet, music by Mark Rayen Candasamy
• Die Nordsee: Unser Meer, music by Oliver Heuss
• Space Shuttle Columbia: Mission of Hope, music by Blake Neely
• Tim’s Vermeer, music by Conrad Pope

BEST ORIGINAL SCORE FOR A TELEVISION SERIES

• Czas Honoru, music by Bartosz Chajdecki
• Da Vinci’s Demons, music by Bear McCreary
• El Tiempo Entre Costuras, music by César Benito
• Game of Thrones, music by Ramin Djawadi
• Isabel, music by Federico Jusid

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

• Assassin’s Creed IV: Black Flag, music by Brian Tyler
• Beyond: Two Souls, music by Lorne Balfe
• Company of Heroes 2, music by Cris Velasco
• Puppeteer, music by Patrick Doyle
• Remember Me, music by Olivier Deriviére

BEST ARCHIVAL RELEASE OF AN EXISTING SCORE – RE-RELEASE OR RE-RECORDING

• Breakfast at Tiffany’s, music by Henry Mancini; album produced by Douglass Fake and Roger Feigelson; liner notes by Jeff Bond; album art direction by Joe Sikoryak (Intrada)
• QB VII, music by Jerry Goldsmith; re-recording conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by Damien Doherty, James Fitzpatrick and GINKO DIGI (Prometheus/Tadlow)
• The Salamander, music by Jerry Goldsmith; re-recording conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by Paul de Blieck, Johan van den Broeck and GINKO DIGI (Prometheus/Tadlow)
• The Wild Bunch, music by Jerry Fielding; album produced by Lukas Kendall; liner notes by Lukas Kendall and John Takis; album art direction by Joe Sikoryak (Film Score Monthly)
• Wyatt Earp, music by James Newton Howard; album produced by Dan Goldwasser; liner notes by Tim Grieving; album art direction by Dan Goldwasser (La-La Land)

BEST ARCHIVAL RELEASE OF AN EXISTING SCORE – COMPILATION

• Doctor Who: The 50th Anniversary Collection, music by Various Composers; album produced by Mark Ayres, Reynold DaSilva and David Stoner; liner notes by Mark Ayres; album art direction by Stuart Ford (Silva Screen)
• Lethal Weapon Soundtrack Collection, music by Michael Kamen, Eric Clapton and David Sanborn; album produced by Neil S. Bulk and MV Gerhard; liner notes by Jeff Bond; album art direction by Jim Titus (La-La Land)
• Michel Legrand Anthology, music by Michel Legrand; album produced by Stéphane Lerouge; liner notes by Stéphane Lerouge; album art direction by Jerome Witz-Gilles Guerlet (Universal/Écoutez le Cinéma!)
• Varèse Sarabande: A 35th Anniversary Celebration, music by Various Composers; album produced by Robert Townson; liner notes by Robert Townson; album art direction by Robert Townson and Bill Pitzonka (Varèse Sarabande)
• The X-Files: Volume Two, music by Mark Snow; album produced by Mark Snow, Mike Joffe and Nick Redman; liner notes by Randall D. Larson; album art direction by Mark Banning (La-La Land)

FILM MUSIC RECORD LABEL OF THE YEAR

• Intrada Records, Douglass Fake and Roger Feigelson
• La-La Land Records, MV Gerhard and Matt Verboys
• Moviescore Media, Mikael Carlsson
• Prometheus Records/Tadlow Music, Luc Van de Ven and James Fitzpatrick
• Quartet Records, Jose M. Benitez

FILM MUSIC COMPOSITION OF THE YEAR

• “The Book Thief” from The Book Thief, music by John Williams
• “The Grand Finale” from Escape From Tomorrow, music by Abel Korzeniowski
• “Abominations Rising” from Evil Dead, music by Roque Baños
• “Beyond the Forest” from The Hobbit: The Desolation of Smaug, music by Howard Shore
•  “A Thousand Times Goodnight” from Romeo and Juliet, music by Abel Korzeniowski

Bearbeitet 6. Februar 2014 von Souchak
(zitate bitte in'n kasten, bitte, danke)

[Sebastian Schwittay]

Auch hier fehlt merkwürdigerweise ALL IS LOST. Schade, dass selbst Filmmusik-Fans und -kritiker so wenig offen für Experimentelles sind.

[Stempel]

@ Souchak

Gerne. Wenn ich wüsste wie.

Und warum ist das auf einmal so eminent wichtig.

[Souchak]

Und warum ist das auf einmal so eminent wichtig.

 

Ist nicht wichtig, ist nur praktisch. Und auch garnicht schwer: Klick einfach den Sprechblasen-Knopf oben in der Menü-Leiste und kopier den jeweiligen Text da rein. Fertich. Aber ich mach das auch gern für Dich, so ist das nich.

[Soundtrack Composer]

Die IFMCA Gewinner:

THIS YEAR'S IFMCA WINNERS

 

FILM SCORE OF THE YEAR
• Romeo and Juliet, music by Abel Korzeniowski

 

FILM COMPOSER OF THE YEAR
• Abel Korzeniowski

 

BREAKTHROUGH FILM COMPOSER OF THE YEAR
• Laurent Eyquem

 

BEST ORIGINAL SCORE FOR A DRAMA FILM
• Romeo and Juliet, music by Abel Korzeniowski

 

BEST ORIGINAL SCORE FOR A COMEDY FILM
• The Secret Life of Walter Mitty, music by Theodore Shapiro

 

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM
• Grand Piano, music by Víctor Reyes

 

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
• Evil Dead, music by Roque Baños

 

BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE
• The Wind Rises, music by Joe Hisaishi

 

BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE
• Tim’s Vermeer, music by Conrad Pope

 

BEST ORIGINAL SCORE FOR A TELEVISION SERIES
• Isabel, music by Federico Jusid

 

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
• Remember Me, music by Olivier Deriviére

 

BEST ARCHIVAL RELEASE OF AN EXISTING SCORE – RE-RELEASE OR RE-RECORDING
• The Salamander, music by Jerry Goldsmith; re-recording conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by Paul de Blieck, Johan van den Broeck and GINKO DIGI (Prometheus/Tadlow)

 

BEST ARCHIVAL RELEASE OF AN EXISTING SCORE – COMPILATION
• Lethal Weapon Soundtrack Collection, music by Michael Kamen, Eric Clapton and David Sanborn; album produced by Neil S. Bulk and MV Gerhard; liner notes by Jeff Bond; album art direction by Jim Titus (La-La Land)

 

FILM MUSIC RECORD LABEL OF THE YEAR
• La-La Land Records, MV Gerhard and Matt Verboys

 

FILM MUSIC COMPOSITION OF THE YEAR
• “Abominations Rising” from Evil Dead, music by Roque Baños

 

SPECIAL AWARD
• The Salamander, score reconstruction by Leigh Phillips

[Ariane]

Die Auszeichnung für Conrad Pope ist schön so tritt er mal aus dem Schatten heraus ständig nur die Orchestration für andere zu machen =).

[Stempel]

Wenn ich das richtig verstanden habe kann man hier die Preisvergabe mitbestimmen:

 

http://nueva.bsospirit.com/index.php/premios/goldspirit-xiii-edicion

[John Xisor]

so isses

[horner1980]

Die Nominierungen für die Emmys sind draußen..

 

The nominations for the 66th Emmy Awards were announced this morning.

 

Here are the music-related categories:

Outstandig Music Composition for a Series (Original Dramatic Score):

 

Cosmos: A SpaceTime Odyssey – Standing Up in the Milk Way – Music by Alan Silvestri
Downton Abbey – Episode 8 – Music by John Lunn
Game of Thrones – The Mountain and the Viper – Music by Ramin Djawadi
House of Cards – Chapter 26 – Music by Jeff Beal
True Detective – Form and Void – Music by T Bone Burnett

 

Outstandig Music Composition for a Miniseries, Movie or a Special (Original Dramatic Score):

 

American Horror Story: Coven – The Seven Wonders – Music by James Levine
Clear History – Music by Ludovic Bource
Fargo – The Crocodile’s Dilemma – Music by Jeff Russo
Herblock: The Black and the White – Music by Rob Mathes
Sherlock: His Last Vow – Music by David Arnold & Michael Price
The White Queen – The Final Battle – Music by John Lunn

 

Original Main Title Theme Music:

 

Black Sails – Theme by Bear McCreary
Cosmos: A SpaceTime Odyssey – Theme by Alan Silvestri
Magic City – Theme by Daniele Luppi
Sleepy Hollow – Theme by Brian Tyler & Robert Lydecker
The Spoils of Babylon – Theme by Andrew Feltenstein & John Nau

 

Original Music and Lyrics:

 

Christmas Carol: The Concert – Music by Bob Christianson; Lyrics by Alisa Hauser
Key & Peele –  Music by Joshua Funk; Lyrics by Rebecca Drysdale
Saturday Night Live –  Music by Eli Brueggemann; Lyrics by Chris Kelly, Sarah Schneider, Aidy Bryant & Kate McKinnon
Sofia The First: The Floating Palace –  Music by John William Kavanagh; Lyrics by Craig Gerber
Sons of Anarchy  – Music & Lyrics by Bob Thiele, Noah Gundersen  & Kurt Sutter
67th Annual Tony Awards – Music by Tom Kitt; Lyrics by Lin-Manuel Miranda

 

Outstanding Music Direction:

 

Barbra Streisand: Back to Brooklyn – William Ross, Music Director
Saturday Night Live – Lenny Pickett, Leon Pendarvis & Eli Brueggemann, Music Directors
Beatles: The Night that Changed America – Don Was, Music Director
The Oscars – William Ross, Music Director
The Sound of Music Live! – David Chase, Music Director
67th Annual Tony Award – Elliot Lawrence  & Jamie Lawrence, Music Directors

Quelle:http://filmmusicreporter.com/2014/07/10/2014-emmy-nominations-announced/#more-26049

 

[Souchak]

Weiter mit dem Preisregen geht's hier: http://www.soundtrack-board.de/topic/14083-award-season-2014-2015/