Tag Archives: Sound

Oscar Predictions – Sound and Music

gravity soundtrack

Gravity Soundtrack – Screenshot from YouTube: http://youtu.be/q18NRboQSzk

Welcome to The Screen Life’s Oscar Predictions! This is part 3 in a 6-part series, in which you will find a quick breakdown of each category, accompanied by ranked predictions. Also be sure to check out the complete OSCAR PREDICTIONS page (in the menu up top), which will be continually updated throughout the week. This is your grand guide to this Sunday’s big night!

Best Music (Original Score)

This is often a tough category to call. That’s definitely the case this year, though the presumed frontrunner is upending the usual landscape. Steven Price’s Gravity score is so inextricably tied into its soundscape that suddenly it feels more like another extension of the two sound categories. And in that sense, it’s the most deserving work and should be the clear runaway favorite to win. But I’m not sure that all the voters will think of it that way. The score on it’s own isn’t exactly memorable or hummable in the traditional way, and some might look at it’s nomination as a curiosity, giving way to just about any of the other four. John Williams is the least likely. Nobody really cares for that movie, and it’s not exactly on par with the scores that made him famous. The same, to a lesser degree, goes for Thomas Newman. That leaves two more Best Picture nominees. Alexandre Desplat is another beloved giant in the field and a considerable threat. But I expect Arcade Fire to have a slight edge. The Academy has an odd occasional fondness for hip, young popular music groups, as evidenced be recent wins for Nine Inch Nails, Three 6 Mafia, and Eminem. Also, this category rarely sees first time nominees, but when it does they usually win. Then again, Price is a a first-timer too, and I’m pretty sure he’ll be the winner.

1. Steven Price – Gravity
2. Arcade Fire – Her
3. Alexandre Desplat – Philomena
4. Thomas Newman – Saving Mr. Banks
5. John Williams – The Book Thief

Best Music (Original Song)

Oh this poor category. The nominations phase often seems rife with controversy; remember the year with only 2 nominees, and one was terrible? This year the most embarrassing nominee was disqualified due to shady campaigning. Unbelievably, that left us with one of the strongest Song categories we’ve ever seen! There’s not a dud in the bunch. Funny how that happened. What’s more, now we have a real race on our hands. What had once seemed an absolute lock for Frozen‘s epic anthem,  is suddenly a complete toss-up. “The Moon Song” may be least likely, but the Yeah Yeah Yeah’s frontwoman has her fans. And the song is crucial to the plot of the film, which always helps. U2 picked up the Golden Globe recently, while Pharrell Willams just nabbed a few Grammys for having a banner year all-around. The campaigns for both have been especially huge in the past month, as voters and the public in general have been inundated with their songs. Still, musical always have an advantage, and Frozen marks a stunning return-to-form for Disney. “Let It Go” harkens back to their iconic wins of the 90’s. It’s competitors may be coming on strong but, it hasn’t missed a beat. Their are already dozens of different versions and parodies on YouTube. No song nominee has gone quite this viral in a long time. I’d say it’s still the one to beat.

1. “Let it Go” by Kristin Anderson-Lopez and Robert Lopez, from Frozen
2. “Happy” by Pharrell Williams, from Despicable Me 2
3. “Ordinary Love” by U2, from Mandela: Long Walk to Freedom
4. “The Moon Song”, by Karen O, from Her

Best Sound Mixing

A lot has been written about the difference between sound mixing and editing. While the difference is clear and makes sense when you learn it, the end results at the Oscars are usually the same. Four nominees show up in both categories (all action/sci-fi/genre films). Movies with a big focus on music sometimes have an advantage in Mixing (just as animated movies do in Editing), which is how Inside Llewyn Davis nabbed that last spot. But its chances of winning are slim, as are that of the largely ignored Hobbit. Lone Survivor has a lot of respect – and not just in the tech fields – and with less competition could been a major contender. Captain Phillips, on the other hand, has been making a bit of a surge lately, and its teams came away with surprise wins in both categories recently for the third Bourne movie. Still, Gravity is the big player cleaning up the majority of the tech fields. It doesn’t hurt that it’s actually the most deserving, incorporating sound and music into an astoundingly original sonic identity.

1. Gravity
2. Captain Phillips
3. Lone Survivor
4. Inside Llewyn Davis
5. The Hobbit: The Desolation of Smaug

Best Sound Editing

As I mentioned, four films share both sound categories. It just so happens I’m rank those the same, and for largely similar reasons. The one unique contender is All Is Lost, which may actually be one of the most deserving. Because of the way the movie was made – without dialogue, and always surrounded by water – every sound in the film had to be created from scratch in post-production. (This is the same reason animated films often do well in Editing, though not this year, apparently.) Sadly, as its only nomination, this is as far as it’s going to go. Interestingly enough, due to the level of skill and difficulty, I would be inclined to give Lone Survivor a slight edge over Captain Phillips here, except that the latter actually won an MPSE Award. Still, all that’s academic because Gravity will take this handily, making an unusual 3-for-3 for its sound-related work.

1. Gravity
2. Captain Phillips
3. Lone Survivor
4. All is Lost
5. The Hobbit: The Desolation of Smaug


Check out the other parts of the Oscar Predictions Series here:
Part 1 –  Animated, Foreign, Doc, and Short Films
Part 2 – Technical Categories (Cinematography, Costumes, Makeup, Production Design, and Visual Effects)
Part 3 – Sound and Music
Part 4 – Storytelling (Editing and Screenplays)
Part 5 – Acting
Part 6 – Picture and Director

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