The Academy of Motion Picture Arts and Sciences today announced that 114 scores from eligible feature-length motion pictures released in 2014 are in contention for nominations in the Original Score category for the 87th Oscars®. The eligible scores along with their composers are listed below, in alphabetical order by film title: “American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer “Anita,” Lili Haydn, composer “Annabelle,” Joseph Bishara, composer “At Middleton,” Arturo Sandoval, composer “Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer “Bears,” George Fenton, composer “Belle,” Rachel Portman, composer “Big Eyes,” Danny Elfman, composer “Big Hero 6,” Henry Jackman, composer “The Book of Life,” Gustavo Santaolalla and Tim Davies, composers “The Boxtrolls,” Dario Marianelli, composer “Brick Mansions,” Trevor Morris, composer “Cake,” Christophe Beck, composer “Calvary,” Patrick Cassidy, composer “Captain America: The Winter Soldier,” Henry Jackman, composer “The Case against 8,” Blake Neely, composer “Cheatin’,” Nicole Renaud, composer “Dawn of the Planet of the Apes,...
- 12/13/2014
- by HollywoodNews.com
- Hollywoodnews.com
Three hundred twenty-three feature films are eligible for the 2014 Academy Awards, the Academy of Motion Picture Arts and Sciences announced today.
To be eligible for 87th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.
Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format.
Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 87th Academy Awards” is available at http://www.oscars.org/oscars/rules-eligibility.
The Academy of Motion Picture Arts and Sciences also announced that 114 scores...
To be eligible for 87th Academy Awards consideration, feature films must open in a commercial motion picture theater in Los Angeles County by midnight, December 31, and begin a minimum run of seven consecutive days.
Under Academy rules, a feature-length motion picture must have a running time of more than 40 minutes and must have been exhibited theatrically on 35mm or 70mm film, or in a qualifying digital format.
Feature films that receive their first public exhibition or distribution in any manner other than as a theatrical motion picture release are not eligible for Academy Awards in any category. The “Reminder List of Productions Eligible for the 87th Academy Awards” is available at http://www.oscars.org/oscars/rules-eligibility.
The Academy of Motion Picture Arts and Sciences also announced that 114 scores...
- 12/13/2014
- by Michelle McCue
- WeAreMovieGeeks.com
Original scores from The Boxtrolls, Divergent, Exodus: Gods And Kings and The Grand Budapest Hotel are among 114 scores eligible for nominations in the Original Score category for the 87th Oscars. The noms will be announced on January 15. The eligible scores along with their composers are listed below, in alphabetical order by film title:
“American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer
“Anita,” Lili Haydn, composer
“Annabelle,” Joseph Bishara, composer
“At Middleton,” Arturo Sandoval, composer
“Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer
“Bears,” George Fenton, composer
“Belle,” Rachel Portman, composer
“Big Eyes,” Danny Elfman, composer
“Big Hero 6,” Henry Jackman, composer
“The Book of Life,” Gustavo Santaolalla and Tim Davies, composers
“The Boxtrolls,” Dario Marianelli, composer
“Brick Mansions,” Trevor Morris, composer
“Cake,” Christophe Beck, composer
“Calvary,” Patrick Cassidy, composer
“Captain America: The Winter Soldier,” Henry Jackman, composer
“The Case against 8,” Blake Neely, composer
“Cheatin’,” Nicole Renaud,...
“American Revolutionary: The Evolution of Grace Lee Boggs,” Vivek Maddala, composer
“Anita,” Lili Haydn, composer
“Annabelle,” Joseph Bishara, composer
“At Middleton,” Arturo Sandoval, composer
“Atlas Shrugged: Who Is John Galt?,” Elia Cmiral, composer
“Bears,” George Fenton, composer
“Belle,” Rachel Portman, composer
“Big Eyes,” Danny Elfman, composer
“Big Hero 6,” Henry Jackman, composer
“The Book of Life,” Gustavo Santaolalla and Tim Davies, composers
“The Boxtrolls,” Dario Marianelli, composer
“Brick Mansions,” Trevor Morris, composer
“Cake,” Christophe Beck, composer
“Calvary,” Patrick Cassidy, composer
“Captain America: The Winter Soldier,” Henry Jackman, composer
“The Case against 8,” Blake Neely, composer
“Cheatin’,” Nicole Renaud,...
- 12/13/2014
- by The Deadline Team
- Deadline
Thomas Newman and Michael Giacchino Each Have Four Of The 97 Scores Eligible For Best Original Score
Of the 265 films eligible [1] for Oscars at the 84th Annual Academy Awards in February, 97 of them have been deemed worthy to be nominated for Best Original Score. Thomas Newman (The Adjustment Bureau, The Debt, The Help, The Iron Lady) and Michael Giacchino (Cars 2, Mission: Impossible - Ghost Protocol, Monte Carlo, Super 8) lead all eligible composers with four films this year while Alexandre Desplat (Extremely Loud & Incredibly Close, Harry Potter and the Deathly Hallows Part 2, The Ides of March), Tyler Bates (Conan the Barbarian, The Darkest Hour, The Way), Mark Isham (The Conspirator, Dolphin Tale, Warrior) and Henry Jackman (Puss in Boots, Winnie the Pooh, X-Men First Class) all have three. Other familiar names are on the list too such as John Williams (The Adventures of Tintin, War Horse), James Newton Howard (Green Lantern, Water for Elephants) and Danny Elfman (Real Steel, Restless) who along with Alberto Iglesias (The Skin I Live In,...
- 12/23/2011
- by Germain Lussier
- Slash Film
The Academy of Motion Picture Arts and Sciences has announced that ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®.
The eligible scores along with the composer are listed below in alphabetical order by film title:
“The Adjustment Bureau,” Thomas Newman, composer
“The Adventures of Tintin,” John Williams, composer
“African Cats,” Nicholas Hooper, composer
“Albert Nobbs,” Brian Byrne, composer
“Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer
“Anonymous,” Thomas Wander and Harald Kloser, composers
“Another Earth,” Phil Mossman and Will Bates, composers
“Answers to Nothing,” Craig Richey, composer
“Arthur Christmas,” Harry Gregson-Williams, composer
“The Artist,” Ludovic Bource, composer
“@urFRENZ,” Lisbeth Scott, composer
“Atlas Shrugged Part 1,” Elia Cmiral, composer
“Battle: Los Angeles,” Brian Tyler, composer
“Beastly,” Marcelo Zarvos, composer
“The Big Year,” Theodore Shapiro, composer
“Captain America: The First Avenger,” Alan Silvestri, composer
“Cars 2,” Michael Giacchino, composer
“Cedar Rapids,...
The eligible scores along with the composer are listed below in alphabetical order by film title:
“The Adjustment Bureau,” Thomas Newman, composer
“The Adventures of Tintin,” John Williams, composer
“African Cats,” Nicholas Hooper, composer
“Albert Nobbs,” Brian Byrne, composer
“Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer
“Anonymous,” Thomas Wander and Harald Kloser, composers
“Another Earth,” Phil Mossman and Will Bates, composers
“Answers to Nothing,” Craig Richey, composer
“Arthur Christmas,” Harry Gregson-Williams, composer
“The Artist,” Ludovic Bource, composer
“@urFRENZ,” Lisbeth Scott, composer
“Atlas Shrugged Part 1,” Elia Cmiral, composer
“Battle: Los Angeles,” Brian Tyler, composer
“Beastly,” Marcelo Zarvos, composer
“The Big Year,” Theodore Shapiro, composer
“Captain America: The First Avenger,” Alan Silvestri, composer
“Cars 2,” Michael Giacchino, composer
“Cedar Rapids,...
- 12/23/2011
- by Michelle McCue
- WeAreMovieGeeks.com
I was actually beginning to believe Cliff Martinez's score for Drive may actually have a shot with all the love it has received in the precursor awards, but last night the Academy announced the list of 97 scores eligible for Best Original Score at the 2012 Oscars and, oops, what do you know, both Drive and Attack the Block didn't make the cut. The only other score I had on my current list of predictions for the category to not make the cut was Howard Shore's music for David Cronenberg's A Dangerous Method. Why? Well, I would assume somewhere inside there the rules for requirement weren't met. As per the Academy, "To be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must be written specifically for the motion picture by the submitting composer. Scores diluted by the use of...
- 12/23/2011
- by Brad Brevet
- Rope of Silicon
Yesterday the Academy of Motion Pictures Arts and Sciences released the 97 original film scores that will running for the final five nominations for the Best Original Score category at the upcoming 84h Academy Awards. Billy Crystal will be hosting the annual awards show, which be presented on February 26, 2012. Some how I am not surprised that Attack the Block got nixed, seeing that Tron: Legacy pretty much got the same treatment last year. Glad to see that Henry Jackman’s X-Men: First Class is getting a nod, and of course Trent Reznor and Atticus Ross had to be in it. Check out the full list below.
December 22, 2011
For Immediate Release
97 Original Scores in 2011 Oscar® Race
Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
The...
December 22, 2011
For Immediate Release
97 Original Scores in 2011 Oscar® Race
Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today.
The...
- 12/23/2011
- by Mike Lee
- FusedFilm
Beverly Hills, CA – Ninety-seven scores from eligible feature-length motion pictures are in contention for nominations in the Original Score category for the 84th Academy Awards®, the Academy of Motion Picture Arts and Sciences announced today. The eligible scores along with the composer are listed below in alphabetical order by film title: “The Adjustment Bureau,” Thomas Newman, composer “The Adventures of Tintin,” John Williams, composer “African Cats,” Nicholas Hooper, composer “Albert Nobbs,” Brian Byrne, composer “Alvin and the Chipmunks: Chipwrecked,” Mark Mothersbaugh, composer “Anonymous,” Thomas Wander and Harald Kloser, composers “Another Earth,” Phil Mossman and Will Bates, composers “Answers to Nothing,” Craig Richey, composer “Arthur Christmas,” Harry Gregson-Williams, composer “The Artist,” Ludovic Bource, composer “@urFRENZ,” Lisbeth Scott, composer “Atlas Shrugged Part 1,” Elia Cmiral, composer “Battle: Los Angeles,” Brian Tyler, composer “Beastly,” Marcelo Zarvos, composer “The Big Year,” Theodore Shapiro, composer “Captain America: The First Avenger,” Alan Silvestri, composer “Cars 2,” Michael Giacchino,...
- 12/23/2011
- by NIKKI FINKE
- Deadline Hollywood
Lakeshore Records has announced a soundtrack release for the drama Wonderful World. The album includes the original score by Craig Richey (Friends with Money, The King of Kong: A Fistful of Quarters) from the movie written and directed by Joshua Goldin (Darkman). The album will be released digitally on June 14, 2011. Check back on this page for the order link and audio clips. Wonderful World stars Matthew Broderick, Sanaa Lathan, Michael Kennth Williams and Philip Baker Hall. The film tells the story about a bitter and cynical man who falls in love with his African houseguest. The movie was released in theaters last year by Magnolia Pictures and is now available on Blu-Ray and DVD. For more information on the film, visit the official movie website.
Next up for the composer is the drama Answers to Nothing. The film is written and directed by Matthew Leutwyler (producer of Wonderful World) and stars Dane Cook,...
Next up for the composer is the drama Answers to Nothing. The film is written and directed by Matthew Leutwyler (producer of Wonderful World) and stars Dane Cook,...
- 6/5/2011
- by filmmusicreporter
- Film Music Reporter
A Marine Story
Director: Ned Farr
Written by Ned Far
USA, 2010
Like Kimberly Peirce’s Stop-Loss, A Marine Story casts a highly critical eye over the Us Military’s treatment of its own personnel during the Iraq War. Peirce’s film was about the practice of shipping soldiers back to Iraq against their will — forcing many to live as fugitives. Here the equally controversial “Don’t ask don’t tell” policy has the perverse effect of kicking a decorated officer out of the Marines on the grounds of her sexuality. Well, no one ever said war was fair.
Writer/director Ned Farr’s film stars his wife Dreya Weber as Major Alexandra Everett, who returns to her home town in California in the summer of 2008. Despite her long blonde hair, Alex has the tattoo, the muscle tone and the steely look of a woman who means business. There’s also a wedding ring,...
Director: Ned Farr
Written by Ned Far
USA, 2010
Like Kimberly Peirce’s Stop-Loss, A Marine Story casts a highly critical eye over the Us Military’s treatment of its own personnel during the Iraq War. Peirce’s film was about the practice of shipping soldiers back to Iraq against their will — forcing many to live as fugitives. Here the equally controversial “Don’t ask don’t tell” policy has the perverse effect of kicking a decorated officer out of the Marines on the grounds of her sexuality. Well, no one ever said war was fair.
Writer/director Ned Farr’s film stars his wife Dreya Weber as Major Alexandra Everett, who returns to her home town in California in the summer of 2008. Despite her long blonde hair, Alex has the tattoo, the muscle tone and the steely look of a woman who means business. There’s also a wedding ring,...
- 3/30/2011
- by Susannah
- SoundOnSight
PARK CITY -- Nicole Holofcener's third feature, "Friends With Money", is a pitch-perfect ensemble comedy that burrows deep into the mind-set of white, upper middle-class Angelenos, anxious to strike the right balance among career, family, love life and money but never quite pulling it off.
Many movies are set in Los Angeles, but this is one of the few that nails down the lingo, attitudes and worries of a certain segment of its citizenry with insight and candor. The film lacks a strong narrative -- it could be called "Scenes From Three Marriages and the Life of One Unsettled Single Girl." But the film really needs no melodrama to underscore its themes.
A glorious cast of actresses is a hallmark of a Holofcener film. In this case, we have Jennifer Aniston, Catherine Keener, Frances McDormand and Joan Cusack, ably abetted by a strong supporting male cast. The primary appeal of this Sony Pictures Classics release will be to women. The film should earn steady coin in theatrical release before wider exposure in home video and TV.
The movie has an interesting structure. Four women approaching middle age, friends apparently forever, get together frequently. So we experience scenes in which these women interact. They also meet occasionally with their husbands. Ah, but then there are scenes between each of the three couples or the women individually in which they discuss, sometimes rather cattily, the others in this extended group. So you get a kind of running commentary and interpretation of how the characters perceive one another, which is not necessarily the way we perceive them. In this way, the movie thoroughly examines all the relationships and the movie's theme -- the impact money and mortality on these relationships.
Certainly, money impacts everything in life, but especially when six friends have money and one does not. Then there's the question of charities and which fund-raisers to support so one appears generous but not guilty about money. Mortality enters the picture when some realize that the key accomplishments of their lives are in the past. So what to do between now and, frankly, death?
Jane (McDormand) is a successful fashion designer with a child and happy marriage to the effeminate but doting Aaron (Simon McBurney). Yet she is frequently pissed off by all the small stuff and so disconnected from her life that she has stopped washing her hair. It's beginning to show.
Christine (Keener) and David Jason Isaacs) are a top screenwriting team -- only the word "team" no longer applies to their lives together. They quarrel over everything, never have sex, can't agree on their script and in a last-ditch effort to salvage the relationship decide to add a second story to their house. Yeah, a second story ought to do the trick!
Almost perversely, Franny (Cusack) and Matt (Greg Germann) have no major problems, which makes them the least interesting people in the movie. It's a sign of eternal optimism, though, that Holofcener can insist on the existence of such wedded bliss.
Then there's Olivia (Aniston). "She's unmarried, a pothead and a maid," bemoans Jane. Olivia has quit a teaching job to clean toilets and her longest relationship has been with a married guy. Christine fixes her up with Mike (Scott Caan), a personal trainer who could not be more wrong for her, but predictably she goes with him anyway.
Plot progression consists of each personal crisis getting worse until a breaking point is reached. Essentially, this is a talky movie where human behavior and relationships are studied under a somewhat satirical microscope.
Aniston and Holofcener were made for each other. In her movie work, Aniston excels at suggesting women unhappy with their lives and uncertain how to rectify the situation while the writer-director explores female neuroses with compassion and wit. Here they team up to create a memorably unsettled woman who has been inattentive to her own life for far too long.
McDormand is marvelous as a woman who lets a perfectly happy life unravel. Keener, a Holofcener veteran, is again outstanding as a wife who can witness but do nothing about a collapsing marriage. Cusack hasn't as much to play but does manage a strong character anyhow.
Designer Amy Ancona and costumer Michael Wilkinson have the smarts to avoid the image of Westside glamour. These are people who pick up their kids and get their groceries just like everyone else. Craig Richey's music is too much of a background hum, like a stereo left on in the living room, but perhaps even this fits the story. Cinematographer Terry Stacey too keeps things simple with set-ups and framing that highlight the lack of connectivity in human relationships even among the best of friends.
FRIENDS WITH MONEY
Sony Pictures Classics
This Is That Prods.
Credits:
Screenwriter-director: Nicole Holofcener
Producer: Anthony Bregman
Executive producers: Ted Hope, Anne Carey, Ray Angelic
Director of photography: Terry Stacey
Production designer: Amy Ancona
Music: Craig Rickey
Costume designer: Michael Wilkinson
Editor: Robert Frazen
Cast:
Olivia: Jennifer Aniston
Christine: Catherine Keener
Jane: Frances McDormand
Franny: Joan Cusack
Aaron: Simon McBurney
David: Jason Isaaacs
Mike: Scott Caan
Matt: Greg Germann
Aaron #2: Ty Burrell
Marty: Bob Stephenson
No MPAA rating
Running time -- 88 minutes...
Many movies are set in Los Angeles, but this is one of the few that nails down the lingo, attitudes and worries of a certain segment of its citizenry with insight and candor. The film lacks a strong narrative -- it could be called "Scenes From Three Marriages and the Life of One Unsettled Single Girl." But the film really needs no melodrama to underscore its themes.
A glorious cast of actresses is a hallmark of a Holofcener film. In this case, we have Jennifer Aniston, Catherine Keener, Frances McDormand and Joan Cusack, ably abetted by a strong supporting male cast. The primary appeal of this Sony Pictures Classics release will be to women. The film should earn steady coin in theatrical release before wider exposure in home video and TV.
The movie has an interesting structure. Four women approaching middle age, friends apparently forever, get together frequently. So we experience scenes in which these women interact. They also meet occasionally with their husbands. Ah, but then there are scenes between each of the three couples or the women individually in which they discuss, sometimes rather cattily, the others in this extended group. So you get a kind of running commentary and interpretation of how the characters perceive one another, which is not necessarily the way we perceive them. In this way, the movie thoroughly examines all the relationships and the movie's theme -- the impact money and mortality on these relationships.
Certainly, money impacts everything in life, but especially when six friends have money and one does not. Then there's the question of charities and which fund-raisers to support so one appears generous but not guilty about money. Mortality enters the picture when some realize that the key accomplishments of their lives are in the past. So what to do between now and, frankly, death?
Jane (McDormand) is a successful fashion designer with a child and happy marriage to the effeminate but doting Aaron (Simon McBurney). Yet she is frequently pissed off by all the small stuff and so disconnected from her life that she has stopped washing her hair. It's beginning to show.
Christine (Keener) and David Jason Isaacs) are a top screenwriting team -- only the word "team" no longer applies to their lives together. They quarrel over everything, never have sex, can't agree on their script and in a last-ditch effort to salvage the relationship decide to add a second story to their house. Yeah, a second story ought to do the trick!
Almost perversely, Franny (Cusack) and Matt (Greg Germann) have no major problems, which makes them the least interesting people in the movie. It's a sign of eternal optimism, though, that Holofcener can insist on the existence of such wedded bliss.
Then there's Olivia (Aniston). "She's unmarried, a pothead and a maid," bemoans Jane. Olivia has quit a teaching job to clean toilets and her longest relationship has been with a married guy. Christine fixes her up with Mike (Scott Caan), a personal trainer who could not be more wrong for her, but predictably she goes with him anyway.
Plot progression consists of each personal crisis getting worse until a breaking point is reached. Essentially, this is a talky movie where human behavior and relationships are studied under a somewhat satirical microscope.
Aniston and Holofcener were made for each other. In her movie work, Aniston excels at suggesting women unhappy with their lives and uncertain how to rectify the situation while the writer-director explores female neuroses with compassion and wit. Here they team up to create a memorably unsettled woman who has been inattentive to her own life for far too long.
McDormand is marvelous as a woman who lets a perfectly happy life unravel. Keener, a Holofcener veteran, is again outstanding as a wife who can witness but do nothing about a collapsing marriage. Cusack hasn't as much to play but does manage a strong character anyhow.
Designer Amy Ancona and costumer Michael Wilkinson have the smarts to avoid the image of Westside glamour. These are people who pick up their kids and get their groceries just like everyone else. Craig Richey's music is too much of a background hum, like a stereo left on in the living room, but perhaps even this fits the story. Cinematographer Terry Stacey too keeps things simple with set-ups and framing that highlight the lack of connectivity in human relationships even among the best of friends.
FRIENDS WITH MONEY
Sony Pictures Classics
This Is That Prods.
Credits:
Screenwriter-director: Nicole Holofcener
Producer: Anthony Bregman
Executive producers: Ted Hope, Anne Carey, Ray Angelic
Director of photography: Terry Stacey
Production designer: Amy Ancona
Music: Craig Rickey
Costume designer: Michael Wilkinson
Editor: Robert Frazen
Cast:
Olivia: Jennifer Aniston
Christine: Catherine Keener
Jane: Frances McDormand
Franny: Joan Cusack
Aaron: Simon McBurney
David: Jason Isaaacs
Mike: Scott Caan
Matt: Greg Germann
Aaron #2: Ty Burrell
Marty: Bob Stephenson
No MPAA rating
Running time -- 88 minutes...
- 1/20/2006
- The Hollywood Reporter - Movie News
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