I'm with you on Elfman, too.

I thought he deserved two Oscars for Brokeback alone. Haunting, unforgettable...
:)

Sounding the same is not the issue. Lots of composers' works end up sounding similar because that's their style. This was a piece of actual recycled work ... and if I read the rules correctly, ineligible for an Academy Award nomination.


Shenanigans!







Oh, and - of course - - bah!

Really? I'll be damned if I can remember that score and I saw it well after the theatrical run

Meh, I swallowed that pill long ago. He's gone the way of Burton in terms of his scoring. Such is life.

But I agree with iSm that there's a difference between John Williams reusing some 3-note sequence at the end of a some refrain in a new score vs. a copy and paste of the whole melody.

But, the key rule is 5-d and the definition of "diluted". Is using it once, but during a pivotal moment, enough to brand whole score, beginning to end, as "diluted"?

I'm not surprised. It was all over the TV: the ads, the parodies, the clips for awards shows... But since you don't watch TV... :)
And, of course, there's the Tony Moran remixed club version. I have that one. It makes me laugh.
:D

I wonder what would happen if someone did get stripped of an Academy Award?

Would there be like this big press conference like Milli Vanilli had when they gave up their Grammy 17 years ago? :D

TeeHee - let's find out!

I loved Eflman scores from Pee Wee's Big Adventure up through Batman. Then he lost me, which is sad, I thought some of his work was just great. He lifted up the Burton films (which always seem to crap out and lose focus and steam about 2/3 way through them)

I'm a big Howard Shore fan and don't get me started on the old classic film composers, gosh but some of the scores are just great.

I've not seen Babel yet and as for Brokeback, all I can remember is the basic theme and that is from it being drilled into my head from watching all the trailer parodies last year :)

But, if the rules are such as iSm spells out, then I agree the award is not deserved. So I guess you blame the nominating committee?

Korngold, Steiner, Tiomkin, Hermann, Rozsa and Waxman all had a unique (to them) style and sound. But I can remember almost none of them borrowing or using themes from an earlier score.

Is this online somewhere?