Oscars 2022: Best Original Score

In a season blessed with experimentation and invention, lead Hans Zimmer’s “Dune” goes up against Jonny Greenwood’s “Dog Power.” Constantly updated.

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Race for Best original price marked by experimentation and invention, marked by innovative pioneering company”Sand dunes,” “The Power of the Dog,” “Spencer,” “Cyrano,” “King Richard,” “The Tragedy of Macbeth,” “Nightmare Alley,” and “Candyman. Plus, two animated musicals – both composed by the very popular Lin-Manuel Miranda – experiment with Colombian and Cuban cultural sounds: Disney’s “Encanto” Magic (from Germaine Franco , the studio’s first woman composer scored a feature animated feature), and Sony/Netflix’s “Vivo” (scored by Alex Lacamoire).

Oscar winner Hans Zimmer (“The Lion King”) could very well land a second prize for Denis Villeneuve’s (Warner Bros.) ambitious film “Dune.” His score is a musical masterpiece of inventions that experiment in conveying the beauty and dangers of the desert planet Arrakis – from the rhythm of the wind pushing sand between rocks to the thumping of monstrous sandworms. Zimmer is soul-based, led by a choir of female voices. As part of his psychedelic nature, Zimmer didn’t want any of the culturally diverse instruments to be identifiable, so he disguised everything with the help of sculptor/welder Chas Smith and his virtual synthesizer. (Zimmer also ran for James Bond’s “No Time to Die” score, which combines John Barry’s iconic orchestral style with his own moody electronic sensibility, along with unusual screams surprise for the most beloved movie “On Her Majesty’s Secret Service.”)

Jonny Greenwood achieves her own brilliant musical invention for Jane Campion’s psychological western, “Dog Power” (Netflix). Inspired by the repression and barbarism of rancher Montana Phil (Benedict Cumberbatch), Greenwood transforms the orchestra’s instruments into unique sounds to convey his loneliness, isolation, and longing. before his beautiful landscape and prison-like house. The cello becomes the banjo for its unique flair, the piano atonal evokes a sense of pain, the French trumpet and strings have a stinging quality. Greenwood basically turned his scores into a nightmare. (Greenwood also competes for “Spencer,” Pablo Larraín’s fable about Kristen Stewart’s traumatic ’91 Christmas break for Princess Diana. His score is about jazz’s colorful chaos against an orchestra. traditional music representing the Royal family. It begins with a baroque orchestra that transforms into free jazz by replacing each instrument, one by one, with jazz performers.)


“The Power of the Dog”


For Joe Wright’s musical retelling of “Cyrano” (Focus), Aaron and Bryce Dessner of The National created an original soundtrack that alternates between orchestral tracks performed by the London Contemporary Orchestra to the delicate moments in which they performed themselves. The score is largely influenced by the romantic setting of the story, and it evolved on the setting throughout filming, with The Dessners working closely with Wright to ensure that the score aligns with his vision. director. During the pandemic, Aaron, Bryce and others continued to collaborate virtually using audio-sharing technology. The Dessners combines elements from the baroque world of Cyrano with modern folk influences, and incorporates electronic elements throughout the score to create contrasts, along with a subtle meditative quality.

“King Richard” (Warner Bros.), a biopic about Richard Williams (Will Smith)’s uncompromising mission to bring his daughters Venus (Saniyya Sidney) and Serena (Demi Singleton) to the pinnacle of his career. tennis, is a personal project of the composer. Kris Bowers, whose father decided before he was born that he wanted him to play the piano and who took an active role in the development of his craft. As a result, Bowers enhanced the piano and prepared the piano in the score. He also evokes the sound and feel of tennis through strings, harp, piano, prepared piano and percussion, both of which depict the uniqueness of the Williams sisters overcoming the barrier of color. tennis, as well as the courage and perseverance of the Williams family.

With “The Tragedy of Macbeth” (A24), starring Denzel Washington and McDormand, Joel Coen embraced the inherent theatrical nature of Shakespeare’s play in Expressionistic black-and-white tones. And because it’s more psychological than physical reality, composer Carter Burwell has a sense of dense blacks and silky grays, which inspired him to create thrilling, partly distorted string sounds. influenced by “Psycho” by Bernard Herrmann. In addition, Burwell uses the dialog as the melody and the strings as the accompaniment, so he puts most of the music in the lowest intervals with cello and bass, occasionally flying with a violin solo and a well-placed fiddle.

“The Tragedy of Macbeth”

Apple / A24

Nia DaCosta’s horror update “Candyman” (Universal) demands an unusual score – and black composer and co-sound designer Robert Aiki Aubrey Lowe delivered a sound scene befitting the myth. The film’s urban dialogue about racist violence perpetrated against Black men throughout history. Myths provided a lot of inspiration for Lowe, whose approach included recording his own voice, then processing and manipulating it to create a sound that resembles a choir of strings, wood sheet metal and musical instruments. He made his own field recordings of Cabrini Green’s keystone deck in Chicago, turning those textural elements into the “spiritual energy” of the track. And he recorded and manipulated the sounds of bees and other insects into eerie humming and humming.

For the noirish “Nightmare Alley” (Searchlight Pictures) by Guillermo del Toro, about ’40s con artists and social ills (starring Bradley Cooper and Cate Blanchett), composer Nathan Johnson (“Knives Out”) creates a modern-day hybrid score. He begins with a single repeating piano motif, which develops into a period-specific piece, enhanced by aleatoric string dissonance and hip-hop’s inner wobbles. When all the layers are finally stripped back to that single piano motif, we’re left with a weird aftertaste.

Listed in alphabetical order. No movie will be considered a frontrunner until we’ve seen it.

The one who went first
“Sand Dunes”
“King Richard”
“The Power of the Dog”
“The Tragedy of Macbeth”

“Being Ricardians”
“Candy Man”
“Come on”
“Don’t look up”
“Nightmare Alley”
“There is no time to die”
“Parallel Mothers”
“French Dispatch”
“The harder it is, the more they fall”
“Last match”

Long shot
“Gucci House”
“Last night in Soho”
“Still Water”
“Card Counter”
“Green Knight”
“The Lost Daughter”

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https://www.indiewire.com/2021/11/oscars-2022-original-score-1234679269/ Oscars 2022: Best Original Score

Aila Slisco

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