Oglądam na BBC One (re)transmisję. Po raz kolejny wycięli przyznanie statuetki za muzykę Identycznie było 3 lata temu z GBH... To jest jakiś skandal! Pokazują scenografię czy efekty specjalne, muzyki nie...
Ale Royal Albert Hall robi wrażenie! Powinni koncert Johna nagrać i wydać na Blu!
Re: NAGRODY BRANŻOWE
: ndz lut 18, 2018 23:06 pm
autor: hp_gof
Johannka już pokazali w In Memoriam
Re: NAGRODY BRANŻOWE
: pn lut 19, 2018 00:06 am
autor: Adam
DelToro pięknie został rozjechany. I tak też bedzie na Oscarach, a Olek dostanie Oscara w kategorii pocieszenia.
Re: NAGRODY BRANŻOWE
: pn lut 19, 2018 00:31 am
autor: hp_gof
Teraz to jednak Olek dostanie nagrodę pocieszenia, a nie Jonny? Skąd ta nagła zmiana zdania? Chciałbym zostać tak rozjechany jak Del Toro, który zgarnia wszystkie nagrody po kolei jako reżyser i najprawdopodobniej dostanie też Oscara w tej kategorii Kształt wody dostanie moim zdaniem MIMO WSZYSTKO jeszcze dodatkowego Oscara za zdjęcia i te 4 statuetki będą spoko. Natomiast co do najlepszego filmu - nie jestem przekonany, czy wygrają 3 Billboardy, bo to będzie głosowanie preferencyjne i tu nie liczy się wyłącznie na kogo głosujesz na pierwszym miejscu, ale również które filmy są na kolejnych pozycjach. Czwórka aktorska raczej pewna, niespodzianek nie będzie.
Jednak wypuścili filmik z odbioru nagrody (w końcu wprost podziękował LSO <3 i córeczce Antonii też ):
PHANTOM THREAD, music by Jonny Greenwood
THE POST, music by John Williams
THE SHAPE OF WATER, music by Alexandre Desplat
STAR WARS: THE LAST JEDI, music by John Williams
WAR FOR THE PLANET OF THE APES, music by Michael Giacchino
COMPOSER OF THE YEAR
ALEXANDRE DESPLAT
MICHAEL GIACCHINO
DANIEL PEMBERTON
BENJAMIN WALLFISCH
JOHN WILLIAMS
BREAKTHROUGH COMPOSER OF THE YEAR
MICHAEL ABELS
ANNE-KATHRIN DERN GEORGE KALLIS
ALEJANDRO VIVAS
CHRISTOPHER WILLIS
BEST ORIGINAL SCORE FOR A DRAMA FILM
ALL THE MONEY IN THE WORLD, music by Daniel Pemberton
DARKEST HOUR, music by Dario Marianelli
MURDER ON THE ORIENT EXPRESS, music by Patrick Doyle PHANTOM THREAD, music by Jonny Greenwood
THE POST, music by John Williams
BEST ORIGINAL SCORE FOR A COMEDY FILM
THE DEATH OF STALIN, music by Christopher Willis
DOWNSIZING, music by Rolfe Kent
KNOCK, music by Cyrille Aufort
PADDINGTON 2, music by Dario Marianelli
THEIR FINEST, music by Rachel Portman
BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM
A CURE FOR WELLNESS, music by Benjamin Wallfisch
JUMANJI: WELCOME TO THE JUNGLE, music by Henry Jackman
KING ARTHUR: LEGEND OF THE SWORD, music by Daniel Pemberton
PLAN DE FUGA, music by Pascal Gaigne
THE RENDEZVOUS, music by Austin Wintory
BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
GET OUT, music by Michael Abels
THE SHAPE OF WATER, music by Alexandre Desplat
STAR WARS: THE LAST JEDI, music by John Williams
VALERIAN AND THE CITY OF A THOUSAND PLANETS, music by Alexandre Desplat WAR FOR THE PLANET OF THE APES, music by Michael Giacchino
BEST ORIGINAL SCORE FOR AN ANIMATED FILM
CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, music by Theodore Shapiro
COCO, music by Michael Giacchino
THE EMOJI MOVIE, music by Patrick Doyle
FERDINAND, music by John Powell
LOVING VINCENT, music by Clint Mansell
BEST ORIGINAL SCORE FOR A DOCUMENTARY
BLUE PLANET II, music by Hans Zimmer, Jacob Shea, and David Fleming
BOSTON, music by Jeff Beal
EARTH: ONE AMAZING DAY, music by Alex Heffes
JANE, music by Philip Glass MULLY, music by Benjamin Wallfisch
BEST ORIGINAL SCORE FOR TELEVISION
ALIAS GRACE, music by Jeff Danna and Mychael Danna
GAME OF THRONES, music by Ramin Djawadi
ONNA JÔSHU NAOTORA, music by Yôko Kanno THE ORVILLE, music by Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee
TIEMPOS DE GUERRA, music by Federico Jusid
BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
DEFORMERS, music by Austin Wintory
DIVIDE, music by Chris Tilton
GET EVEN, music by Olivier Deriviére RIME, music by David García Díaz
VALKYRIA: AZURE REVOLUTION, music by Yasunori Mitsuda
BEST NEW RELEASE, RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE
BEN-HUR, music by Miklós Rózsa; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by James Fitzpatrick, Gareth Bevan, and Nic Finch (Tadlow)
CLOSE ENCOUNTERS OF THE THIRD KIND, music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land)
DAMNATION ALLEY, music by Jerry Goldsmith; album produced by Nick Redman and Mike Matessino; liner notes by Julie Kirgo; album art direction by Kay Marshall (Intrada)
DUEL IN THE SUN, music by Dimitri Tiomkin; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by Jim Titus (Tadlow/Prometheus)
E.T. THE EXTRA-TERRESTRIAL, music by John Williams; album produced by Mike Matessino and Bruce Botnick; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land)
BEST FILM MUSIC COMPILATION ALBUM
CAPTAINS COURAGEOUS: THE FRANZ WAXMAN COLLECTION, music by Franz Waxman; album produced by Douglass Fake; liner notes by Frank K. De Wald; album art direction by Kay Marshall and Joe Sikoryak (Intrada)
DEBBIE WISEMAN: LIVE AT THE BARBICAN, music by Debbie Wiseman; The Orchestra of the Guildhall School conducted by Debbie Wiseman; album produced by Debbie Wiseman, Reynold Da Silva, David Stoner, and Pete Compton; liner notes by Debbie Wiseman; album art direction by Stuart Ford (Silva Screen)
JOHN WILLIAMS AND STEVEN SPIELBERG: THE ULTIMATE COLLECTION, music by John Williams; album produced by Laura Zsaka and Jamie Richardson; liner notes by Jon Burlingame; album art direction by Amelia Tubb (Sony Classical)
THRILLER, music by Jerry Goldsmith; The City of Prague Philharmonic Orchestra conducted by Nic Raine; album produced by James Fitzpatrick and Leigh Phillips; liner notes by Jon Burlingame; album art direction by Matthew Wright and Nic Finch (Tadlow)
THE WILD WILD WEST, music by Various Composers; album produced by Jon Burlingame; liner notes by Jon Burlingame; album art direction by Jim Titus (La-La Land)
FILM MUSIC RECORD LABEL OF THE YEAR
CALDERA RECORDS, Stephan Eicke
INTRADA RECORDS, Douglass Fake and Roger Feigelson LA-LA LAND RECORDS, MV Gerhard and Matt Verboys
QUARTET RECORDS, José M. Benitez
TADLOW MUSIC, James Fitzpatrick
FILM MUSIC COMPOSITION OF THE YEAR
“End Credits” from WAR FOR THE PLANET OF THE APES, music by Michael Giacchino
“Finale” from STAR WARS: THE LAST JEDI, music by John Williams
“Growing Up in Londinium” from KING ARTHUR: LEGEND OF THE SWORD, music by Daniel Pemberton
“Justice” from MURDER ON THE ORIENT EXPRESS, music by Patrick Doyle
“Love” from THE BOSS BABY, music by Hans Zimmer, Steve Mazzaro, and Conrad Pope
Nie ma, bo Dunkierki i Nici nie zrejectowali, i nagle nie przeszkadza im tona muzy źródłowej (w Nici jest ponad godzina oprócz scoru ), a kurwa rok temu im przeszkadzały raptem DWIE pieprzone minuty jednego faceta w Arrival Co roku robią cyrk na kółkachz nomami do scorów, a Ty dalej się chcesz kłócić o to samo?
Re: NAGRODY BRANŻOWE
: pt lut 23, 2018 09:47 am
autor: hp_gof
Teraz mówię o wyborze zwycięzcy, a nie o nomach
Re: NAGRODY BRANŻOWE
: pt lut 23, 2018 09:50 am
autor: Adam
wybór zwycięzcy już nie raz się minął z oczekiwaniami więc poczekajmy cierpliwie
Re: NAGRODY BRANŻOWE
: pt lut 23, 2018 10:01 am
autor: hp_gof
Kiedy? Jakie to były oczekiwania?
Re: NAGRODY BRANŻOWE
: pt lut 23, 2018 21:10 pm
autor: Wojteł
Chyba trzeba będzie założyć kiedyś osobny temat na posty Pope'a jara się scorem do Phantom Thread, po czym wywiązała się taka rozmowa:
Hans Zimmer:
Such a great score. Deserving of all recognition and love it gets! Jonny Greenwood is truly one of my favorite composers working today.
Pope:
Hans! I knew you would love this score! Your score to DUNKIRK is the ground breaking score for me-- utterly unique in approach, virtuosic in its realization. It's a score that I had to experience many times -- first in the picture and then listening to it. Listening to just the score, you begin to apprehend the SCALE of the score ( it is much like Wagner in that way- at least for me). In DUNKIRK the "sound threads" woven through that score are both "tension" inducing and alluring at the same time. And the architecture of the score! "Nimrod" is such a pay off on screen and on CD. Also, I would say that after listening to your score, you give the listener something to think about in how the music is made and how it functions. I hope everyone is drawn to spending time with your music for DUNKIRK and that they find it as rewarding a listen, a journey and an invitation to "think different"as I have. One can never see the future, but as you have so many times in the past, I think the influence of DUNKIRK will resonate well into the future of film making. My only question is: who else will work as hard as you to achieve such astonishing results? ( And apropos to a post in another thread-- I think the sheet music would do a disservice to the musical/aural/paradigm shifting imagination of your score. It must be heard "live" first and then be "internalized".) Wow-- too many words. Apologies!
Re: NAGRODY BRANŻOWE
: pt lut 23, 2018 21:26 pm
autor: hp_gof
Pope znów odleciał
I hope everyone is drawn to spending time with your music for DUNKIRK and that they find it as rewarding a listen, a journey and an invitation to "think different"as I have.
O, nie, nie, nie, żadna z tego przyjemność...
I think the influence of DUNKIRK will resonate well into the future of film making.
Zabrzmiało jak groźba...
Re: NAGRODY BRANŻOWE
: sob lut 24, 2018 01:44 am
autor: Adam
Pope widzę jest jak laskociąg z pigala, ktokolwiek z czymś na topie to od razu laurki na pół strony wypisuje i dupska liże, aż czasem lukier wręcz spływa po monitorze i cza przestać dalej czytać..
Pope widzę jest jak laskociąg z pigala, ktokolwiek z czymś na topie to od razu laurki na pół strony wypisuje i dupska liże, aż czasem lukier wręcz spływa po monitorze i cza przestać dalej czytać..
No nie wiem, na La La Land miał ból dupy, że aż mnie piekło, jak czytałem