From a spice planet to the end of our planet, this year's Oscar-nominated scores show a wide range of talents from some of the world's best composers.
Over the last few years, the Best Original Score category at the Academy Awards has been a fascinating contest to watch. Last year, Trent Reznor, Atticus Ross, and Jon Batiste won the Oscar for their stunning work on Pixar's score for Soul, while in 2019, Hildur Guðnadóttir became the first solo female composer to ever win the category with her work on Joker.
With “Don’t Look Up - Main Title Theme,” Britell goes for a big, brassy sound, punctuated by what sounds like the plunking of a toy piano. This makes for a great presentation of the film’s themes: big things are to come, yet with childish people in charge causing havoc, this could be the end of us all. But Britell also has grandiose moments that help raise the stakes of moments that, if they go wrong, could cause the end of life itself.
This is especially clear in “Sesión de fotos,” a sweeping intro with gorgeous strings that is then counterbalanced by stark violins and a thumping electronic motif. Iglesias has been nominated in this category three previous times, for his The Constant Gardener, The Kite Runner, and Tinker Tailor Soldier Spy scores—each of which tells a dramatic story with tension and uncertainty brewing underneath.
Encanto is by far the nominated film in this category that most relies on music, obviously, since it’s a musical. But there’s a musicality to every scene of Encanto, and because of that, Franco’s score is the lifeblood to the Disney animated film. Listening to “Meet La Familia,” it’s easy to be enraptured by this world of magic simply through little more than the music. Franco’s music, with its Colombian style and liveliness brings the magic of Encanto to life, even without Miranda’s songs.
Zimmer hasn’t won since 1994 for his The Lion King score, but in recent years, he’s been nominated for his larger-than-life scores, primarily with Christopher Nolan films like Inception, Interstellar, and Dunkirk. With his work on Dune, it’s almost as if Zimmer is bringing each individual piece of this universe to life.
Throughout The Power of the Dog, Greenwood shows his wide range of talents. The opening cut, “25 Years,” sounds like it could’ve been the beginnings of a great Radiohead song, while the seemingly spastic playing on “Detuned Mechanical Piano” brings to life the panic and wildness of this period in American history.
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