Contributed by Melissa Thompson and Michelle McCue
The sets. The hair and makeup. The cinematography. The story. The sound. All of the work of talented crafts people are pulled together under the very heart of any good movie – the score.
With the Academy Award nominations on Thursday, January 16, looming like the drumline at the head of a marching band, we thought we’d have a look back at some of the finer scores of 2013.
Listen and watch a handful of Hollywood’s leading composers discuss the art of scoring a film in The Hollywood Reporter’s round table discussion. With one hundred fourteen scores from 2013 vying for nominations in the Original Score category for the 86th Oscars, we suspect some of these names will be announced .
(THR)
Honorable Mention: INSIDE LLEWYN DAVIS from T Bone Burnett.
The soundtrack for INSIDE LLEWYN DAVIS transported us to another time and place. The documentary feeling of the film stems from the Coens Brothers decision to shoot and record the music live with no playback and we joined right in the folk-song revival.
For more on the music, read a Q&A with T Bone Burnett HERE.
1. GRAVITY – Steven Price
For Alfonso Cuarón’s thriller, Price created a groundbreaking score, blurring the lines between electronic and organic sounds, incorporating a wide range of elements, from glass harmonicas to string and brass sections. The score captures the on-screen emotion and vacuum of space as another character in the film and left our hearts pounding.
Read our interview here: https://www.wearemoviegeeks.com/2013/10/interview-wamg-checks-in-with-gravity-composer-steven-price/
2. THE PLACE BEYOND THE PINES – Mike Patton
American singer-songwriter and multi-instrumentalist Mike Patton, best known as the lead singer of the alternative metal/experimental rock bands Mr. Bungle and Faith No More, has composed a brooding and emotionally charged original score. Patton’s music guides the viewer through this multi-generational drama, linking characters, time periods, and locations with a harmonic convergence of jazz, folk, rock, blues and classical.
Patton’s score features an eclectic selection of music including selections by Arvo Part and Ennio Morricone.
3. ALL IS LOST – Alex Ebert
In a film so devoid of dialogue, this great musical score assumed special importance. Director J.C. Chandor turned to acclaimed singer-songwriter Alex Ebert, leader of the band Edward Sharpe and the Magnetic Zeros, to compose the film’s score—his first such project.
“It was sort of a shocker in some ways,” says Ebert. “It’s amazing that J.C. would have that kind of faith in someone who hadn’t scored a film.”
Ebert says Chandor initially asked him to deliver very subdued materials, drones and low notes that sustained over scenes. He also specifically requested that the instrumentation avoid piano. That was challenging for the composer, who had already written some pieces on piano, but he understood Chandor’s reasoning.
“The piano has this inherent emotion to it,” he says. “We didn’t want anything that was ’emotion in a can’ or ‘tension in a can.’ But eventually I started taking more chances, and after some back and forth with J.C., we landed in this middle spot that I think was perfect.”
“It’s about beauty,” he says. “It’s emotional and everything that comes along with life and death, and nothing less. I think that’s the primary subject of humanity—and it’s something that you might want to stay away from because it would be overdramatic. But this dude’s in the middle of the ocean on a raft. Let the music be emotional because it is emotional. We followed the movie’s lead.”
4. PHILOMENA – Alexandre Desplat
The very emotional score from Alexandre Desplat’s PHILOMENA broke our hearts. We laughed and cried from beginning to end with Philomena Lee’s heart-wrenching story.
5. OBLIVION – Anthony Gonzalez, M83, Joseph Trapanese
The score was one of the best of 2013 and an intregral part of OBLIVION’s sci-fi landscape.
Read more about it here: https://www.wearemoviegeeks.com/2013/04/m83-joseph-trapanese-and-the-music-of-oblivion/
6. CAPTAIN PHILLIPS – Henry Jackman
Jackman displays versatility in capturing both the intense, desperation and terror in the story of Captain Richard Phillips’ hostage situation with Somali pirates as well as the humanity of the circumstances. Hitting the right musical balance of drama and intensity was a challenge in minimalism for Jackman, so as not to manipulate the audience.
7. NEBRASKA – Mark Orton
A member of the bluegrass folk collective Tin Hat, Orton’s vibe for Americana music was sought out by director Alexander Payne. Horns, acoustic strings and organ are some of the primary elemental instruments fueling the musical emotion to this story, capturing both the vast landscape and people of the flyover states. Orton, a graduate of the Sundance Filmmaker Institute, also scored the music to the 2014 Sundance premiere Drunktown’s Finest.
Click here to listen: http://markortonmusic.com/nebraska/
8. DESPICABLE ME 2 – Heitor Pereira
A celebrated musician and former member of the platinum-selling group Simply Red, Pereira sings to the hearts of children through his scores for Despicable Me 2. The sequel, which follows the further adventures of the notorious spy Gru, Pereira created specific themes for the new characters, specifically 1960s romantic comedy tones for his love interest Lucy and Latin-mariachi rhythms for the evil El Macho.
9. SAVING MR. BANKS – Thomas Newman
Newman has composed music for nearly 100 motion pictures and television series and has earned 11 Academy Award® nominations and six Grammy® Awards. His score goes hand-in-hand with the back story of Walt Disney and PJ Travers making of MARY POPPINS and left us looking for tissues by the film’s end.
10. FROZEN – Christophe Beck
The second of Disney’s movies that showed young girls it was okay to be their very own heroes!
11. RUSH – Hans Zimmer
With their collaborations on blockbusters from The Da Vinci Code and Angels & Demons to more intimate projects such as Frost/Nixon, director Ron Howard and Hans Zimmer, a Grammy, Golden Globe and Academy Award® winner, once again joined forces for the sounds of RUSH.
Balancing the racers’ simple desires with their frenetic-yet-controlled behavior on the track was a challenge for Howard and Zimmer as they created the soundtrack to the film. The composer captured the spirit of the Formula 1 world.
12. EPIC – Danny Elfman
The rousing score for The Leaf-Men. Enough said.
13. PACIFIC RIM – Ramin Djawadi
Okay, so maybe it didn’t live up to everyone’s expectations, but hot damn if the score to PACIFIC RIM wasn’t one of the coolest of 2013. Made us want to suit up as Jaeger pilots and make a last stand in our ‘Gipsy Danger’.
14. WORLD WAR Z – Marco Beltrami
Animal skulls and teeth combined with percussion add to the tension of utter panic and anxiety in a world being overrun by a Zombie pandemic.
Listen here: http://www.marcobeltrami.com/world-war-z
Read our interview here: https://www.wearemoviegeeks.com/2013/06/interview-wamg-talks-to-world-war-z-composer-marco-beltrami/
15. PRISONERS – Jóhann Jóhannsson
Giving you the sense of dread and desperation, Jóhann Jóhannsson’s score for PRISONERS left us with aches and chills over a parent’s worst nightmare.
We couldn’t end our list without a quick mention for composer Alan Silvestri’s music for THE CROODS. While the film score conveyed beautiful themes and resonated on a deeper level than words could ever say, we were fans of how Silvestri combined the Abbey Road Orchestra and the USC Trojan Marching Band… especially the percussion section!
