Songs represent characters in this film, rather than move the plot along. They tell what a character is thinking, feeling, planning, doing, etc. That is what Lurhman was going for when he chose the music for the movie. I felt it was ruined only by the ridiculous Like A Virgin... I always fast-forward through that scene. However, songs like El Tango de Roxanne move the plot along considerably. If you look at this film for what it is, a satire, then perhaps it might get more respect. I have always looked at it as a satire.
I think on second thought I would have gone with The Fellowship of The Ring. It had less flaws.
Songs are everwhere in animated films, but not so much anymore. Maybe it's better for it, maybe it's not. Now a lot of them are using silly pop songs that have no true bearing on their films or the action onscreen. Finding Nemo is a perfect example of why you DON'T NEED pop songs. There WEREN'T any in this one. It didn't NEED any. However the songs in Brother Bear were completely needless. It would have been better if there were none for that film. However, I think that Treasure Planet needed its songs, but nothing more.
I can't believe Phantom. All it took for me was a 30-second clip of the film's Music of The Night to know to STAY THE HELL AWAY FROM IT.
I am pleasantly surprised that Passion did not receive a nomination for Best Picture. I thought as soon as it came out that it would be a shoe-in. I don't regret seeing it, but I never want to see it again. I had a much better time watching Miracle. However Debney has long been ignored by the Academy, so this might be his year. But this score still does not match his brilliance of Cutthroat Island.
I would have nominated Miracle for Best Picture, and Best Actor.
I cast my vote for Ray for Actor and Picture. I think this will finally be the year for Scorcese to get the big one though. But I think Jamie Fox will sweep. At least I hope so.
I haven't seen The Aviator yet, we are going next weekend hopefully. But I can say that it will be pretty hard to top Gangs of New York.
However, Shore's score is well-received, I was surprised it did not get nominated. Finding Neverland is a wonderful surprise though.
Best Song... I have only seen The Polar Express and Shrek 2, and both songs fit their films extremely well. "Accidentally In Love" is a classic character-driven song, and "Believe" is sure to join the ranks of its predecessor "White Christmas." Lloyd Weber won for "You Must Love Me" in 1996 from Evita, deservedly so, but I am not sure about how well this new song fits its film. After all, I am staying away from this one for life, hopefully. If I end up seeing this at any time, I pray that God strike me with a lightning bolt. The other two films... I've not seen them, and I tend to stay away from foreign films until they come out on DVD with an English dubbed version, because my eyes get strained from squinting to read subtitles. But last year's Triplets of Bellville was a great joy to hear, I have plans to see the film sometime. However, "Into The West" matched its film perfectly. When you look at the metaphors behind it, and the conversation between Pippin and Gandalf, it's easy to appreciate it.
Many times the ones that aren't nominated for Best Picture are nominated for Best Original or Adapted Screenplay. That might be of interest to all of you. That is what Ben Affleck and Matt Damon won their Oscars for, for their original screenplay of Good Wil Hunting in 1997. I think it's funny when people introduce them as Oscar-winners. Because they are actors, people automatically might think they won for acting, but if that ever happens, I'll eat fire.
I'd say in the 10 years I have been paying attention to the Oscars there are very few awards I did not agree with. Gladiator should not have won Best Picture, as much as I love it I feel Crouching Tiger should have gotten it. Tom Hanks should have won for Cast Away, Menken should have won for The Hunchback of Notre Dame (the only Oscar he truly deserved for Best Score), and every single film score fan agrees that Anastasia was robbed of Best Musical/Comedy Score in 1997. It also should have been Once Upon A December nominated for Best Song, not Journey To The Past. I don't think Miss Misery fit Good Will Hunting very well, and as much as I love the performance by Michael Bolton Go The Distance was not worthy of a nomination. I think Horner should have won for Braveheart... *thinks of what else* It's a tought contest over what deserved Best Dramatic Score in 94, between Interview With The Vampire and The Lion King. Both scores were innovative and fit their films well. Shakespeare In Love deserved its awards, but I can see how Goldsmith and Schwartz gave Warbeck a run for his money. I have the promotional album for Mulan (only 300 were made but I downloaded it) and I would have found it tough to choose which of these three deserved the Oscar for Best Musical/Comedy Score. Of course the songs that year were magnificent, but I have to agree with their decision to reward Schwartz. It was a joy hearing his name announced as the winner. Diane Warren's songs are all the same... except I Don't Want To Miss A Thing. That one stands out. The Prayer is a beautiful song, it's more memorable than the film it is from, but when you think of the film you wonder why it was written for it. I'm not a fan of Phil Collins. I would have given his Oscar to Music of My Heart. I wouldn't have given Randy Newman the Oscar for Monster's Inc. but I suppose it's about time he got something. But Vanilla Sky... it fit the movie, which was a very weird film, but I know that I am not perfect so I guess that's why it's easier for me to respect things. Anyway, not sure if that deserved a nomination... Until... excellent song, but I don't think I would have nominated it either. It didn't fit the characters or film, as much as I love Sting's writing. For 2003, yes there was no arguing that Eminem deserved recognition for Lose Yourself. For songs like that you don't need to see the film to know what it is about because the song tells you exactly what happens, in more ways than just lyrics.
I would probably have nominated Reflection in 1998 though... but it's hard to say which song I would have taken out to fit it in...
Everything else... Well I was upset that Apollo 13 did not get many awards, and I was upset about this for a long time, THEN I saw Braveheart, and agreed with the Academy's decisions.
For Best Score this year, I'm not sure I would give it to Williams. Prisoner of Azkaban isn't that innovative of a score. As a matter of fact you can hear Rachmaninov's Symphony 2 somewhere in there. Just like Horner's Troy copies Shostakovich's 5th (it was his 5th right? or was it the 8th?)
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