Oscar music: Too many rules?
Peeps are understandably upset that Jonny Greenwood’s score for There Will Be Blood was excluded from Oscar contention. You can blame a technicality stating that scores cannot be “diluted by the use of tracked themes or other pre-existing music.” For the film, Greenwood composed 35 minutes of original recordings — compared to roughly 46 minutes of pre-existing work which included selections from other aritsts. (Check out Part 5-d of Rule 16 of the Academy’s rulebook for tons of details.)
Obviously, there have to be rules (this isn’t ‘Nam!), but a snub for one of the most original scores in recent memory seems especially harsh. Just this morning, PopWatch reader Kevin called Greenwood’s “the best score of the decade” (whoa), and Allibee claimed it comes “close to being an actual character of the film.” And TWBB wasn’t the only glaring omission. Eddie Vedder’s work for Into the Wild couldn’t qualify for Original Score because it was too “song-based.” Don’t you just hate when music sounds like music? What does that even mean?
Speaking of “rules,” we’re happy Glen Hansard’s “Falling Slowly,” from Once, got a Best Song nod, but some are skeptical about it because different versions of the song appeared first on The Cost, an album from Hansard’s band the Frames, and on Markéta Irglová’s solo album The Swell Season. The fact that this even needs to be pointed out, though, is as ridiculous as the exclusions mentioned above. Where do you draw the line when ideally, the real question for determining nominees should be as simple as “How great is the music in this movie?”
Also, THREE songs from Enchanted? Really?
addCredit(“Jonny Greenwood: Dave Benett/Getty Images”)