Oscars 2022: Best Original Score

“Dune” is a favorite versus “The Power of the Dog,” the surprising “Encanto,” and more. (Constantly updated.)

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Last updated February 11th: Original spots nominated for Oscars – “Don’t Look Up” (Netflix), “Dune” (Warner Bros.), “Encanto” (Disney), “Parallel Mothers” (Sony Pictures Classics) and “The Power of the” Dog” (Netflix) – attracted by experimentation and invention. Notably, Germaine Franco of “Encanto” represents the first woman to be nominated for a Disney animated feature.

However, Oscar winner Hans Zimmer (“The Lion King”) could win a second prize for Denis Villeneuve’s ambitious “Dune.” His score is a musical masterpiece of invention experimenting with conveying the beauty and dangers of the desert planet Arrakis – from the rhythm of the wind pushing sand between the rocks to the thumping of worms. monstrous sand. Zimmer is soul-based, led by a choir of female voices. As part of his psychedelic nature, Zimmer didn’t want any of the culturally diverse instruments to be identifiable, so he disguised everything with the help of sculptor/welder Chas Smith and his virtual synthesizer.

Johnny Greenwood achieves his own brilliant musical invention for Jane Campion’s psychological western, “The Power of the Dog”. Inspired by the repression and barbarism of rancher Montana Phil (Benedict Cumberbatch), Greenwood transforms the orchestra’s instruments into unique sounds to convey his loneliness, isolation, and longing. before his beautiful landscape and his prison-like house. The cello becomes the banjo for its unique flair, the piano atonal evokes a sense of pain, the French trumpet and strings have a stinging quality. Greenwood basically turned his scores into a nightmare.

POWER OF THE DOG: BENEDICT CUMBERBATCH as THE PHILIPPINES BANK in DOG POWER. Cr. KIRSTY GRIFFIN / NETFLIX © 2021

“The Power of the Dog”

KIRSTY GRIFFIN / NETFLIX

Spanish composer Alberto Iglesias has been nominated four times but only once with director Pedro Almodóvar for their latest work, “Parallel Mothers”. It was a sensational drama, starring longtime collaborator Almodóvar and Academy Award nominee Penélope Cruz, about a pair of single mothers – middle-aged Cruz and young Milena Smit, who people sharing the same room and forming close relationships. Psychological, political, and traumatizing, the similarities between which are musically treated like a thriller through a composer’s mix, where a subplot highlights the unearthed tombs during the Spanish Civil War. The composer combines different melodies and stages very effectively.

Two-time Oscar nominee Nicholas Britell (“If Beale Street Could Talk,” “Moonlight”) satirizes Adam McKay’s climate change satire, “Don’t Look Up,” with a sense of chaos and absurdity about comet crashes. This required a great deal of musical experimentation by Britell, who came up with the concept: “What if we lost the Second World War?” This leads to the main theme being influenced by mid-century big band jazz. So he threw in a banjo, toy piano, bass saxophone and double trumpet. And this escalates into amazement and chaos which helps underline the overall rhythm of the film.

“Encanto”, a musical fantasy animated film about a Colombian family with special powers, relies heavily on magical realism, blurring illusion and reality. This is ripe for Franco’s point when it comes to the idea of ​​an extended Latin American family with well-defined roles and expectations but at odds with the individual’s needs and desires. Colombia, located at the crossroads of Latin America, provided a blend of indigenous musical ideas to Franco in creating the right rhythms and sounds. Among the traditional Colombian instruments she uses are the guitar-like tiple, an ethnic instrument, the mandolin-like bandola, the arpa llanera, and a long flute called the gaita.

Here are the candidates ranked in order of likelihood of winning:
“Sand Dunes”
“The Power of the Dog”
“Parallel Mothers”
“Don’t look up”
“Encanto”

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https://www.indiewire.com/feature/oscars-2022-original-score-1234679269/ Oscars 2022: Best Original Score

Olly Dawes

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