Great work, but not the nominees! The nominees are:
Showing posts with label A River Runs Through It. Show all posts
Showing posts with label A River Runs Through It. Show all posts
Wednesday, June 10, 2020
1992, Day Eight: Score
Here are three scores that one assumes almost made it - they were, after all, nominated or awarded elsewhere - but didn't make the final cut. Each album cover will bring you to the score's playlist on YouTube, so treat yourselves!
From left to right, you're looking at the Golden Globe-nominated score to 1492: Conquest of Paradise by Vangelis, the LAFCA Award-winning score to Damage by Zbigniew Preisner, and the BAFTA Awards- and Golden Globe-nominated score to The Last of the Mohicans by Trevor Jones and Randy Edelman.
Great work, but not the nominees! The nominees are:
Great work, but not the nominees! The nominees are:
Monday, June 1, 2020
1992, Day One: Intro and Adapted Screenplay
Today begins our month-long look at the films of 1992!
As I mentioned last month, this isn't just the usual Oscar-focused retrospective. This year was selected after listening to Screen Drafts, one of my favorite podcasts (full disclosure: I guested on the Original American Musicals episode with my best friend and Kipo writer Ben Mekler), in which "experts and enthusiasts competitively collaborate to create screen-centric best-of lists" - I think that's the logline, I'm doing that from memory. The specific episode: 1992 Horror, in which filmmakers Joe Begos and Graham Skipper select the seven best horror flicks domestically released in the United States in 1992. In addition to those seven, I'll also take a look at the other films discussed on the episode that did not make the final list.
But, of course, because this is how we do things around here, I'm also focusing on that year's Oscar race. It's the year Clint Eastwood suddenly became one of the great American auteurs (yes, he had directed plenty before, but not to this level of critical and awards success), Al Pacino finally got his Oscar, people were win to Marisa Tomei, and the Disney Renaissance once again dominated the music categories thanks to Aladdin.
We'll talk about all that, plus the horror picks, later this month. Today, we're starting the journey with Best Adapted Screenplay....
As I mentioned last month, this isn't just the usual Oscar-focused retrospective. This year was selected after listening to Screen Drafts, one of my favorite podcasts (full disclosure: I guested on the Original American Musicals episode with my best friend and Kipo writer Ben Mekler), in which "experts and enthusiasts competitively collaborate to create screen-centric best-of lists" - I think that's the logline, I'm doing that from memory. The specific episode: 1992 Horror, in which filmmakers Joe Begos and Graham Skipper select the seven best horror flicks domestically released in the United States in 1992. In addition to those seven, I'll also take a look at the other films discussed on the episode that did not make the final list.
But, of course, because this is how we do things around here, I'm also focusing on that year's Oscar race. It's the year Clint Eastwood suddenly became one of the great American auteurs (yes, he had directed plenty before, but not to this level of critical and awards success), Al Pacino finally got his Oscar, people were win to Marisa Tomei, and the Disney Renaissance once again dominated the music categories thanks to Aladdin.
We'll talk about all that, plus the horror picks, later this month. Today, we're starting the journey with Best Adapted Screenplay....
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