What was your take on the results of the Oscars? What should have won? Don't forget to get a reminder about our upcoming spring sale!! cornellmusicacademy.com/springsale
Charles the best score wasn’t nominated, and was the score from Del Toro’s Pinocchio😉 Please make a video about it cause its a beatiful masterpiece composed by the amazing Alexandre Desplat❤
Tbh, I know one Song who captures it well. It's extreme metal, so a Machine gun sound as drums fits in... It's forward from anaal nathrakh, btw. But might be too much, which fits imo.
I didn't watch All Quiet, but after the Oscar win I listened to the whole soundtrack and I'm pretty sure that is the first time I got jumpscared by a soundtrack. (But also The Batman, Del Toro's Pinocchio and RRR had amazing scores that I wished got nominated too)
I would have kept The Fabelmans, Babylon and The Banshees and included The Batman and Pinocchio. But it's true there have been many great soundtracks this year, such as AQOTF indeed, Avatar 2, Decision to Leave, Empire of Light, The Woman King, Crimes of the Future, etc. At least, EEAAO didn't win. Definetely didn't deserve even the nomination.
That three note jumpscare thing is all I remember from the film. I think of the music from "Banshees..." or Zimmer's "Dune" and I just don't hear any effort in the "All Quiet..." score. Maybe its minimalism is its appeal, but I didn't get it. I'm surprised Charles agreed with the win.
The track "Remains" from "All quiet on the Western Front" gives me goosebumps every time I hear it. It's basically designed to give you anxiety, and like the movie, it's meant to emotionally punch you in the face. Several times. And it definitely does that.
That All quiet on the Western Front is so memorable, it's like i'm having PTSD-ed by the movie. When you listen to it, it gives you flashback about how intense it was, how depressing it was.
EEAAO was easily my favorite movie of 2022 and the score was phenomenal. But the fact that Michael Giacchino wasn’t even nominated for his work on The Batman was very surprising to me.
It really wasn't that good. The first thing I think when I hear the main motif is 'Darth Vader! Wait... Darth Vader?'. It totally threw me off and it was all I could think about whenever I heard it. Is it really that hard to come up with an original sound for Batman that is not rooted in the aura of another cloaked personality? The sound design of the movie was better than the score itself.
Well his Batman theme is like 2 notes and sounds like Darth Vaders theme, so ... Easily the weakest and worst part of the movie was his score. It certainly did not reach the heights of the immaculate cinematography or the oscar worthy (pun intended) performances.
I just watched All Quiet last night, and WOW do those bass notes pack a punch! When they first showed up, I was blown away, and yes, unsettled. Amazing work all around on this film. The cinematography was also completely deserving of its Oscar win.
What made it work is that it overwhelmed the image and the acting and the emotion of the characters in the moment, and made you aware of an evil presence external to the events that is superposed on top of the action and phenomena.
As for what you said about not remembering the score to Everything Everywhere... John Williams once said: "If the music is working, the audience won't notice the music."
And yet Williams has written more of the most memorable film themes in history than anyone else...seems like he didn't follow his own advice! (Honestly, while I understand what he means, I think that sentiment has been really misunderstood by too many directors who demand scores be as unobtrusive as possible)
I doubt that that is true. my favorite soundtracks are ALL I notice in the films they are in. perhaps it's different if one is an ordinary audience member and not a musician who is accustomed to noticing such things. My parents routinely tell me they don't notice the music in tv or movies, and I can't even fathom that.
Yea sure.. because nobody noticed that music when Obi-Wan and Qui-Gon were fighting Darth Maul. In fact anytime music swells up in those classic Star Wars movies, people notice. John Williams is not a subtle composer. Weird of him of all people to say this.
Not questioning the maestro's perspective, of course he could be speaking of the music's emotional transcendence, but Alan Silvestri's score for Back to the Future was quite noticeable and that certainly worked for me. I absolutely love it!
I was really deluded that The Batman wasn't even nominated for its score. I think Micheal Giacchino did an amazing job, and to be honest I feel like this is his best movie score of all time.
@@thegreatpiginthesky3904 I listened to the soundtrack before, soundtracks are my main genre of music, but even that track doesn't persuade me that the score is Oscar-worthy, not by a longshot. :/
@@thegreatpiginthesky3904 I listened to that track again, just to make sure. All it does it build up the same damn condensed Darth Vader theme from the rest of the album by making it louder. This is not brilliant writing. It's serviceable, it's pleasant and more than competent enough, but it's basically just hitting the same spot that people enjoy about clubbing/dance music. Worse, it's also just adapting Nirvana's song notes, which makes it inherently derivative. I can point to a multitude of tracks by Danny Elfman and Shirley Walker that exceed it.
Fantastic comparison. The tanks emerging from the mist added to the alien nature of the escalation of WW1 (in terms of munitions). These impenetrable metallic beasts lumbering forward was the stuff of nightmares
All Quiet On The Western Front was an amazing soundtrack, i listened to that score for weeks when the movie came out. Ive successfully predicted best soundtrack for the last 2 years!
Not gonna even point out how The Batman was completely put aside. But from the nominees, Babylon definitely took the house down. Whoever runs the academy is on something for sure
Welcome, Voodoo Mama, Call Me Manny, Champagne, Red Devil, and Finale. I love the whole soundtrack, but those 6 in particular I have CONSTANTLY on repeat. Man Hurwitz got snubbed.
@@RShadow12 These are all brilliant songs and Hurwitz deserves major props. But I agree with Charles that, as far as this category goes, as a soundtrack to a movie, All Quiet on the Western Front's score is absolutely brilliant in how it enhances the storytelling of the film and totally earned it's award. Hurwitz got nominated - out of maybe over one hundred eligible films he was chosen to be in the top five. I feel like that's not getting snubbed at all.
Justin Hurwitz’s best score for me will always be ‘First Man’ (The Armstrongs, The Landing, Houston, Docking Waltz, End Credits, use of the theremin to capture the baron loneliness of space - inner Armstrong). Shame it wasn’t nominated that year for score but then again the Academy are crap - green book best picture? Don’t make me laugh
For me it was Babylon The music is essential to the film because it is baked into the narrative And I am a sucker for main themes that repeat throughout in multiple different ways, which is something Hurwitz excels at The love theme is almost the same as Call me Manny but slow and romantic and Voodoo Mama get‘s repeated in the beautiful ending
i love how towards the end of the blockhouse track you can hear a really strange version of voodoo mama too.. pretty sure its supposed to be nellies theme and its there because the whole blockhouse section stemmed from nellies bullshitting around?? and also, in the room at the party where the girl overdosed in the beginning of the film, there's a 1920s version of the song "cincinatti", which is originally from damien chazelle and justin hurwitz's first film "guy and madeline on a park bench" which is interesting.
All quiet's score fits the narrative very well. The film is quite an horror film and Bertelmann approached like that and, in fact, the score is quite scary. Also it is very mechanical to recall the sound of war machineries, which were used for the first time in WW1. Personally, I can't really find that much difference between La La Land's score and Babylon's one, even because thematically the film are very much similar.
@@ArthurUnderwood_ Robbery ? No score fits the film better than All Quiet. It is completely in contrast to the movie and holds your attention and keeps you guessing on what is going to happen next. More than anything , it does not grab any attention away from the visual medium, it adds to it
I'd love for you to check out Rob Simonsen's score to The Whale. I really think this score should have at least been nominated! It has a really beautifully haunting and tragic sound. Yet there's this really beautiful theme played on violins that is the only semblance of hope in the score. Really well written and personally my favorite score of 2022.
The shots of the body hanging from the tree and the other body with no hands hanging over the barbed wire with his mouth torn open to his ears making it look like a giant smile is definitely horror movie shit.
You know John Williams is the goat when you list iconic theme after iconic theme and you leave out Harry Potter, which for most composers would be their crown jewel
Personally, it worked better for Annihilation than it did for All Quiet. I must say that I love Geoff and Ben's work with Alex Garland, they're working on his next movie which is an action epic so can't wait for that.
I liked the soundtrack for All Quiet. It was very different to most war movie soundtracks, who are almost always orchestral. Take Saving Private Ryan. All Quiet’s was dark, industrial, metallic, heavy and overall much more fitting for such a jarring feeling and film. I’d say it was well deserved, either that or Babylon.
Orchestral would have been too heroic. I think Private Ryan is not an anti war film, it actually drew people into the army. All Quiet would never achieve that, quite the opposite
Agreed. Its cold and unsettling and fits the film and themes. The soundtrack being introduced at the point where the uniforms are being recycled is a stroke of genius, because its like music to an inhuman machine. Ive heard some complaints thats its out of place in a historical period piece but imo the typical choice IE classical music or orchestra would have felt even more out of place for the subject material.
Michael Abels' "Nope" and "The Batman" should have been among the nominees. And the Polish film in the "Best International feature" had a fantastic score as well.
For me, the score of All Quiet on The Western Front definetly deserved it. Its so epic and at the same time horrifying, I can hardly describe my emotions when I listened to it first, fully immersed in the cinema.
All Quiet On The Western Front killed me inside because I've seen hundreds and hundreds footages, documentaries, films and even read about war, I feel like even in the thousands but none of them ever got to me as it did. It simply tore me a part, and inspired me into writing a poem about its horrors. It really struck me, and personally this soundtrack made me shiver and feel like I was in the trenches where you are always expecting the worse and hear explosions be it far away or from the enemy artillery. It was really great. Glad it won
After seeing Babylon at the cinema, I felt the need to listen to its soundtrack for days because it was so magnificent and engaging that I couldn't get it out of my head. In my opinion, it absolutely deserved an Oscar, but it's clear that many were wrongly awarded this year.
What bothered me most was how much they kept teasing John Williams only to not give it to him. Like why did they lead us along like that, there was even a commercial break that went “will John Williams make Oscar history?”
Not a big fan of this new direction and editing, it's a bit too frantic for me I preferred the more chilled out style of Charles just at the piano breaking down what's going on in a piece of music
I don't have any strong opinions on many of these films since I didn't see many (except for Everything Everywhere All At Once) but hearing the music from All Quiet On the Western Front made me confident that, of the films nominated, it definitely deserved its win. That piece actually scared me.
For me, Babylon was the clear clear clear best score of the year. I also think After Yang should have been nominated - beautifully minimalist with some gorgeous cello - but its too small of a movie to get that type of hype.
From just the snippets you showcased, All Quiet On The Western Front does indeed sound like the deserving winner. I’m a huge fan of big band jazz, but the uniqueness of AQONTW still takes the case Also, this style of heavily produced video is really nice. I have to imagine that this type of video, that doesn’t require large portions of copy written music also helps your pockets lol. I can’t wait for more!
In All Quiet, those haunting 3 notes not only brings all the qualities already described here but it also serves as a signal to foreshadow a horrible scene that is about to happen in the film. You get chilling goosebump of anticipating a horrible scene whenever you hear the 3 notes hit.
Babylon is not just Voodoo Mama too. Gold Coast Sunset and Gold Coast Rhythm are actually better in my opinion. The coolest part of it is how much the score adds to the film. It's like a pacemaker for it, and themes are repeated in really creative ways.
Hi Charles and the Team behind Charles. I really really liked how you did that video! It was amazing, it has everything from the old kind of videos of the looking in the Chords to the new style you established in the last video! If you hold the next videos like this one, even if its not a "top5" kind of style, the next videos will be amazing and on point. Very well done!
It should have gone to Michael Abels' "Nope" soundtrack or Alexandre Desplat's score for "Guillermo del Toro's Pinocchio." Both scores contribute sooooo so much to their respective films, deftly weaving between diegetic and non-diegetic moments that anchor them in their respective movie timelines/realities. If I had to choose between those two, I'd probably go with "Nope" since you get such bangers like "The Run (Urban Legends)" and a John Williams homage like "WTF Is That." I mean, heck, even the sound design on that movie for Jean Jacket and how that ties into the music and soundscape (IYKYK) was so above and beyond. What an absolute snub on that front! (Great vid, as always)!
@@eliasmochan Another equally valid choice! The scores for that and X really nailed the time periods. I’d def rank that as one of the best OSTs of the year (just not an Oscar winner for me, personally 😅). Either way, kudos to the winner this year!
The first time I watched this video, when I heard the score for "All quiet on the western front", I couldn't even do anything but laugh. I was so overwhelmed by how hard it hit me I just...giggled? Sorta how you react when you see something so horrible you start laughing because, what else do you do? Absolutely amazing, make me feel genuine anxiety.
Everyone has to remember that All Quiet is a war film. The score in this film is not pleasant and keeps you on edge because that's what war feels like and it won't give you time to take a break because that's exactly how everyone in the movie is currently experiencing. Honestly, the oscar was very deserved and now every time I hear that part everyone knows it just gives me flashbacks to all the horrors of that movie.
I see lots of people saying they like the editing, but I really feel like there is too much discontinuity, it gets superficial, it feels we never actually get into the subject... I really like it when it feels like we're just having a conversation. No jump-scares, just a coherent flow of novel information.
Unfortunately I think you are right. It is engaging. But I think it is going to be to fast paced for many. Which is of course fine. Feel like what he needs to focus on when doing this though is maybe keep the audio more same sounding of you know what I mean. Threw me of quite a bit
I haven't seen All Quiet, but the fact that it won makes it even more upsetting that 2018's Annihilation score wasn't nominated, when the closing track "The Alien" is so similar, but so much more effective. Would love for you to dive into that track, specifically from 4:35 on. Dude!
Maybe it's just the German production connection in my brain, but the soundtrack to All Quiet really reminded me of the soundtrack to Dark (the series on Netflix), specifically their usage of Roomful of Teeth's Partita for 8 Voices. Highly recommend to anyone watching this channel who enjoys sci-fi/thriller material. Would love to see a video breaking down the soundtrack to that series!
I thought the same thing when I was watching All Quiet… I couldn’t help but relate the score, the cinematography and of course the language with Dark. I think it had a lot of influence from the tv show.
In my perfect world, the Oscar nominations would’ve been: • Babylon (Winner) • Everything Everywhere All At Once • The Batman • RRR • All Quiet on the Western Front (Yeah, it deserved the nomination. I literally jumped when the first blaring sound hit and it is the main thing I remember about this movie.)
I seem too be the only one who doesn't love Giacchino's score for The Batman, but hear my reasons: Batman's theme: it's too notes in a slowed down reggaeton rhythm (3+1+2+2). The Riddler's theme: it's Schubert's Ave Maria but in minor... that's cool. But also, it's just half the first phrase, I wish it kept going, but it just repeats. But in any case, it's Schubert's composition, you can't get an award for changing a famous composition to a different mode. Catwoman's theme: ok, I actually like this one. It reminded me a lot of Batwoman's theme from three animated movie Mystery of Batwoman.
Also, you left out the main Harry Potter theme! Because that, stuck around for all the movies, and is equally iconic as anything from Star Wars to Indiana Jones. Any agree or I'm blowing hot air?
I saw every film nominated and I would still give it to AQOTWF a thousand times over and went into the Oscar’s rooting for it. That score leaves you with such a pit in your stomach of looming existential dread and terror. It SOUNDS like how ugly and terrifying WWI trench warfare would FEEL. It’s foreboding. Like this big lumbering dread that swallows everything leaving nothing behind. It’s visceral. It really stuck with me and I’m so glad it won.
It’s pure terror. ANNNNNNYWAY. My second favorite score wasn’t even nominated. It definitely wasn’t my favorite film of the year, but Hildur Guðnadóttir’s score for Women Talking was beautiful. Like genuinely gorgeous. I was shocked it wasn’t nominated. Would still give it to All Quiet though.
You made two fatal mistakes here. 1) You CANNOT judge a film score WITHOUT having seen the film. 2) John Williams DID NOT get an Academy Award nomination for Jurassic Park. On top of that, maybe you should do a deep dive into some of his smaller, lesser known score like Cinderella Liberty, The Accidental Tourist, The Paper Chase, The Eiger Saction, Images, The Missouri Breaks, The Reivers, etc. I know they aren't blockbusters, so you might not get the same views as a Star Wars or MCU video but you'll be introduced to an incredible collection of scores that are JUST as good as any of his blockbuster scores. Also, All Quiet On The Wstern Front is one of the worst scores to ever win an Oscar. It did what any good film score doesn't do... it takes your right out of the film. It called negative attention to itself, which is a no-no in film music. Awful, AWFUL choice! The fact that Avatar: The Way of Water wasn't even nomination is more "disturbing" than the terrible All Quiet score!
All Quiet was amazing because the score dared to jump out snd draw attention to itself, but in way that really enhanced the film. I have to say I didn’t notice the Banshees of Inisherin score at all, but I love the film and will give it a listen. I did like the fact that the character’s fiddle tune that he was obsessed with writing did sound rubbish to me!
The Oscars system is kind of broken anyway. Nominations are from the specialists in each category, but the winners are voted on by the entire Academy, so they’re as likely to be voting for their favourite film than the specifics of the categories. That’s why “It’s an honour just to be nominated” is probably the correct response. Maybe they should just get rid of the winners entirely.
The thing I liked most about the score for All Quiet on the Western Front was that the music directly contrasted what was happening in the film. When they’re all happy at the start you get the punchy three notes and dark overtones but then as you progress and the characters realise that war is hell, the score changes to more ethereal and peaceful music with a less intense version of the three notes played on a harmonium rather than the angry synth.
i decided to watch all the movies that were nominated for best score this season. when it got to the best score segment of the oscar’s all i was thinking was “please anything but all is quiet, i’d be happy if ANY other movie wins, just please don’t let it be all is quiet”
Babylon far and away should have won--was my personal favorite of the year. But, Hildur Guðnadóttir's HAUNTING score for Women Talking and Pawel Mykietyn's score for EO were both overlooked by the Academy, despite being nominated in other categories.
The jumps to different backgrounds, angles, and outfits during the very frequent cuts feel so odd. I see some people enjoyed it, but I cannot help but become confused and distracted by this style. Perhaps, the very fact that the change in editing style is so noticeable is an issue in and of itself?
it’s weird because from an editor’s point of view, constantly cutting between five different locations with him wearing five different shirts is just a bad idea when you can achieve the same effect with two locations.
In my opinion Hurwitz deserved it as much as Bertelsmann did. Babylon Soundtrack makes so much fun and sticks in the head while AQOTWF soundtrack had the ability to show the horror of a war with only three notes. I think the academy just went with the one that underlines the power of music ☺️ You don’t need much to emphasize such big emotions!
You should check out Even Call’s work on Violet Evergarden, kinda similar to the first film, but actually with more Irish influence, but in different ways then you’d think!
Let me preface this by saying that I’m a film composer myself. All music ever written for film is written to support other elements of the film. Judging the music on its own is one thing, but only by watching the movie can you judge it as what it is - a _film score._ The bottom line is, you can listen to and judge the music however you want, but you’re only ever getting half the experience when you _only_ listen to the album. I’ve seen all five of these films, and only after doing so did I fully know my opinions on each. With that being said, I choose to keep my opinions on which score deserved to win - as well as my overall thoughts on each score - private.
Alexander Desplat's score to Del Torro's Pinocchio was probably the best score of the year for me. Williams is the GOAT and I got to speak with him at the Oscar music party. What a gracious grand old composer who is by far the best of us.
In case you are looking for another anime theme song to make a video on, how about Deal With The Devil by Tia, the opening theme song for Kakegurui? It’s very jazz-y sounding.
I think they got it right (All Quiet on the Western Front was such an evocative score), but I went into the night rooting for Carter Burwell. But I think you're right: he's a victim of his own subtlety.
I must agree! I thought All Quiet’s score absolutely elevated the film and was very memorable. Scores like The Batman should have been nominated, but alas I think they did get it right with the options at hand.
I’m also a HUGE fan of John Williams’ work! I agree with many comments here: The Batman was robbed of a nomination, All Quiet was riveting, but John Williams stripping everything down to the piano was absolutely perfect for The Fabelmans! He’s come full circle from starting at Juilliard as a piano student (then switched to composition) to playing the piano for the epic film version of, “To Kill a Mockingbird,” to the piano on this soundtrack. Mr. Williams’ music is always beautiful and brilliant! By the way, I just stumbled onto your videos with Oppenheimer and am very impressed. Although I don’t think my high school Music Appreciation students would keep up, I know I can share parts that they’ll understand. Thanks for the inspiration!!!
I agree that Fablemans wasn’t Williams’ best, but I have listened to The Accidental Tourist score many times and it’s one of my favorite. There is always the conflict between whether awards should go to the most impressive music or what supports the movie best. Ideally it does both.
Hi there, insane video, really like your content, man) All Quiet On The Western Front absolutely deserved the first place, but, guys I'm just wondering, why there wasn't an Avatar 2 soundtrack nominations, I just can't understand it
I think those three notes are meant for the aspect of how it was a new type of war. Tanks, planes, automatic weapon were all new, something unexpected. Just like the three notes.
I was disappointed RRR’s score wasn’t nominated because it’s stuck with me in a powerful way. It’s motifs were effecting and komuram bheemudo blew me away.
Well said. In my opinion, a score should be judged by how it makes the audience feel, first and foremost. All Quiet's score is able to make you feel so much with so little. That alone is Oscar-worthy.
As a german I would say that "Im Westen nichts Neues" is probably the one of the best movies we ever made, but I myself would have given the Oscar for best score to someone else and the best Make-Up to the Berger-Movie instead.
All quiet score translated the feeling the characters went through, the chaos and brutality of war and the fact you can never expect anything to go as expected. Horrible, jarring and fantastic. I feel like the success of the series Dark also fed into refining this score as it’s a very new way of mixing sounds that “feel” so different.
People gotta stop listening to this score as a score. It really works as a complement to the movie. Soundtracks that get nominated should not be just good to listen to. But also that compliment the story and scenes it is in when watching the movie.
Out of the nominees the score that stuck with me the most was Son Lux's score for EEAAO. But if I were to choose outside of the nominees, I would've definitely wanted Rob Simonsen's score for The Whale to be in the category. Never heard a lot from the composer, and most of his work is mostly surface level, very safe, and very recyclable. However upon watching the film, my mind was fixated on how well it illustrated the struggle and emotional weight the score carried along with the film.
I'm listening to Accidental Tourist OST quite frequently. It's so beatiful. Worth attention... but I'm quite a sucker for Williams' gentle, subtle scores (Always, Stepmom...). Williams is more than a composer of bombastic adventure themes...
If I had to do a score for this movie, (which I cant) i'd most likely do something highly similar to this. Allthough I am a highschooler, I would love to do such an odd score like this. I love it, too. (All Quiet on the Western Front)
I do not begrudge the win for All Quiet, it does a lot right. But for me it is Babylon. It manages something essentiell for the movie, giving us the vibe of Jazz in the Jass age, making it feel exciting today. It is club music you can hear over a roaring crowd, it is energetic, pushing, a hint of danger and agression. It does not betray the vibe of the time, I think it is there in spirit, even if it is a reinterpretation. A lot of it is the mix too, with the horns up front. If you listen to records from the 20s today, you will only imagine, how exciting it could be, just by the quality of the recording. If you hear rerecordings, they often lack the energy. This soundtrack manages to reenergize the Jazz Age and to play with the form. I fully admit I have some nerdy biases here, but I admire the craft in composing and performance here in a way that puts it above other worthy candidates.
I’m happy to see the amount of people saying they wished The Batman was nominated. Michael Giacchino absolutely killed it with the score as usual and it’s one of, if not the most memorable aspect of that movie. I guess the academy decided not to nominate it because it’s technically from a “Superhero” movie…
Unless I'm wrong, as a bit of trivia Jurassic Park was never nominated for best original score because John Williams chose not to submit it out of fear that it would compete with Schindler's List which came out the same year. Basically he opted out of a virtually guaranteed second best original score nomination that year because he really wanted his other best original score nomination to win.
![DDG & G Herbo - Nosey [Official Video]](http://i.ytimg.com/vi/I9Ra0Zc2NlQ/mqdefault.jpg)
What was your take on the results of the Oscars? What should have won? Don't forget to get a reminder about our upcoming spring sale!! cornellmusicacademy.com/springsale
Okk lo oyour
I have never seen the Accidental Tourist but I've listened to that sound track hundreds of times. Also his soundtrack for Angela's Ashes.
I think Don’t worry Darling had an amazing score, as the whole concept of it was based around a woman’s voice. I just find it so clever
The bit at 0:40 is literally the intro riff of Linkin Park's A Place For My Head :)
Charles the best score wasn’t nominated, and was the score from Del Toro’s Pinocchio😉 Please make a video about it cause its a beatiful masterpiece composed by the amazing Alexandre Desplat❤
All Quiet on the Western Front score hit me at my core.
It was haunting, frightening and captured the horror of war perfectly.
Fr made the film feel like a horror film when the remains score played and I feel like it done that on purpose to show that the war was scary and dark
tbh in my own opinion.. its kinda awkward and try hard especially in some scene it felt off to even put that music.. its kinda cringe
Tbh, I know one Song who captures it well.
It's extreme metal, so a Machine gun sound as drums fits in...
It's forward from anaal nathrakh, btw.
But might be too much, which fits imo.
I didn't watch All Quiet, but after the Oscar win I listened to the whole soundtrack and I'm pretty sure that is the first time I got jumpscared by a soundtrack. (But also The Batman, Del Toro's Pinocchio and RRR had amazing scores that I wished got nominated too)
I often find myself humming along to "Dosti" from RRR. It's such a great tune. The whole score by MM Keeravani is incredible!
I would have kept The Fabelmans, Babylon and The Banshees and included The Batman and Pinocchio.
But it's true there have been many great soundtracks this year, such as AQOTF indeed, Avatar 2, Decision to Leave, Empire of Light, The Woman King, Crimes of the Future, etc.
At least, EEAAO didn't win. Definetely didn't deserve even the nomination.
Do yourself a favor and watch it. I did it today and since then im speechless. Such a moving and heart-wrenching story. Best anti-war movie for me
That three note jumpscare thing is all I remember from the film. I think of the music from "Banshees..." or Zimmer's "Dune" and I just don't hear any effort in the "All Quiet..." score. Maybe its minimalism is its appeal, but I didn't get it. I'm surprised Charles agreed with the win.
RRR was straight robbed, in this and many other categories.
The track "Remains" from "All quiet on the Western Front" gives me goosebumps every time I hear it. It's basically designed to give you anxiety, and like the movie, it's meant to emotionally punch you in the face. Several times. And it definitely does that.
That All quiet on the Western Front is so memorable, it's like i'm having PTSD-ed by the movie. When you listen to it, it gives you flashback about how intense it was, how depressing it was.
Really? Because I couldn't remember it at all after the movie was done.
EEAAO was easily my favorite movie of 2022 and the score was phenomenal. But the fact that Michael Giacchino wasn’t even nominated for his work on The Batman was very surprising to me.
It really wasn't that good. The first thing I think when I hear the main motif is 'Darth Vader! Wait... Darth Vader?'. It totally threw me off and it was all I could think about whenever I heard it. Is it really that hard to come up with an original sound for Batman that is not rooted in the aura of another cloaked personality? The sound design of the movie was better than the score itself.
The score? It was forgotten
The score for The Batman was just "Ave Maria" over and over again. incessantly. For no reason.
Well his Batman theme is like 2 notes and sounds like Darth Vaders theme, so ...
Easily the weakest and worst part of the movie was his score. It certainly did not reach the heights of the immaculate cinematography or the oscar worthy (pun intended) performances.
I just watched All Quiet last night, and WOW do those bass notes pack a punch! When they first showed up, I was blown away, and yes, unsettled. Amazing work all around on this film. The cinematography was also completely deserving of its Oscar win.
What made it work is that it overwhelmed the image and the acting and the emotion of the characters in the moment, and made you aware of an evil presence external to the events that is superposed on top of the action and phenomena.
As for what you said about not remembering the score to Everything Everywhere... John Williams once said: "If the music is working, the audience won't notice the music."
And yet Williams has written more of the most memorable film themes in history than anyone else...seems like he didn't follow his own advice!
(Honestly, while I understand what he means, I think that sentiment has been really misunderstood by too many directors who demand scores be as unobtrusive as possible)
I doubt that that is true. my favorite soundtracks are ALL I notice in the films they are in. perhaps it's different if one is an ordinary audience member and not a musician who is accustomed to noticing such things. My parents routinely tell me they don't notice the music in tv or movies, and I can't even fathom that.
Yea sure.. because nobody noticed that music when Obi-Wan and Qui-Gon were fighting Darth Maul. In fact anytime music swells up in those classic Star Wars movies, people notice. John Williams is not a subtle composer. Weird of him of all people to say this.
John Williams is the last person who should be saying that.
Not questioning the maestro's perspective, of course he could be speaking of the music's emotional transcendence, but Alan Silvestri's score for Back to the Future was quite noticeable and that certainly worked for me. I absolutely love it!
I was really deluded that The Batman wasn't even nominated for its score. I think Micheal Giacchino did an amazing job, and to be honest I feel like this is his best movie score of all time.
I haven’t seen it yet, but I have heard a couple of the main music pieces, but his best?
Bold claim - he’s got a number of absolutely amazing scores
I didn't think it was that good. He's done so much better, and his Batman score was basically just a truncated version of Darth Vader's theme.
@Brett S you're mad. Listen to Can't fight city halloween. It's a banger
@@thegreatpiginthesky3904 I listened to the soundtrack before, soundtracks are my main genre of music, but even that track doesn't persuade me that the score is Oscar-worthy, not by a longshot. :/
@@thegreatpiginthesky3904 I listened to that track again, just to make sure. All it does it build up the same damn condensed Darth Vader theme from the rest of the album by making it louder. This is not brilliant writing. It's serviceable, it's pleasant and more than competent enough, but it's basically just hitting the same spot that people enjoy about clubbing/dance music. Worse, it's also just adapting Nirvana's song notes, which makes it inherently derivative. I can point to a multitude of tracks by Danny Elfman and Shirley Walker that exceed it.
Those 3 notes from All Quiet remind me of climactic scene in Annihilation where she faces the cloning alien
Fantastic comparison. The tanks emerging from the mist added to the alien nature of the escalation of WW1 (in terms of munitions). These impenetrable metallic beasts lumbering forward was the stuff of nightmares
All Quiet On The Western Front was an amazing soundtrack, i listened to that score for weeks when the movie came out. Ive successfully predicted best soundtrack for the last 2 years!
Not gonna even point out how The Batman was completely put aside. But from the nominees, Babylon definitely took the house down.
Whoever runs the academy is on something for sure
The Academy these days seems very out of touch with the modern person.
As a huge Son Lux fan I wanted them to win so bad. But totally agree that All quiet on the western front is a good choice😅.
I would have loved to see them get it! I think Ryan Lotte is a genius of textural electronic ambience
I'm absolutely addicted to "Call Me Manny" from Babylon. That song is just incredible.
Champagne for me. Listen to it daily.
Welcome, Voodoo Mama, Call Me Manny, Champagne, Red Devil, and Finale.
I love the whole soundtrack, but those 6 in particular I have CONSTANTLY on repeat.
Man Hurwitz got snubbed.
@@RShadow12 These are all brilliant songs and Hurwitz deserves major props. But I agree with Charles that, as far as this category goes, as a soundtrack to a movie, All Quiet on the Western Front's score is absolutely brilliant in how it enhances the storytelling of the film and totally earned it's award. Hurwitz got nominated - out of maybe over one hundred eligible films he was chosen to be in the top five. I feel like that's not getting snubbed at all.
Me too ❤
Justin Hurwitz’s best score for me will always be ‘First Man’ (The Armstrongs, The Landing, Houston, Docking Waltz, End Credits, use of the theremin to capture the baron loneliness of space - inner Armstrong). Shame it wasn’t nominated that year for score but then again the Academy are crap - green book best picture? Don’t make me laugh
For me it was Babylon
The music is essential to the film because it is baked into the narrative
And I am a sucker for main themes that repeat throughout in multiple different ways, which is something Hurwitz excels at
The love theme is almost the same as Call me Manny but slow and romantic and Voodoo Mama get‘s repeated in the beautiful ending
Finally someone I agree with, absolute robbery
i love how towards the end of the blockhouse track you can hear a really strange version of voodoo mama too.. pretty sure its supposed to be nellies theme and its there because the whole blockhouse section stemmed from nellies bullshitting around??
and also, in the room at the party where the girl overdosed in the beginning of the film, there's a 1920s version of the song "cincinatti", which is originally from damien chazelle and justin hurwitz's first film "guy and madeline on a park bench" which is interesting.
All quiet's score fits the narrative very well. The film is quite an horror film and Bertelmann approached like that and, in fact, the score is quite scary. Also it is very mechanical to recall the sound of war machineries, which were used for the first time in WW1. Personally, I can't really find that much difference between La La Land's score and Babylon's one, even because thematically the film are very much similar.
@@ArthurUnderwood_ Robbery ? No score fits the film better than All Quiet. It is completely in contrast to the movie and holds your attention and keeps you guessing on what is going to happen next. More than anything , it does not grab any attention away from the visual medium, it adds to it
The Batman not even being nominated for its score is the true mistake.
The Batman was robbed
Literally!!! It’s a masterpiece and I still listen to it!
Agreed. But not surprising unfortunately. I’m still mad over 10 years later that TRON Legacy wasn’t nominated for best original score
@@rct3isepic That’s crazy
I think the next question would be who would you replace instead
Son Lux's score for EEAAO is on another level. It's easily one of my favorite film scores from what has quickly became one of my favorite movies
I'd love for you to check out Rob Simonsen's score to The Whale. I really think this score should have at least been nominated! It has a really beautifully haunting and tragic sound. Yet there's this really beautiful theme played on violins that is the only semblance of hope in the score. Really well written and personally my favorite score of 2022.
Agreed. Safe Return is next level.
All Quiet on the Western Front felt like a horror movie set in WWI
Agreed. If I’m correct you know there is a 1959 & 1979 version of this movie?
It’s interesting to compare them.
@@billvvoods 1930 and 1979, yes
War is real life horror, and this film did such a good job of depicting it.
and that is exactly what Bertelmann wanted to achieve
The shots of the body hanging from the tree and the other body with no hands hanging over the barbed wire with his mouth torn open to his ears making it look like a giant smile is definitely horror movie shit.
You know John Williams is the goat when you list iconic theme after iconic theme and you leave out Harry Potter, which for most composers would be their crown jewel
The feeling from the score of "all quiet on the western front" reminds me extremely of the score and vibe from the movie "Annihilation"
Annihilation is an excellent film
Oh fk I was trying so hard to remember what movie that reminded me of, and yes, it was Annihilation. Thanks!
Personally, it worked better for Annihilation than it did for All Quiet. I must say that I love Geoff and Ben's work with Alex Garland, they're working on his next movie which is an action epic so can't wait for that.
which has an insanely brilliant score
I liked the soundtrack for All Quiet. It was very different to most war movie soundtracks, who are almost always orchestral. Take Saving Private Ryan. All Quiet’s was dark, industrial, metallic, heavy and overall much more fitting for such a jarring feeling and film. I’d say it was well deserved, either that or Babylon.
Orchestral would have been too heroic. I think Private Ryan is not an anti war film, it actually drew people into the army. All Quiet would never achieve that, quite the opposite
Agreed. Its cold and unsettling and fits the film and themes. The soundtrack being introduced at the point where the uniforms are being recycled is a stroke of genius, because its like music to an inhuman machine. Ive heard some complaints thats its out of place in a historical period piece but imo the typical choice IE classical music or orchestra would have felt even more out of place for the subject material.
Michael Abels' "Nope" and "The Batman" should have been among the nominees. And the Polish film in the "Best International feature" had a fantastic score as well.
That motif of the bass movement on the All quiet soundtrack really just pops the firenation into my mind, its just so simillar
For me, the score of All Quiet on The Western Front definetly deserved it. Its so epic and at the same time horrifying, I can hardly describe my emotions when I listened to it first, fully immersed in the cinema.
All Quiet On The Western Front killed me inside because I've seen hundreds and hundreds footages, documentaries, films and even read about war, I feel like even in the thousands but none of them ever got to me as it did. It simply tore me a part, and inspired me into writing a poem about its horrors. It really struck me, and personally this soundtrack made me shiver and feel like I was in the trenches where you are always expecting the worse and hear explosions be it far away or from the enemy artillery. It was really great. Glad it won
After seeing Babylon at the cinema, I felt the need to listen to its soundtrack for days because it was so magnificent and engaging that I couldn't get it out of my head. In my opinion, it absolutely deserved an Oscar, but it's clear that many were wrongly awarded this year.
The truth
What bothered me most was how much they kept teasing John Williams only to not give it to him. Like why did they lead us along like that, there was even a commercial break that went “will John Williams make Oscar history?”
Not a big fan of this new direction and editing, it's a bit too frantic for me
I preferred the more chilled out style of Charles just at the piano breaking down what's going on in a piece of music
I don't have any strong opinions on many of these films since I didn't see many (except for Everything Everywhere All At Once) but hearing the music from All Quiet On the Western Front made me confident that, of the films nominated, it definitely deserved its win. That piece actually scared me.
I just got pulled back into the horror by just hearing the notes again 🫣
For me, Babylon was the clear clear clear best score of the year. I also think After Yang should have been nominated - beautifully minimalist with some gorgeous cello - but its too small of a movie to get that type of hype.
From just the snippets you showcased, All Quiet On The Western Front does indeed sound like the deserving winner. I’m a huge fan of big band jazz, but the uniqueness of AQONTW still takes the case
Also, this style of heavily produced video is really nice. I have to imagine that this type of video, that doesn’t require large portions of copy written music also helps your pockets lol. I can’t wait for more!
In All Quiet, those haunting 3 notes not only brings all the qualities already described here but it also serves as a signal to foreshadow a horrible scene that is about to happen in the film. You get chilling goosebump of anticipating a horrible scene whenever you hear the 3 notes hit.
Babylon is not just Voodoo Mama too. Gold Coast Sunset and Gold Coast Rhythm are actually better in my opinion. The coolest part of it is how much the score adds to the film. It's like a pacemaker for it, and themes are repeated in really creative ways.
Hi Charles and the Team behind Charles. I really really liked how you did that video! It was amazing, it has everything from the old kind of videos of the looking in the Chords to the new style you established in the last video! If you hold the next videos like this one, even if its not a "top5" kind of style, the next videos will be amazing and on point. Very well done!
It should have gone to Michael Abels' "Nope" soundtrack or Alexandre Desplat's score for "Guillermo del Toro's Pinocchio." Both scores contribute sooooo so much to their respective films, deftly weaving between diegetic and non-diegetic moments that anchor them in their respective movie timelines/realities. If I had to choose between those two, I'd probably go with "Nope" since you get such bangers like "The Run (Urban Legends)" and a John Williams homage like "WTF Is That." I mean, heck, even the sound design on that movie for Jean Jacket and how that ties into the music and soundscape (IYKYK) was so above and beyond. What an absolute snub on that front! (Great vid, as always)!
Abels skittles have won both for Get Out and Us (specially Us). I don't feel that strongly about Nope. My view this year was for Tyler Bates' Pearl.
@@eliasmochan Another equally valid choice! The scores for that and X really nailed the time periods. I’d def rank that as one of the best OSTs of the year (just not an Oscar winner for me, personally 😅). Either way, kudos to the winner this year!
The first time I watched this video, when I heard the score for "All quiet on the western front", I couldn't even do anything but laugh. I was so overwhelmed by how hard it hit me I just...giggled? Sorta how you react when you see something so horrible you start laughing because, what else do you do? Absolutely amazing, make me feel genuine anxiety.
Everyone has to remember that All Quiet is a war film. The score in this film is not pleasant and keeps you on edge because that's what war feels like and it won't give you time to take a break because that's exactly how everyone in the movie is currently experiencing. Honestly, the oscar was very deserved and now every time I hear that part everyone knows it just gives me flashbacks to all the horrors of that movie.
I see lots of people saying they like the editing, but I really feel like there is too much discontinuity, it gets superficial, it feels we never actually get into the subject... I really like it when it feels like we're just having a conversation. No jump-scares, just a coherent flow of novel information.
I like this new style you’re going for. I loved the old style but this is super engaging and can definitely help you grow your audience
Unfortunately I think you are right.
It is engaging. But I think it is going to be to fast paced for many.
Which is of course fine.
Feel like what he needs to focus on when doing this though is maybe keep the audio more same sounding of you know what I mean. Threw me of quite a bit
I haven't seen All Quiet, but the fact that it won makes it even more upsetting that 2018's Annihilation score wasn't nominated, when the closing track "The Alien" is so similar, but so much more effective. Would love for you to dive into that track, specifically from 4:35 on. Dude!
Maybe it's just the German production connection in my brain, but the soundtrack to All Quiet really reminded me of the soundtrack to Dark (the series on Netflix), specifically their usage of Roomful of Teeth's Partita for 8 Voices. Highly recommend to anyone watching this channel who enjoys sci-fi/thriller material. Would love to see a video breaking down the soundtrack to that series!
I thought the same thing when I was watching All Quiet… I couldn’t help but relate the score, the cinematography and of course the language with Dark. I think it had a lot of influence from the tv show.
In my perfect world, the Oscar nominations would’ve been:
• Babylon (Winner)
• Everything Everywhere All At Once
• The Batman
• RRR
• All Quiet on the Western Front (Yeah, it deserved the nomination. I literally jumped when the first blaring sound hit and it is the main thing I remember about this movie.)
Hey, the All quiet on the western front´s theme reminds me the fire nation´s leitmotif from Avatar The last airbender
I seem too be the only one who doesn't love Giacchino's score for The Batman, but hear my reasons:
Batman's theme: it's too notes in a slowed down reggaeton rhythm (3+1+2+2).
The Riddler's theme: it's Schubert's Ave Maria but in minor... that's cool. But also, it's just half the first phrase, I wish it kept going, but it just repeats. But in any case, it's Schubert's composition, you can't get an award for changing a famous composition to a different mode.
Catwoman's theme: ok, I actually like this one. It reminded me a lot of Batwoman's theme from three animated movie Mystery of Batwoman.
Its frustrating, considering how biased the Academy is against Comic Book movies, my choice, The Batman, wasn't even nominated.
“In Another Life” from EEAAO is one of my favorite songs from a movie soundtrack ever. An extended breakdown of that would be sick.
Also, you left out the main Harry Potter theme! Because that, stuck around for all the movies, and is equally iconic as anything from Star Wars to Indiana Jones. Any agree or I'm blowing hot air?
I saw every film nominated and I would still give it to AQOTWF a thousand times over and went into the Oscar’s rooting for it. That score leaves you with such a pit in your stomach of looming existential dread and terror. It SOUNDS like how ugly and terrifying WWI trench warfare would FEEL. It’s foreboding. Like this big lumbering dread that swallows everything leaving nothing behind. It’s visceral. It really stuck with me and I’m so glad it won.
It’s pure terror. ANNNNNNYWAY. My second favorite score wasn’t even nominated. It definitely wasn’t my favorite film of the year, but Hildur Guðnadóttir’s score for Women Talking was beautiful. Like genuinely gorgeous. I was shocked it wasn’t nominated. Would still give it to All Quiet though.
Still mad the Batman and Prey weren’t nominated
Great breakdown Charles!
Alexander Desplat’s Pinocchio score was the best of the year IMO, and it wasnt even nominated
FOR REAL! Such a pretty score
You made two fatal mistakes here. 1) You CANNOT judge a film score WITHOUT having seen the film. 2) John Williams DID NOT get an Academy Award nomination for Jurassic Park. On top of that, maybe you should do a deep dive into some of his smaller, lesser known score like Cinderella Liberty, The Accidental Tourist, The Paper Chase, The Eiger Saction, Images, The Missouri Breaks, The Reivers, etc. I know they aren't blockbusters, so you might not get the same views as a Star Wars or MCU video but you'll be introduced to an incredible collection of scores that are JUST as good as any of his blockbuster scores.
Also, All Quiet On The Wstern Front is one of the worst scores to ever win an Oscar. It did what any good film score doesn't do... it takes your right out of the film. It called negative attention to itself, which is a no-no in film music. Awful, AWFUL choice! The fact that Avatar: The Way of Water wasn't even nomination is more "disturbing" than the terrible All Quiet score!
This was almost a great video. Where’s the extended cut with the deep dives and lack of word vomit?
So cool that you talked about All Quiet on the Western Front! Absolutely love the film and the score to go with it
All Quiet was amazing because the score dared to jump out snd draw attention to itself, but in way that really enhanced the film. I have to say I didn’t notice the Banshees of Inisherin score at all, but I love the film and will give it a listen. I did like the fact that the character’s fiddle tune that he was obsessed with writing did sound rubbish to me!
The Oscars system is kind of broken anyway. Nominations are from the specialists in each category, but the winners are voted on by the entire Academy, so they’re as likely to be voting for their favourite film than the specifics of the categories.
That’s why “It’s an honour just to be nominated” is probably the correct response. Maybe they should just get rid of the winners entirely.
The thing I liked most about the score for All Quiet on the Western Front was that the music directly contrasted what was happening in the film.
When they’re all happy at the start you get the punchy three notes and dark overtones but then as you progress and the characters realise that war is hell, the score changes to more ethereal and peaceful music with a less intense version of the three notes played on a harmonium rather than the angry synth.
Speaking of Oblivion NPC music, if Oblivion's OST was to go up against any oscar nominees, it would win hands down.
Trent Reznor's score for Bone and All was magnificent.
i decided to watch all the movies that were nominated for best score this season. when it got to the best score segment of the oscar’s all i was thinking was “please anything but all is quiet, i’d be happy if ANY other movie wins, just please don’t let it be all is quiet”
Babylon far and away should have won--was my personal favorite of the year. But, Hildur Guðnadóttir's HAUNTING score for Women Talking and Pawel Mykietyn's score for EO were both overlooked by the Academy, despite being nominated in other categories.
Thank you! Guðnadóttir’s score should at the very least been nominated. It’s gorgeous and heartbreaking.
“EO” also had a spectacular score that portrayed the thoughts and emotions of a donkey.
The jumps to different backgrounds, angles, and outfits during the very frequent cuts feel so odd. I see some people enjoyed it, but I cannot help but become confused and distracted by this style. Perhaps, the very fact that the change in editing style is so noticeable is an issue in and of itself?
it’s weird because from an editor’s point of view, constantly cutting between five different locations with him wearing five different shirts is just a bad idea when you can achieve the same effect with two locations.
0:22 HOLY SHIT I'M SINGING THIS PIECE, IT'S INSANE IT IS LITERALLY IN 7/16 BUT IT'S SO GOOD
Would love for you to react to Pearl's score. Certainly unique for a horror film.
In my opinion Hurwitz deserved it as much as Bertelsmann did. Babylon Soundtrack makes so much fun and sticks in the head while AQOTWF soundtrack had the ability to show the horror of a war with only three notes. I think the academy just went with the one that underlines the power of music ☺️ You don’t need much to emphasize such big emotions!
You should check out Even Call’s work on Violet Evergarden, kinda similar to the first film, but actually with more Irish influence, but in different ways then you’d think!
Let me preface this by saying that I’m a film composer myself. All music ever written for film is written to support other elements of the film. Judging the music on its own is one thing, but only by watching the movie can you judge it as what it is - a _film score._
The bottom line is, you can listen to and judge the music however you want, but you’re only ever getting half the experience when you _only_ listen to the album.
I’ve seen all five of these films, and only after doing so did I fully know my opinions on each. With that being said, I choose to keep my opinions on which score deserved to win - as well as my overall thoughts on each score - private.
Alexander Desplat's score to Del Torro's Pinocchio was probably the best score of the year for me. Williams is the GOAT and I got to speak with him at the Oscar music party. What a gracious grand old composer who is by far the best of us.
In case you are looking for another anime theme song to make a video on, how about Deal With The Devil by Tia, the opening theme song for Kakegurui? It’s very jazz-y sounding.
I think they got it right (All Quiet on the Western Front was such an evocative score), but I went into the night rooting for Carter Burwell. But I think you're right: he's a victim of his own subtlety.
This movie went from "a war film" to "this is gonna be a ride" the second those notes show up
I must agree! I thought All Quiet’s score absolutely elevated the film and was very memorable. Scores like The Batman should have been nominated, but alas I think they did get it right with the options at hand.
I’m also a HUGE fan of John Williams’ work! I agree with many comments here: The Batman was robbed of a nomination, All Quiet was riveting, but John Williams stripping everything down to the piano was absolutely perfect for The Fabelmans! He’s come full circle from starting at Juilliard as a piano student (then switched to composition) to playing the piano for the epic film version of, “To Kill a Mockingbird,” to the piano on this soundtrack. Mr. Williams’ music is always beautiful and brilliant!
By the way, I just stumbled onto your videos with Oppenheimer and am very impressed. Although I don’t think my high school Music Appreciation students would keep up, I know I can share parts that they’ll understand. Thanks for the inspiration!!!
I agree that Fablemans wasn’t Williams’ best, but I have listened to The Accidental Tourist score many times and it’s one of my favorite. There is always the conflict between whether awards should go to the most impressive music or what supports the movie best. Ideally it does both.
Son Lux is currently touring Europe, I was at their concert last saturday and I'd recommend to check them out if you do get the chance!
Hi there, insane video, really like your content, man) All Quiet On The Western Front absolutely deserved the first place, but, guys I'm just wondering, why there wasn't an Avatar 2 soundtrack nominations, I just can't understand it
I think those three notes are meant for the aspect of how it was a new type of war. Tanks, planes, automatic weapon were all new, something unexpected. Just like the three notes.
I was disappointed RRR’s score wasn’t nominated because it’s stuck with me in a powerful way. It’s motifs were effecting and komuram bheemudo blew me away.
Well said. In my opinion, a score should be judged by how it makes the audience feel, first and foremost. All Quiet's score is able to make you feel so much with so little. That alone is Oscar-worthy.
To be fair when i saw all quiet on the western front the music popped of the screen, hard. It stood out like a brick to the face. It's awesome.
I just realise that you can literally play those CG fifth on F natural minor scale and works well
As a german I would say that "Im Westen nichts Neues" is probably the one of the best movies we ever made, but I myself would have given the Oscar for best score to someone else and the best Make-Up to the Berger-Movie instead.
The Terminal is an overlooked score by John Williams. As is the Tin Tin theme.
All quiet score translated the feeling the characters went through, the chaos and brutality of war and the fact you can never expect anything to go as expected.
Horrible, jarring and fantastic.
I feel like the success of the series Dark also fed into refining this score as it’s a very new way of mixing sounds that “feel” so different.
People gotta stop listening to this score as a score. It really works as a complement to the movie. Soundtracks that get nominated should not be just good to listen to. But also that compliment the story and scenes it is in when watching the movie.
Speaking of EEAAO; their earlier movie Swiss Army Man had a genius soundtrack as well
I agree. I really love the soundtrack of Swiss Army Man and I listen to it from time to time. Hopefully someday someone reacts or analyses it.
Out of the nominees the score that stuck with me the most was Son Lux's score for EEAAO.
But if I were to choose outside of the nominees, I would've definitely wanted Rob Simonsen's score for The Whale to be in the category.
Never heard a lot from the composer, and most of his work is mostly surface level, very safe, and very recyclable.
However upon watching the film, my mind was fixated on how well it illustrated the struggle and emotional weight the score carried along with the film.
I love the new editing and layout of these videos. Very enticingly informational!
Kind of fast-paced at times but fun nonetheless
@@TheUnderscore_ I prefer a little speed
@@TheUnderscore_i’m definitely not a fan of it constantly cutting to him in five different locations wearing five different shirts
@@bruceturnbull4219 Me neither. I like the more relaxed style in just one or two different locations out of necessity instead of aesthetic.
All Quiet deserved it, end of. “Tjaden”, “comrades”, “flares”, “Paul”, “Bomb Crater” were all magnificent works of art.
I'm listening to Accidental Tourist OST quite frequently. It's so beatiful. Worth attention... but I'm quite a sucker for Williams' gentle, subtle scores (Always, Stepmom...). Williams is more than a composer of bombastic adventure themes...
That part of the All Quiet score reminds me of part of Mombasa from the Inception score.
If I had to do a score for this movie, (which I cant) i'd most likely do something highly similar to this. Allthough I am a highschooler, I would love to do such an odd score like this. I love it, too. (All Quiet on the Western Front)
3:25 "WOOOO" 😂
I do not begrudge the win for All Quiet, it does a lot right. But for me it is Babylon. It manages something essentiell for the movie, giving us the vibe of Jazz in the Jass age, making it feel exciting today. It is club music you can hear over a roaring crowd, it is energetic, pushing, a hint of danger and agression. It does not betray the vibe of the time, I think it is there in spirit, even if it is a reinterpretation. A lot of it is the mix too, with the horns up front. If you listen to records from the 20s today, you will only imagine, how exciting it could be, just by the quality of the recording. If you hear rerecordings, they often lack the energy. This soundtrack manages to reenergize the Jazz Age and to play with the form. I fully admit I have some nerdy biases here, but I admire the craft in composing and performance here in a way that puts it above other worthy candidates.
That music for All Quite on the Western Front reminds me A LOT of the "Alien" music that plays at the end of Annihilation.
I’m happy to see the amount of people saying they wished The Batman was nominated. Michael Giacchino absolutely killed it with the score as usual and it’s one of, if not the most memorable aspect of that movie. I guess the academy decided not to nominate it because it’s technically from a “Superhero” movie…
Unless I'm wrong, as a bit of trivia Jurassic Park was never nominated for best original score because John Williams chose not to submit it out of fear that it would compete with Schindler's List which came out the same year. Basically he opted out of a virtually guaranteed second best original score nomination that year because he really wanted his other best original score nomination to win.
I think also The Whale soundtrack is set perfectly on what is the sense of tragic/mortal tension of the movie, and it’s just beautiful