Finally we are coming to the grand finale of awards season, the 83rd Annual Academy Awards. If you’ve been following Tadpole Audio’s essential award season coverage, you’ll notice that like the Best Picture or Best Actress nominees, most of the below contenders for the music in film awards have appeared over and over again – at the Globes, Grammys, and consequently on this blog. Chances are you’ve all gone out and seen the movies by now too, so if you didn’t listen to score selections or original songs on this site, you still pretty much know what I’m talking about. Just in case you are still hungry for more:
I wrote this post when Inception first came out in theatres for now defunct blog collective, Strangers in Stereo. Since it no longer has a home there, never had a home on Tadpole Audio, and Hans Zimmer’s work on the score has been lauded all over the place this awards season (including an Academy Award nomination) – I thought I would share it once more!
Who hasn’t been talking about Inception for weeks now? It’s an epic mind scramble that everyone has a different opinion about. You can’t help but want to dissect each seemingly insignificant detail and read every possible theory. And there’s been just as much buzz about the Hans Zimmer / Johnny Marr score collaboration – Marr is featured on 8 of the 12 tracks on the soundtrack and you can even stream their performance at the premiere here. Even the actors gushed brilliant words about Zimmer. But what I’m interested in is Edith Piaf.
Now that the holidays are over, and with them all that “peace on earth and goodwill towards men” nonsense, it’s that magical time of year again when judging people is not only acceptable – it’s glorified. That’s right folks, it’s awards season. Which means for the next few months we all turn into Statler & Waldorf and every website/blog/TV show/magazine will feature the current crop of Hollywood darlings, leaping on every word and unflattering dress (or suit), debating how worthy they are for each and every nomination.
Often times at these shindigs, the music segment is overlooked – not everyone immediately thinks, “Ooh, that cue was so complex!” or stays for the more than five seconds of the end credit song – so here’s a little spotlight on what’s being voted on this weekend at the 68th Annual Golden Globes:
After weeks of hype and buildup, “Inception” is finally in theatres. Many people I know rushed to see it this weekend, including myself. And the verdict? Ultimately, mixed. Too much hype? Too slow? Too thick? Except for the last moment, which I won’t reveal here, but I found bothersome – I thought the film was a marvel. Stylistically cool, amazing editing, action that kept you at the edge of your seat, and frequently baffling writing. They just kept raising the stakes until I myself felt like I was experiencing everything with the characters. Most of all though, I was impressed by the richness of the world Nolan creates. What would the plane of your subconscious look like? Who would be in there? What would they do? He thoroughly and creatively capitalizes on dream experiences we’ve all had to answer those questions and set the rules – having a dream within a dream, waking up from the sensation of falling, etc.
Right before I went into the film, I found myself struggling with the last few songs on this nightmare mixtape. It was a hard one, especially since a week before even starting it the perfect nightmare song fell into my lap via Strangers in Stereo. It was “Cola” by Beaty Heart and it fit all my criteria: dreamy, strange and builds into a terrifying climax. But then I couldn’t find anything to match it. First off, I had a hard time finding songs about nightmares that sounded the way I wanted. Tonally I didn’t want to go too electro, or veer into noise rock, or into ambient shoegaze – though I was tempted. I sought the artists that represented the cross section of all three. If you know any seriously let me know, because I had an impossible time.