It’s been said, but I’ll say it again: the hardest songs to place in a film are for the main titles and end titles. Respectively they need to set up and sum up the film, but in a way that isn’t too “on the nose.” The end title song especially is where artists and writers are often brought in to create something original; it’s usually the only time viewers will get to hear a song in it’s entirety. While an excellent opportunity for exposure, writing an original piece specifically for a project can’t be an easy task – especially for a movie geared to kids. (more…)
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:
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:
Now that I’ve listened to the soundtrack over and over again a few times – I still hold true to my above criticisms, but at the same time definitely appreciate how good of a job music supervisor P.J. Bloom did choosing music that supports the film. And the film is really what is whelming.