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  1. It seems to me personally music scoring awards seem to be awarded based on one signature piece and not for the entire score. (when it's not as part of a sweep).
    For instance, it's apparently agreed "Married Life" sealed the deal for Up, then there's Chariots Of Fire....
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      CommentAuthorThor
    • CommentTimeFeb 18th 2022 edited
    Could be. I remember the discussion in the 90s when everyone and their grandmother said that THE FULL MONTY won because of the songs, not the score. And they might have had a point.

    It's difficult to get into the head of the Oscar academy and other juries. Musicians and composers are not the only ones in it, so they will look at different things.
    I am extremely serious.
  2. I think that there is definitely cases where a single piece of music will seal an award but I think that there are a lot of things that go into deciding what means a particular score wins - and not all things are equally important for different winning scores.

    There are specific stand-out tracks or themes that clinch it, there's a certain style a score has that will favour it over scores with other styles (grand orchestral scores vs. electronic or dissonant) regardless of how well they work in the film.

    But, going back to the original comment...yes, there are times when I listen to a score that has won an award (or even a score that is being raved about more generally) and I think, "has anyone listened to the rest of the score?"
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  3. I have heard, even insider (by the guy who was a music executive at Disney at the time), opinions that what sealed the oscar for The Lion King was the score to the "Hamlet sequence", that is, the sequence where the adult Simba encounters Mufasa's ghost. I, personally, always felt that the moment where he sees his father's dead body after the stampede was the highlight, but that's definitely an interesting opinion.

    I don't think I'd name a particular "Oscar-winning" piece in case of at least most of the John Williams Oscar winning scores. I think it'd banalize the winning approach to scoring. I like to think that in case of Williams it's the structure that wins, not the highlights, as many as there can be.
    http://www.filmmusic.pl - Polish Film Music Review Website