The Better Angels Society, the Library of Congress, and the Crimson Lion/Lavine Family Foundation have unveiled six finalists for the fifth annual Library of Congress Lavine/Ken Burns Prize for Film. Notably, veteran filmmaker Sam Pollard received two of the six noms.
The award, established in 2019, recognizes late-stage documentaries that use original research and a compelling narrative to tell stories that bring American history to life through archival materials.
The six projects that were selected are: Barak Goodman’s “Buckley,” Nicole London’s “The Disappearance of Miss. Scott,” Sam Pollard’s “The Harvest,” Peter Yost and Michael Rohatyn’s “Drop Dead City – New York on the Brink in 1975,” Sam Pollard and Ben Shapiro’s “Max Roach: The Drum Also Waltzes,” and Jason Cohn’s “Modernism Inc.: The Eliot Noyes Design Story.”
This year 125 American history documentary features were submitted for consideration.
“We’ve seen time and again what...
The award, established in 2019, recognizes late-stage documentaries that use original research and a compelling narrative to tell stories that bring American history to life through archival materials.
The six projects that were selected are: Barak Goodman’s “Buckley,” Nicole London’s “The Disappearance of Miss. Scott,” Sam Pollard’s “The Harvest,” Peter Yost and Michael Rohatyn’s “Drop Dead City – New York on the Brink in 1975,” Sam Pollard and Ben Shapiro’s “Max Roach: The Drum Also Waltzes,” and Jason Cohn’s “Modernism Inc.: The Eliot Noyes Design Story.”
This year 125 American history documentary features were submitted for consideration.
“We’ve seen time and again what...
- 7/20/2023
- by Addie Morfoot
- Variety Film + TV
A total of 145 scores were recently announced as being eligible for this year’s Academy Award, with everything from perceived frontrunner “La La Land” (Justin Hurwitz) and “Jackie” (Mica Levi) to outliers like “Sausage Party” and “Elle.” The final five will be nominated on January 24. In the meantime, avail yourself of this Spotify playlist featuring selections from 110 of the eligible scores — as well as the full list of every eligible score.
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners
Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award
The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,...
- 1/3/2017
- by Michael Nordine
- Indiewire
The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“The Abolitionists,” Tim Jones, composer
“Absolutely Fabulous The Movie,” Jake Monaco, composer
“The Accountant,” Mark Isham, composer
“Alice through the Looking Glass,” Danny Elfman, composer
“Allied,” Alan Silvestri, composer
“Almost Christmas,” John Paesano, composer
“American Pastoral,” Alexandre Desplat, composer
“The Angry Birds Movie,” Heitor Pereira, composer
“Anthropoid,” Robin Foster, composer
“Armenia, My Love,” Silvia Leonetti, composer
“Assassin’s Creed,” Jed Kurzel, composer
“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers
“The Bfg,” John Williams, composer
“Believe,” Michael Reola, composer
“Ben-Hur,” Marco Beltrami and Buck Sanders, composers
“Bilal,” Atli Ӧrvarsson, composer
“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...
- 12/14/2016
- by Melissa Thompson
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences (AMPAS) has announced the 145 scores eligible in the Best Original Score category, includeing work from “Jackie” and “La La Land.” The latter film, a musical directed by “Whiplash” helmer Damien Chazelle, picked up the Los Angeles Film Critics Association’s award for Best Music earlier this month; “Jackie” was the category’s runner-up. Notably absent, meanwhile, are “Arrival” (which just landed a Golden Globe nod), “Manchester by the Sea” and “Silence.”
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen
Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.
- 12/14/2016
- by Michael Nordine
- Indiewire
PARK CITY -- Black soul from Mississippi and white hillbilly music from Tennessee met up and married around Memphis and, essentially, rock 'n' roll was born. Centering on one of the good-ol'-boy icons of this musical magic, Forty Shades of Blue is a drab, minor-key melodrama that seems millions of miles from the barbecue 'n' blues world of Beale Street and the musical greatness that sprang from that Sun Records region.
A weepy slide guitar would be the proper instrument to ring forth this film's sad commercial prospects.
In as saucy an environs as Memphis you'd expect some odd mixings: Screenwriters Michael Rohatyn and Ira Sachs ladle up a weathered music legend, Alan (Rip Torn) living in kitschy splendor with a young Russian beauty (Dina Korzun) whom he's snapped up on a tour. She's in the stereotypical Russian mold, icy cold and a problem drinker. Big legend Alan doesn't notice much outside his own orbit, including his California-based son (Darren Burrows) who slouches homeward for the old man's coronation at some music wingding. Depressed foreign beauty, wayward old coot and resentful son -- you know the dance patterns of this old song already.
Filmmaker Ira Sachs' smart but sore scenario is crammed with somber story chords and predictable character refrains. While the Memphis backdrop spices things up, Forty Shades of Blue is plodding and predictable. The only scenes with any fiber are set around too much drinking, indicative of the film's slim characterizations. The players deliver with those handicaps. Rip Torn is a fine dusty/crusty mix of hoot and holler but none of the other players are able to enliven their flat parts.
Under Sachs' strummy hand, technical contributions are also wrong notes, including composer Dickon Hinchliffe's baleful sounds and cinematographer Julian Whatley's pan-'n'-scan compositions.
Forty Shades of Blue
Credits:
Producers: Margot Bridger, Ira Sachs, Mary Bing, Jawal Nga, Donald Rosenfeld
Director: Ira Sachs
Screenwriters: Michael Rohatyn, Ira Sachs
Executive producers: Geoff Stier, Diane Von Furstenberg
Director of photography: Julian Whatley
Editor: Alfonso Goncalves
Production designer: Teresa Mastropierro
Costume designer: Eric Daman
Music: Dickon Hinchliffe
Music supervisor: Susan Jacobs
Sound mixer: Dominick Tavella
Casting: Avy Kaufman, Jordan Beswick
Cast:
Alan: Rip Torn
Michael: Darren Burrows
Shel: Jerry Chipman
Tom Skolnick: Stuart Greer
Sam James: Andrew Henderson
Karin: Charly Kayle
Laura: Dina Korzun
Gina: Mary Jean McAdams
April James: Emily McKenna
Celia: Jenny O'Hara
Betty: Joanne Pankow
Gary: Forrest Pruett
Lonni: Paprika Steen
Barry: John Boyd West
Duigan: Red West
No MPAA rating
Running time -- 107 minutes...
A weepy slide guitar would be the proper instrument to ring forth this film's sad commercial prospects.
In as saucy an environs as Memphis you'd expect some odd mixings: Screenwriters Michael Rohatyn and Ira Sachs ladle up a weathered music legend, Alan (Rip Torn) living in kitschy splendor with a young Russian beauty (Dina Korzun) whom he's snapped up on a tour. She's in the stereotypical Russian mold, icy cold and a problem drinker. Big legend Alan doesn't notice much outside his own orbit, including his California-based son (Darren Burrows) who slouches homeward for the old man's coronation at some music wingding. Depressed foreign beauty, wayward old coot and resentful son -- you know the dance patterns of this old song already.
Filmmaker Ira Sachs' smart but sore scenario is crammed with somber story chords and predictable character refrains. While the Memphis backdrop spices things up, Forty Shades of Blue is plodding and predictable. The only scenes with any fiber are set around too much drinking, indicative of the film's slim characterizations. The players deliver with those handicaps. Rip Torn is a fine dusty/crusty mix of hoot and holler but none of the other players are able to enliven their flat parts.
Under Sachs' strummy hand, technical contributions are also wrong notes, including composer Dickon Hinchliffe's baleful sounds and cinematographer Julian Whatley's pan-'n'-scan compositions.
Forty Shades of Blue
Credits:
Producers: Margot Bridger, Ira Sachs, Mary Bing, Jawal Nga, Donald Rosenfeld
Director: Ira Sachs
Screenwriters: Michael Rohatyn, Ira Sachs
Executive producers: Geoff Stier, Diane Von Furstenberg
Director of photography: Julian Whatley
Editor: Alfonso Goncalves
Production designer: Teresa Mastropierro
Costume designer: Eric Daman
Music: Dickon Hinchliffe
Music supervisor: Susan Jacobs
Sound mixer: Dominick Tavella
Casting: Avy Kaufman, Jordan Beswick
Cast:
Alan: Rip Torn
Michael: Darren Burrows
Shel: Jerry Chipman
Tom Skolnick: Stuart Greer
Sam James: Andrew Henderson
Karin: Charly Kayle
Laura: Dina Korzun
Gina: Mary Jean McAdams
April James: Emily McKenna
Celia: Jenny O'Hara
Betty: Joanne Pankow
Gary: Forrest Pruett
Lonni: Paprika Steen
Barry: John Boyd West
Duigan: Red West
No MPAA rating
Running time -- 107 minutes...
- 1/25/2005
- The Hollywood Reporter - Movie News
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