IFMCA 2018 Nominations

The votes are in. Below are the 2018 nominations for Best Scores. The International Film Music Critics Association will announce the winners of the 15th IFMCA Awards on February 21, 2019.

Shortly after this date, I will be publishing FILMIC TRACKS “Best of 2018”.

INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARD NOMINATIONS ANNOUNCED; JAMES NEWTON HOWARD LEADS THE FIELD WITH FOUR NOMINATIONS

FEBRUARY 7, 2019. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2018, for the 15th annual IFMCA Awards. In one of the most open fields in IFMCA history, composer James Newton Howard received the most nominations with four, closely followed by Nicholas Britell, Alexandre Desplat, Ludwig Göransson, Justin Hurwitz, and John Powell, who each received three.

67-year-old American composer James Newton Howard is nominated for his work on two scores – “Fantastic Beasts: The Crimes of Grindelwald,” the second film in the Harry Potter spinoff series, and the controversial Jennifer Lawrence Cold War spy thriller “Red Sparrow” – and is one of the five nominees for Composer of the Year. IFMCA member Christian Clemmensen called Fantastic Beasts an “accomplished and mature fantasy score” which “sits comfortably with Howard’s accomplished genre works and competes favorably for a place amongst 2018’s best scores,” while IFMCA member Mihnea Manduteanu described Red Sparrow as “beautiful and passionate” and “melodic and furious”. Howard previously received IFMCA Score of the Year honors in 2006 for “The Lady in the Water”. His other major score in 2018 was for the lavish fantasy “The Nutcracker and the Four Realms,” which was inspired by Tchaikovsky’s seminal ballet.

39-year-old New York-born composer Nicholas Britell is nominated for Composer of the Year, and received two nods in the Drama Score category for two very different works – the sensitive 1970s drama “If Beale Street Could Talk” based on the novel by James Baldwin, and the bitingly satirical political drama “Vice,” which looks at the life and career of former US Vice President Dick Cheney. IFMCA member Kaya Savas said that Beale Street was “a gorgeous and deeply moving experience” which “explores the depths of love in all its shapes and forms”, while IFMCA member Jon Broxton said that Vice “keyed the audience in to the [satirical] joke while not overselling it to the point of obviousness,” and that Britell “made his score genuinely interesting and appealing from a musical point of view – something that many composers fail to do”.

57-year-old French composer Alexandre Desplat, who won the IFMCA Score of the Year award in 2008 for “The Curious Case of Benjamin Button,” is nominated in the genre categories for three of his uniquely varied scores: the quirky comedy western “The Sisters Brothers,” the historical thriller “Operation Finale” which looks at Jewish secret agents tracking down Nazis after the end of World War II, and director Wes Anderson’s typically idiosyncratic animated film “Isle of Dogs”. IFMCA member Olivier Desbrosses described Isle of Dogs as “a score rich in oriental percussions, original and ambitious”.

Ludwig Göransson, the 34-year-old Swedish composer, enjoyed a truly tremendous year in 2018 and is nominated for Score of the Year, Composer of the Year, and Best Fantasy/Sci-Fi/Horror Score for his groundbreaking work on the enormously successful Marvel super hero film “Black Panther”. IFMCA member James Southall called Black Panther a “very distinctive sounding score” which contains “expansive arrangements of the main themes” and “complex, multi-layered percussion”. Göransson’s other work in 2018 included a second massively popular super-hero film, “Venom,” the remake of the classic revenge thriller “Death Wish,” and the boxing drama “Creed II,” the eighth film in the long-lasting Rocky series.

34-year-old American composer Justin Hurwitz is nominated for three awards – Score of the Year, Drama Score, and Film Music Composition of the Year – all for his work on director Damian Chazelle’s “First Man,” which looks at the impact of the Apollo 11 moon landings on the families of men involved. Similarly, 55-year-old British composer John Powell is nominated for three awards – Score of the Year, Fantasy/Sci-Fi/Horror Score, and Film Music Composition of the Year – all for his outstanding work on “Solo”, the Star Wars spin-off movie looking at the early life of the smuggler and rogue Han Solo. Powell previously won the IFMCA Score of the Year Award in 2010 for “How to Train Your Dragon”. IFMCA members Asier Senarriaga and Óscar Giménez called Solo “a spectacular score that combines the classic ideas of Williams with the talent of Powell,” and proclaimed it “the score of the year”.

The other two nominees for Score of the Year are American composer Marc Shaiman, who is nominated for his work on “Mary Poppins Returns,” the lovingly-crafted sequel to the classic Disney musical; and American composer Mark McKenzie, who received his nomination for his stunningly beautiful score for the Mexico-produced animated film “Max and Me,” which looks at the life of the Polish saint Maximilian Kolbe, who was executed in Auschwitz.

The other two nominees for Composer of the Year are American composer Alan Silvestri, whose work in 2018 included popular and successful films such as “Ready Player One,” “Avengers: Infinity War,” and “Welcome to Marwen”; and Spanish composer Roque Baños, who showed an impressive amount of versatility and range in scoring films as diverse as the thrillers “The Girl in the Spider’s Web” and “The Commuter,” the sporting drama “The Miracle Season,” director Terry Gilliam’s literary fantasy “The Man Who Killed Don Quixote,” and three Spanish-language comedies: “Sin Rodeos,” “Miamor Perdido,” and “Yucatán”.

Each year the IFMCA goes out of its way to recognize emerging talent in the film music world, and this year is no exception. The nominees in the Breakthrough Composer of the Year category are a diverse and exciting group. Three of the five composers nominated are already famous in their own right for other artistic endeavors, but are being recognized here specifically for their first ever work scoring feature films; all three are British. Thomas Adès is renowned as one of the world’s leading contemporary classical and concert hall composers, but only wrote his first film score this year with his contribution to the historical literary drama “Colette”. Amelia Warner is an established actress and solo recording artist, but impressed the IFMCA membership with her debut score for the film about the life of the groundbreaking horror author “Mary Shelley”. Meanwhile, Thom Yorke is best known as the Grammy Award-winning lead singer of the alternative rock band Radiohead, and has now followed in the footsteps of his band-made Jonny Greenwood by writing his first score, for director Luca Guadagnino’s remake of the classic horror film “Suspiria”.

The final two composers nominated for Breakthrough Composer are exciting young talents from Spain. Iván Palomares is recognized for his sensitive score for the fantastical yet intimate father-son drama “En las Estrellas,” while Manuel Riveiro is nominated for his outstanding score for the period thriller “La Sombra de la Ley,” in which a dogged cop travels to Barcelona in the 1920s to take on an organized crime gang.

As it has in previous years, the IFMCA takes pride in honoring composers from across the film music world; in addition to the ones already mentioned, this year’s international nominees include South African composer Mark Chait (“Frontier of Love,” Television), Argentine composer Federico Jusid (“Watership Down,” Animation, and “La Catedral del Mar,” Television), Dutch composer Matthijs Kieboom (“Wild,” Documentary), Sweden-based composers Robert Parker and Waveshaper (“Videoman,” Comedy), and Turkish composer Pinar Toprak (“Tides of Fate,” Documentary).

Several other composers are receiving their first ever IFMCA Award nominations this year, including the aforementioned Kieboom, Parker, and Waveshaper, plus Benji Merrison (“Dynasties,” Documentary), Michael Nyman (“McQueen,” Documentary), and Will Slater (“Dynasties,” Documentary).

The International Film Music Critics Association will announce the winners of the 15th IFMCA Awards on February 21, 2019.


The list of nominees is as follows:

FILM SCORE OF THE YEAR

  • BLACK PANTHER, music by Ludwig Göransson
  • FIRST MAN, music by Justin Hurwitz
  • MARY POPPINS RETURNS, music by Marc Shaiman
  • MAX AND ME, music by Mark McKenzie
  • SOLO, music by John Powell

FILM COMPOSER OF THE YEAR

  • ROQUE BAÑOS
  • NICHOLAS BRITELL
  • LUDWIG GÖRANSSON
  • JAMES NEWTON HOWARD
  • ALAN SILVESTRI

BREAKTHROUGH COMPOSER OF THE YEAR

  • THOMAS ADÈS
  • IVÁN PALOMARES
  • MANUEL RIVEIRO
  • AMELIA WARNER
  • THOM YORKE

BEST ORIGINAL SCORE FOR A DRAMA FILM

  • EN LAS ESTRELLAS/UP AMONG THE STARS, music by Iván Palomares
  • FIRST MAN, music by Justin Hurwitz
  • IF BEALE STREET COULD TALK, music by Nicholas Britell
  • MARY, QUEEN OF SCOTS, music by Max Richter
  • VICE, music by Nicholas Britell

BEST ORIGINAL SCORE FOR A COMEDY FILM

  • CHRISTOPHER ROBIN, music by Geoff Zanelli and Jon Brion
  • CRAZY RICH ASIANS, music by Brian Tyler
  • MARY POPPINS RETURNS, music by Marc Shaiman
  • THE SISTERS BROTHERS, music by Alexandre Desplat
  • VIDEOMANNEN/VIDEOMAN, music by Robert Parker and Waveshaper

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM

  • KING OF THIEVES, music by Benjamin Wallfisch
  • LA SOMBRA DE LA LEY/GUN CITY, music by Manuel Riveiro and Xavier Font
  • MISSION: IMPOSSIBLE – FALLOUT, music by Lorne Balfe
  • OPERATION FINALE, music by Alexandre Desplat
  • RED SPARROW, music by James Newton Howard

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM

  • BLACK PANTHER, music by Ludwig Göransson
  • FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD, music by James Newton Howard
  • JURASSIC WORLD: FALLEN KINGDOM, music by Michael Giacchino
  • READY PLAYER ONE, music by Alan Silvestri
  • SOLO, music by John Powell

BEST ORIGINAL SCORE FOR AN ANIMATED FILM

  • INCREDIBLES 2, music by Michael Giacchino
  • ISLE OF DOGS, music by Alexandre Desplat
  • MAX AND ME, music by Mark McKenzie
  • SPIDER-MAN: INTO THE SPIDER-VERSE, music by Daniel Pemberton
  • WATERSHIP DOWN, music by Federico Jusid

BEST ORIGINAL SCORE FOR A DOCUMENTARY

  • DYNASTIES, music by Benji Merrison and Will Slater
  • FREE SOLO, music by Marco Beltrami
  • McQUEEN, music by Michael Nyman
  • TIDES OF FATE, music by Pinar Toprak
  • WILD, music by Matthijs Kieboom

BEST ORIGINAL SCORE FOR A TELEVISION SERIES

  • AIQING DE BIANJIANG/FRONTIER OF LOVE, music by Mark Chait
  • LA CATEDRAL DEL MAR, music by Federico Jusid
  • LOST IN SPACE, music by Christopher Lennertz
  • WESTWORLD, music by Ramin Djawadi
  • YELLOWSTONE, music by Brian Tyler

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

  • 11:11 MEMORIES RETOLD, music by Olivier Derivière
  • GOD OF WAR, music by Bear McCreary
  • NI NO KUNI II: REVENANT KINGDOM, music by Joe Hisaishi
  • SPIDER-MAN, music by John Paesano
  • TORN, music by Garry Schyman

BEST ARCHIVAL RELEASE – NEW RELEASE OR NEW RECORDING OF AN EXISTING SCORE

  • BRAM STOKER’S DRACULA, music by Wojciech Kilar; album produced by Dan Goldwasser; liner notes by Tim Greiving; art direction by Dan Goldwasser (La-La Land)
  • THE BRIDE WORE BLACK, music by Bernard Herrmann; The Basque National Orchestra conducted by Fernando Velázquez; album produced by Jose M. Benitez and Edouard Dubois; liner notes by Frank K. DeWald; art direction by Nacho B. Govantes (Quartet)
  • DRACULA, music by John Williams; album produced by Mike Matessino and Robert Townson; liner notes by Mike Matessino; art direction by Jim Titus (Varèse Sarabande)
  • EL HOMBRE Y LA TIERRA, music by Antón García Abril; album produced by Jose M. Benitez and Miguel A. Órdóñez; liner notes by Miguel A. Órdóñez; art direction by Nacho B. Govantes (Quartet)
  • THE VIKINGS, music by Mario Nascimbene; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. DeWald; art direction by Jim Titus (Prometheus/Tadlow)

BEST ARCHIVAL RELEASE – COMPILATION

  • CARTER BURWELL: MUSIC FOR FILM, music by Carter Burwell; The Brussels Philharmonic Orchestra conducted by Dirk Brossé; album produced by Marijke Vandebuerie and Valerie Dobbelaere; liner notes by Patrick Duynslaegher and Raf Butstraen; art direction by Stuart Ford (Silva Screen)
  • THE COMPLETE LONDON SESSIONS, music by Georges Delerue; album produced by Robert Townson; liner notes by Robert Townson; art direction by Robert Townson, Bill Pitzonka, and Bob Peak (Varèse Sarabande)
  • HARRY POTTER: THE JOHN WILLIAMS SOUNDTRACK COLLECTION; music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; art direction by Jim Titus (La-La Land)
  • THRILLER 2, music by Jerry Goldsmith; The City of Prague Philharmonic Orchestra conducted by Nic Raine; album produced by James Fitzpatrick and Leigh Phillips; liner notes by Jon Burlingame; art direction by Nic Finch (Tadlow)
  • A TRIBUTE TO MICHAEL KAMEN, music by Michael Kamen; The Malaga Philharmonic Orchestra conducted by Pablo Urbina; album produced by José M. Benítez and Chris Malone; art direction by Nacho B. Govantes (Quartet)

FILM MUSIC LABEL OF THE YEAR

  • INTRADA RECORDS, Douglass Fake, Roger Feigelson
  • LA-LA LAND RECORDS, MV Gerhard, Matt Verboys
  • QUARTET RECORDS, Jose M. Benitez
  • TADLOW MUSIC, James Fitzpatrick
  • VARÉSE SARABANDE, Robert Townson

FILM MUSIC COMPOSITION OF THE YEAR

  • “The Landing” from FIRST MAN, written by Justin Hurwitz
  • “Finale” from MARY, QUEEN OF SCOTS, written by Max Richter
  • “Overture” from RED SPARROW, written by James Newton Howard
  • “Mine Mission” from SOLO, written by John Powell
  • “The Adventures of Han” from SOLO, written by John Williams

The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music.

Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, China, Denmark, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.

Previous IFMCA Score of the Year Awards have been awarded to Jonny Greenwood’s “Phantom Thread” in 2017, Jóhann Jóhannsson’s “Arrival” in 2016, John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “War Horse” in 2011, John Powell’s “How to Train Your Dragon” in 2010, Michael Giacchino’s “Up” in 2009, Alexandre Desplat’s “The Curious Case of Benjamin Button” in 2008, Dario Marianelli’s “Atonement” in 2007, James Newton Howard’s “Lady in the Water” in 2006, John Williams’s “Memoirs of a Geisha” in 2005, and Michael Giacchino’s “The Incredibles” in 2004.

For more information about the International Film Music Critics Association go to http://www.filmmusiccritics.org, visit our Facebook page, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org.

2017 IFMCA AWARD WINNERS

ifmca-banner-award-winners-2017

INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES WINNERS OF 2017 IFMCA AWARDS; “PHANTOM THREAD” TAKES SCORE OF THE YEAR, MULTIPLE WINS FOR MICHAEL GIACCHINO, BENJAMIN WALLFISCH

FEBRUARY 22, 2018 — The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2017, in the 2017 IFMCA Awards.

The award for Score of the Year goes to British composer Jonny Greenwood for his score for critically acclaimed period drama “Phantom Thread,” directed by Paul Thomas Anderson, and starring Daniel Day-Lewis. In describing the score, IFMCA member Jon Broxton wrote that it was a “quite masterful score from Greenwood, one which gets deeply under the skin of the damaged, potentially dangerous, but nevertheless mutually fulfilling relationship at the center of the story. The abstract, impressionistic, modernistic textures perfectly capture the torment that both characters at times feel, as well as their willful and often unpleasant personalities. Then, when he opens up his orchestra and performs the Phantom Thread theme with glorious melodrama, or when he writes elegant romantic music for what should be the dreadful finale, the whole thing simply soars”. The score was also named Best Original Score for Drama Film; these are the first IFMCA Award wins of Greenwood’s career, him having previously been nominated for Breakthrough Film Composer of the Year in 2007 and Best Original Score for an Action/Adventure/Thriller Film for “Inherent Vice” in 2014.

Composer Alexandre Desplat is named Composer of the Year, him having written at least four outstanding works spanning multiple genres in the past year. His work in 2017 included director Guillermo del Toro’s critically acclaimed monster movie romance “The Shape of Water,” director Luc Besson’s epic space fantasy “Valerian and the City of a Thousand Planets,” director George Clooney’s satirical racial drama ‘”Suburbicon,” and the French-language comedy-drama “D”Après Une Histoire Vraie,” directed by Roman Polanski. IFMCA member James Southall said that The Shape of Water was “yet another from the top drawer of Desplat,” and went on to describe him as “one of the most consistently impressive film composers of the last couple of decades,” who has “managed to be so successful without having to water down his highly-distinctive musical voice at all”. IFMCA member Christian Clemmensen called Valerian and the City of a Thousand Planets a “sonic marvel of extremely intelligent rendering” and an “unparalleled execution of orchestral textures” featuring “composition of demanding complexity.” Desplat received IFMCA Score of the Year honors in 2008 for “The Curious Case of Benjamin Button”. This marks the third time Desplat has been named Composer of the Year, following his previous wins in 2017 and 2014.

Composer Michael Giacchino wins two awards – Film Music Composition of the Year and Best Original Score for a Fantasy/Science Fiction/Horror Film – both for his work on the third film in the blockbuster Planet of the Apes trilogy, “War for the Planet of the Apes”. IFMCA member James Southall said that War for the Planet of the Apes was “not just the best film music [Giacchino has] ever written” but that “the manner of the score, the construction of the dramatic narrative, [and] the very deliberate emotional prods … make it stand out as a special achievement”.

Composer Benjamin Wallfisch also wins two awards – Best Original Score for an Action/Adventure/Thriller Film and Best Original Score for a Documentary – for two very different works. Director Gore Verbinski’s “A Cure for Wellness” is a Gothic thriller which draws on European classical traditions to generate its creepy atmosphere, while “Mully” is an inspirational documentary about the life of Charles Mully, a Kenyan business tycoon who gave away his fortune to start the Mully Children’s Family, the largest children’s rescue, rehabilitation and development organization in Africa. Wallfisch’s score blends rich, beautiful orchestral themes with influences from traditional East African music. IFMCA member Ley Bricknell described “A Cure for Wellness” as “totally compelling” with “an overwhelming sense of fear and madness”.

Cypriot composer George Kallis is named Breakthrough Composer of the Year for his stellar work writing three enormously impressive scores in 2017: the children’s fantasy “Albion: The Enchanted Stallion,” the historical drama “The Black Prince,” and the Russian fantasy epic “Posledni Bogatyr/The Last Warrior,” all of which impressed members of the IFMCA with their scope and creativity. The various other genre awards are won by Christopher Willis his Russian-inspired music for the satirical comedy “The Death of Stalin”; and Theodore Shapiro for his anarchic but wonderfully sincere score for the animated super hero parody “Captain Underpants: The First Epic Adventure”.

In the non-film categories, composers Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee jointly win the award for Best Original Score for a Television Series for their magnificent work on the Fox sci-fi series “The Orville,” while Spanish composer David García Díaz wins the award for Best Original Score for a Video Game or Interactive Media for his moving score for the adventure–puzzle video game “Rime,” in which players are compelled to solve environmental puzzles across five large levels that represent the five stages of grief.

Burbank, California-based La-La Land Records is named Film Music Record Label of the Year in recognition of their ongoing excellence in restoring and releasing the most beloved film scores of the past. British label Tadlow Records and producer James Fitzpatrick are honored with the award for Best New Release, Re-Release or Re-Recording of an Existing Score for their lavish new recording of Miklós Rózsa’s classic 1959 score “Ben-Hur,” which IFMCA member Craig Lysy described as “the most thematically complex and melodically rich film score ever penned by the hand of man” … “a superb recording and the crowning glory of the Golden Age”. Finally, Oakland, California-based Intrada Records and producer Douglass Fake wins the award for Best Film Music Compilation Album for their superb release “Captains Courageous: The Franz Waxman Collection”, a compilation of outstanding themes by the great German composer of the 1940s and 50s.

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COMPLETE LIST OF WINNERS

SCORE OF THE YEAR

  • PHANTOM THREAD, music by Jonny Greenwood

COMPOSER OF THE YEAR

  • ALEXANDRE DESPLAT

BREAKTHROUGH COMPOSER OF THE YEAR

  • GEORGE KALLIS

FILM MUSIC COMPOSITION OF THE YEAR

  • “End Credits” from WAR FOR THE PLANET OF THE APES, music by Michael Giacchino

BEST ORIGINAL SCORE FOR A DRAMA FILM

  • PHANTOM THREAD, music by Jonny Greenwood

BEST ORIGINAL SCORE FOR A COMEDY FILM

  • THE DEATH OF STALIN, music by Christopher Willis

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM

  • A CURE FOR WELLNESS, music by Benjamin Wallfisch

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM

  • WAR FOR THE PLANET OF THE APES, music by Michael Giacchino

BEST ORIGINAL SCORE FOR AN ANIMATED FILM

  • CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, music by Theodore Shapiro

BEST ORIGINAL SCORE FOR A DOCUMENTARY

  • MULLY, music by Benjamin Wallfisch

BEST ORIGINAL SCORE FOR TELEVISION

  • THE ORVILLE, music by Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

  • RIME, music by David García Díaz

BEST NEW RELEASE, RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE

  • BEN-HUR, music by Miklós Rózsa; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by James Fitzpatrick, Gareth Bevan, and Nic Finch (Tadlow)

BEST FILM MUSIC COMPILATION ALBUM

  • CAPTAINS COURAGEOUS: THE FRANZ WAXMAN COLLECTION, music by Franz Waxman; album produced by Douglass Fake; liner notes by Frank K. De Wald; album art direction by Kay Marshall and Joe Sikoryak (Intrada)

FILM MUSIC RECORD LABEL OF THE YEAR

  • LA-LA LAND RECORDS, MV Gerhard and Matt Verboys

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The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music.

Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, China, Denmark, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.

The IFMCA 2017 AWARD NOMINATIONS

ifmca-banner-nominations-2017-b

INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARD NOMINATIONS ANNOUNCED; MULTIPLE NOMINATIONS FOR ALEXANDRE DESPLAT, MICHAEL GIACCHINO, DANIEL PEMBERTON, JOHN WILLIAMS

FEBRUARY 8, 2018. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2017, for the 14th annual IFMCA Awards. In a wide open field, the most nominated composers are Alexandre Desplat and Daniel Pemberton, who both received four nominations, Michael Giacchino, who received five nominations, and John Williams, who received six nominations for new work, plus an additional three for archival re-releases of some of his classic scores.

56-year old Frenchman Alexandre Desplat is nominated for his work on two scores – director Guillermo Del Toro’s critically acclaimed monster movie romance “The Shape of Water,” and director Luc Besson’s epic space fantasy “Valerian and the City of a Thousand Planets” – and is one of the five nominees for Composer of the Year. IFMCA member James Southall said that “The Shape of Water” was “yet another from the top drawer of Desplat,” and went on to describe him as “one of the most consistently impressive film composers of the last couple of decades,” who has “managed to be so successful without having to water down his highly-distinctive musical voice at all”. Desplat previously received IFMCA Score of the Year honors in 2008 for “The Curious Case of Benjamin Button”. His other major scores in 2017 include director George Clooney’s satirical racial drama ‘”Suburbicon,” and the French-language comedy-drama “D”Après Une Histoire Vraie,” directed by Roman Polanski.

Daniel Pemberton, the 40-year-old English composer, impressed IFMCA members particularly with his scores for two films: Ridley Scott’s “All the Money in the World,” about the true-life kidnapping of the grandson of billionaire J. Paul Getty in 1973, and “King Arthur: Legend of the Sword,” an anarchic re-imagining of the early life of the mythical king growing up in Roman Britain, by director Guy Ritchie. Pemberton, who is also one of the five nominees for Composer of the Year, impressed IFMCA member Alan Rogers specifically, who heralded “King Arthur” as the “overall score of the year” and said that “the score is more rewarding with every listen”. Pemberton’s other significant works in 2017 include the political dramas “Molly’s Game” and “Mark Felt: The Man Who Brought Down the White House,” and an episode of the sci-fi anthology series “Black Mirror” entitled “USS Callister”.

50-year-old New Jersey-born Michael Giacchino is lauded for two scores: Pixar’s lavish animated Mexican-themed fantasy “Coco,” and the third film in the blockbuster Planet of the Apes trilogy, “War for the Planet of the Apes”. IFMCA member Mihnea Manduteanu said that “Coco” had “effervescence and passion” and was “inspirational, emotional and fun at the same time,” while IFMCA member James Southall said that “War for the Planet of the Apes” was “not just the best film music [Giacchino has] ever written” but that “the manner of the score, the construction of the dramatic narrative, [and] the very deliberate emotional prods … make it stand out as a special achievement”. Giacchino previously received Score of the Year honors in 2004 for “The Incredibles,” and in 2009 for “Up”. He is also one of the five nominees for Composer of the Year this year, having also written the scores for the intimate drama “The Book of Henry,” and the super hero sequel “Spider-Man: Homecoming” in 2017.

Despite now being 86 years of age, John Williams continues to be a force in the world of film music. Both of Williams’s 2017 scores are nominated for Score of the Year: director Steven Spielberg’s “The Post,” a political drama about the Pentagon Papers scandal that rocked Washington in the early 1970s, and “Star Wars: The Last Jedi,” director Rian Johnson’s blockbuster second installment in the new space fantasy series which has smashed box office records around the world. IFMCA member Christian Clemmensen described “The Post” as “an exercise in Williams minimalism wholly appropriate for the context of the historical drama” with a finale full of “Williams’s typical French horn majesty, denoting the significance of the occasion”. Meanwhile, IFMCA member Jon Broxton said that “the two major new themes [in The Last Jedi] combine perfectly with the older material,” with Williams providing “more than enough variation on those themes for them to still feel fresh and exciting”. He went on to say that “the new action material, especially in the fathiers sequence, and during the final Crait battle, is wonderfully entertaining and musically creative” and that the entire score is “a nostalgia bomb of the highest order”. Williams – the fourth of the five nominees for Composer of the Year – previously received Score of the Year honors for “Memoirs of a Geisha” in 2005, “War Horse” in 2011, and “Star Wars: The Force Awakens” in 2015.

The fifth nominee for Score of the Year is Jonny Greeenwood’s music for the controversial and avant-garde romantic period drama “Phantom Thread,” directed by Paul Thomas Anderson and starring Daniel Day-Lewis. In describing the score, IFMCA member Jon Broxton wrote that it was a “quite masterful score from Greenwood, one which gets deeply under the skin of the damaged, potentially dangerous, but nevertheless mutually fulfilling relationship at the center of the story. The abstract, impressionistic, modernistic textures perfectly capture the torment that both characters at times feel, as well as their willful and often unpleasant personalities. Then, when he opens up his orchestra and performs the Phantom Thread theme with glorious melodrama, or when he writes elegant romantic music for what should be the dreadful finale, the whole thing simply soars”.

The fifth composer vying for the title of Composer of the Year is Benjamin Wallfisch, whose astonishing work in 2017 included writing the music for the horror sequel “Annabelle: Creation,” the sweeping historical drama “Bitter Harvest,” the atmospheric thriller “A Cure for Wellness,” the new adaptation of Stephen King’s “It,” and the optimistic and celebratory documentary “Mully,” as well as working with Hans Zimmer on “Blade Runner 2049” and “Dunkirk”. IFMCA member Kaya Savas called “It” “the backbone that makes us emotionally connect to our protagonists”. IFMCA member Ley Bricknell described “A Cure for Wellness” as “totally compelling” with “an overwhelming sense of fear and madness”. IFMCA member Peter Simons said that “Bitter Harvest” was a “rich orchestral score with lush themes … a wonderful pastoral tone to it, and a gorgeous main theme”.

Each year the IFMCA goes out of its way to recognize emerging talent in the film music world, and this year is no exception. The nominees in the Breakthrough Composer of the Year category are a diverse and exciting group. American composer Michael Abels wrote the Swahili-inflected score for the racially charged cult horror hit “Get Out”. German composer Anne-Kathrin Dern wrote two vastly different but no less impressive scores – one for the sweeping Chinese drama “The Jade Pendant,” and one for the German children’s film “Hexe Lilli Rettet Weihnachten”. Cypriot composer George Kallis had three enormously impressive scores in 2017, including the children’s fantasy “Albion: The Enchanted Stallion,” the historical drama “The Black Prince,” and the Russian fantasy epic “Posledni Bogatyr/The Last Warrior”. Spanish composer Alejandro Vivas joined the ever-growing list of outstanding Iberian musicians with his score for the WWII drama “El Jugador de Ajedrez/The Chess Player,” while Brit Christopher Willis channeled Prokofiev and Shostakovich in his score for the satirical comedy “The Death of Stalin”.

As it has in previous years, the IFMCA takes pride in honoring composers from across the film music world; in addition to the ones already mentioned, this year’s international nominees include French composer Cyrille Aufort (“Knock,” Comedy), French composer Olivier Derivière (“Get Even,” Game), French composer Pascal Gaigne (“Plan de Fuga,” Action/Adventure/Thriller), Spanish composer David García Díaz (“Rime,” Game), Argentine composer Federico Jusid (“Tiempos de Guerra,” Television), and Japanese composers Yôko Kanno (“Onna Jôshu Naotora,” Television) and Yasunori Mitsuda (“Valkyria: Azure Revolution,” Game).

Also worth noting in 2017 is the larger number of women composers and film music professionals amongst the nominees; in addition to breakthrough composer nominee Anne-Kathrin Dern and television nominee Yôko Kanno, other female nominees include Rachel Portman (“Their Finest,” Comedy) and Debbie Wiseman (“Live at the Barbican,” Compilation), as well as writer Julie Kirgo, Sony Classical album producer Laura Zsank, and graphic designer Kay Marshall.

Several other composers are receiving their first ever IFMCA Award nominations this year, including Andrew Cottee (“The Orville,” Television), David Fleming (“Blue Planet II,” Documentary), Philip Glass (“Jane,” Documentary), and Steve Mazzaro (“The Boss Baby,” Composition).

The International Film Music Critics Association will announce the winners of the 14th IFMCA Awards on February 22, 2018.

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THE 2017 IFMCA AWARD NOMINEES

SCORE OF THE YEAR

  • PHANTOM THREAD, music by Jonny Greenwood
  • THE POST, music by John Williams
  • THE SHAPE OF WATER, music by Alexandre Desplat
  • STAR WARS: THE LAST JEDI, music by John Williams
  • WAR FOR THE PLANET OF THE APES, music by Michael Giacchino

COMPOSER OF THE YEAR

  • ALEXANDRE DESPLAT
  • MICHAEL GIACCHINO
  • DANIEL PEMBERTON
  • BENJAMIN WALLFISCH
  • JOHN WILLIAMS

BREAKTHROUGH COMPOSER OF THE YEAR

  • MICHAEL ABELS
  • ANNE-KATHRIN DERN
  • GEORGE KALLIS
  • ALEJANDRO VIVAS
  • CHRISTOPHER WILLIS

BEST ORIGINAL SCORE FOR A DRAMA FILM

  • ALL THE MONEY IN THE WORLD, music by Daniel Pemberton
  • DARKEST HOUR, music by Dario Marianelli
  • MURDER ON THE ORIENT EXPRESS, music by Patrick Doyle
  • PHANTOM THREAD, music by Jonny Greenwood
  • THE POST, music by John Williams

BEST ORIGINAL SCORE FOR A COMEDY FILM

  • THE DEATH OF STALIN, music by Christopher Willis
  • DOWNSIZING, music by Rolfe Kent
  • KNOCK, music by Cyrille Aufort
  • PADDINGTON 2, music by Dario Marianelli
  • THEIR FINEST, music by Rachel Portman

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM

  • A CURE FOR WELLNESS, music by Benjamin Wallfisch
  • JUMANJI: WELCOME TO THE JUNGLE, music by Henry Jackman
  • KING ARTHUR: LEGEND OF THE SWORD, music by Daniel Pemberton
  • PLAN DE FUGA, music by Pascal Gaigne
  • THE RENDEZVOUS, music by Austin Wintory

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM

  • GET OUT, music by Michael Abels
  • THE SHAPE OF WATER, music by Alexandre Desplat
  • STAR WARS: THE LAST JEDI, music by John Williams
  • VALERIAN AND THE CITY OF A THOUSAND PLANETS, music by Alexandre Desplat
  • WAR FOR THE PLANET OF THE APES, music by Michael Giacchino

BEST ORIGINAL SCORE FOR AN ANIMATED FILM

  • CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, music by Theodore Shapiro
  • COCO, music by Michael Giacchino
  • THE EMOJI MOVIE, music by Patrick Doyle
  • FERDINAND, music by John Powell
  • LOVING VINCENT, music by Clint Mansell

BEST ORIGINAL SCORE FOR A DOCUMENTARY

  • BLUE PLANET II, music by Hans Zimmer, Jacob Shea, and David Fleming
  • BOSTON, music by Jeff Beal
  • EARTH: ONE AMAZING DAY, music by Alex Heffes
  • JANE, music by Philip Glass
  • MULLY, music by Benjamin Wallfisch

BEST ORIGINAL SCORE FOR TELEVISION

  • ALIAS GRACE, music by Jeff Danna and Mychael Danna
  • GAME OF THRONES, music by Ramin Djawadi
  • ONNA JÔSHU NAOTORA, music by Yôko Kanno
  • THE ORVILLE, music by Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee
  • TIEMPOS DE GUERRA, music by Federico Jusid

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

  • DEFORMERS, music by Austin Wintory
  • DIVIDE, music by Chris Tilton
  • GET EVEN, music by Olivier Deriviére
  • RIME, music by David García Díaz
  • VALKYRIA: AZURE REVOLUTION, music by Yasunori Mitsuda

BEST NEW RELEASE, RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE

  • BEN-HUR, music by Miklós Rózsa; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by James Fitzpatrick, Gareth Bevan, and Nic Finch (Tadlow)
  • CLOSE ENCOUNTERS OF THE THIRD KIND, music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land)
  • DAMNATION ALLEY, music by Jerry Goldsmith; album produced by Nick Redman and Mike Matessino; liner notes by Julie Kirgo; album art direction by Kay Marshall (Intrada)
  • DUEL IN THE SUN, music by Dimitri Tiomkin; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by Jim Titus (Tadlow/Prometheus)
  • E.T. THE EXTRA-TERRESTRIAL, music by John Williams; album produced by Mike Matessino and Bruce Botnick; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land)

BEST FILM MUSIC COMPILATION ALBUM

  • CAPTAINS COURAGEOUS: THE FRANZ WAXMAN COLLECTION, music by Franz Waxman; album produced by Douglass Fake; liner notes by Frank K. De Wald; album art direction by Kay Marshall and Joe Sikoryak (Intrada)
  • DEBBIE WISEMAN: LIVE AT THE BARBICAN, music by Debbie Wiseman; The Orchestra of the Guildhall School conducted by Debbie Wiseman; album produced by Debbie Wiseman, Reynold Da Silva, David Stoner, and Pete Compton; liner notes by Debbie Wiseman; album art direction by Stuart Ford (Silva Screen)
  • JOHN WILLIAMS AND STEVEN SPIELBERG: THE ULTIMATE COLLECTION, music by John Williams; album produced by Laura Zsaka and Jamie Richardson; liner notes by Jon Burlingame; album art direction by Amelia Tubb (Sony Classical)
  • THRILLER, music by Jerry Goldsmith; The City of Prague Philharmonic Orchestra conducted by Nic Raine; album produced by James Fitzpatrick and Leigh Phillips; liner notes by Jon Burlingame; album art direction by Matthew Wright and Nic Finch (Tadlow)
  • THE WILD WILD WEST, music by Various Composers; album produced by Jon Burlingame; liner notes by Jon Burlingame; album art direction by Jim Titus (La-La Land)

FILM MUSIC RECORD LABEL OF THE YEAR

  • CALDERA RECORDS, Stephan Eicke
  • INTRADA RECORDS, Douglass Fake and Roger Feigelson
  • LA-LA LAND RECORDS, MV Gerhard and Matt Verboys
  • QUARTET RECORDS, José M. Benitez
  • TADLOW MUSIC, James Fitzpatrick

FILM MUSIC COMPOSITION OF THE YEAR

  • “End Credits” from WAR FOR THE PLANET OF THE APES, music by Michael Giacchino
  • “Finale” from STAR WARS: THE LAST JEDI, music by John Williams
  • “Growing Up in Londinium” from KING ARTHUR: LEGEND OF THE SWORD, music by Daniel Pemberton
  • “Justice” from MURDER ON THE ORIENT EXPRESS, music by Patrick Doyle
  • “Love” from THE BOSS BABY, music by Hans Zimmer, Steve Mazzaro, and Conrad Pope

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The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music.

Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, China, Denmark, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.

Previous IFMCA Score of the Year Awards have been awarded to Jóhann Jóhannsson’s “Arrival” in 2016, John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “War Horse” in 2011, John Powell’s “How to Train Your Dragon” in 2010, Michael Giacchino’s “Up” in 2009, Alexandre Desplat’s “The Curious Case of Benjamin Button” in 2008, Dario Marianelli’s “Atonement” in 2007, James Newton Howard’s “Lady in the Water” in 2006, John Williams’s “Memoirs of a Geisha” in 2005, and Michael Giacchino’s “The Incredibles” in 2004.

For more information about the International Film Music Critics Association go to www.filmmusiccritics.org, visit our Facebook page, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org.

FILMIC SOUNDTRACK AWARDS 2017

SoundtrackAwards.jpg

2017 took it’s time to warm up that’s for sure but it did get there and of course there was the later/new year scores pushed through in time for the awards season. The category which seemed to ‘swell’ in size was TV which is hardly surprising given the cross platform ways you can watch the many channels on offer. My choices were clear cut this year with the only soul searching being between my number 1 and 2 Best Scores of the year, this did produce a lot of dithering and re-listening. Both scores painted ‘grand’ worlds and both composers reached high levels of opulence to fill the canvases. In the end the decision [partly because it was sooooo close I just had to make a decision] went to Daniel Pemberton’s score because he also wove in a twisted element to fine tune the madness of the films story. Well done Mr. Pemberton

The votes below were compiled for the International Film Music Critics Association who will be releasing the the list of nominations February 8th.

FILM SCORE OF THE YEAR

world

  1. All The Money In The World [Daniel Pemberton]
  2. Phantom Thread [Jonny Greenwood]
  3. Ali’s Wedding [Nigel Westlake]
  4. Murder On the Orient Express [Patrick Doyle]
  5. Rebel In The Rye [Bear McCreary]

BEST ORIGINAL SCORE FOR DRAMA

  • All the Money In the World – Daniel Pemberton
  • Phantom Thread – Jonny Greenwood
  • Murder On the Orient Express
  • Rebel In the Rye – Bear McCreary
  • The Ballad of Lefty Brown – H Scott Salinas

BEST ORIGINAL SCORE FOR COMEDY

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  1. Ali’s Wedding – Nigel Westlake
  2. The Hitman’s Bodyguard – Atli Ovarsson
  3. The Comedian – The Comedian – Terence Blanchard
  4. The Meyerowitz Stories – Randy Newman
  5. Wilson – Jon Brion

BEST ORIGINAL SCORE FOR ACTION/ADVENTURE/THRILLER FILM

index

  1. Contratiemopo – Fernando Velazquez  
  2. Good Time – Daniel Lopatin
  3. King Arthur and the Legend of the Sword – Daniel Pemberton
  4. Kings Bay – Bjonar Christoffersen & Herman Christoffosen
  5. Plan de Fuga – Pascal Gaigne

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM

index

  1. Anabelle Creation – Benjamin Wallfisch
  2. The Last Warrior – George Kallis
  3. Get Out – Michael Abels
  4. Prevenge – Toydrum
  5. Alien Covenent – Jed Kurzel

BEST ORIGINAL SCORE FOR AN ANIMATION SCORE

index

  1. Captain Underpants – Theordore Shapiro
  2. Coco – Michael Gioachinno
  3. The Lego Batman Movie – Lorne Balfe
  4. Tade Jones 2: El Secreto De Rey Midas – Zavarias M. De La Riva
  5. Richard the Stork – Eric Neveux

BEST ORIGINAL SCORE FOR A DOCUMENTARY

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  1. Blue Planet 2 – Hans Zimmer/Jacob Shea/David Fleming
  2. The Putin Interviews – Jeff Beale
  3. Intenet To Destroy – Serj Tankian
  4. Waiting For Waldemar [though can’t see it listed here]
  5. Mark Felt: the Man Who Bought Doen The Whitehouse – Daniel Pemberton

BEST ORIGINAL SCORE FOR A TV SERIES
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  1. Harlots – Rael Jones
  2. Feud:Bette and Joan – Mac Quayle
  3. The Handmaid’s Tale – Adam Jones
  4. Taboo – Max Ritcher
  5. Emerald City – Trevor Morris

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
index

  1. Horizen Zero Dawn – Joris de Man/Niel Van der Lees
  2. Deformers – Austin Wintory
  3. Get Even – Olivier Deriviere
  4. Mario + Rabbids: Kingdom Battle – Grant Kirkhope
  5. The Invisable Hours – Chris Valasco

BEST NEW ARCHIVAL RELEASE – [RE-RELEASE OR RE-RECORDING]
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  1. Ben Hur – Miklos Rozsa
  2. Duel In the Sun – Dimitri Tiomkin
  3. Puppet On A Chain – Piero Piccioni
  4. On Golden Pond – Dave Grusin
  5. Twister – Mark Mancina

BEST NEW ARCHIVAL RELEASE – COMPILATION
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  1. Horror Hammer Classics 1958- 1974 – Silva Screen
  2. Live at the Barbican Debbie Wiseman – Silva Screen
  3. Captain Courageous:The Franz Waxman Collection – Intrada

World Soundtrack Academy announces first wave of nominees for the 17th WSAwards

Published on 21/08/2017

This first wave of the 2017 World Soundtrack Award Nominees includes multiple Academy Award® winners and nominees, a past Discovery of the Year nominee, and the best of contemporary film and television music.

The nominees for Best Film Composer are 2017 Academy Award® winner Justin Hurwitz, AcademyAward® nominees Mica LeviNicholas BritellDustin O’Halloran and Jóhann Jóhannsson. The Television Composer of the Year nominees include upcoming & popular composers such as duo Kyle Dixon & Michael SteinRamin DjawadiRupert Gregson-WilliamsDave Porter and Mac Quayle.

As previously announced, The Lifetime Achievement Award will be presented to David Shire (‘The Conversation’, ‘All the President’s Men’) as part of the #WSAwards celebration of jazz this year. Following the award ceremony, a selection of Terence Blanchard’s work (‘Mo’ Better Blues’, ‘Malcolm X’, ‘25th Hour’) will be performed by Brussels Philharmonic and additional jazz soloists, conducted by Film Fest Gent’s music director Dirk Brossé. Film Fest Gent will release an exclusive album with Blanchard’s work the same week. Discovery of 2016 Joe Kraemer (‘The Way of the Gun’, ‘Jack Reacher’, ‘Mission: Impossible- Rogue Nation’) will also be performing that evening.

Film Fest Gent’s artistic director Patrick Duynslaegher about the selection: “This year’s nominations reflect the incredible wide range of style and talent in contemporary scoring for film and television, with a great line-up of new and established composers to celebrate the art and craft of film & television music.”
THE NOMINEES ARE: 

Best Film Composer of the Year
Nicholas Britell: ‘Moonlight’
Justin Hurwitz: ‘La La Land’
Jóhann Jóhannsson: ‘Arrival’
Mica Levi: ‘Jackie’, ‘Marjorie Prime’
Dustin O’Halloran: ‘Lion’ (co-composed by Hauschka), ‘In the Shadow of Iris’ (co-composed by Adam Wiltzie)

Best TV Composer of the Year
Kyle Dixon & Michael Stein: ‘Stranger Things’
Ramin Djawadi: ‘Westworld’, ‘Prison Break: Resurrection’, ‘The Strain’
Rupert Gregson-Williams: ‘The Crown’
Dave Porter: ‘Better Call Saul’, ‘The Blacklist’, ‘The Blacklist: Redemption’
Mac Quayle: ‘Feud: Bette & Joan’, ‘Mr. Robot’, ‘Scream Queens’

Best Original Song written directly for a Film
Can’t Stop the Feeling
from ‘Trolls’
music & Llyrics by Justin Timberlake, Max Martin and Shellback
performers include o.a. Justin Timberlake, Anna Kendrick, Gwen Stefani, James Corden and Zooey Deschanel

City of Stars
from ‘La La Land’
music by Justin Hurwitz
lyrics by Benj Pasek and Justin Paul
performed by Ryan Gosling and Emma Stone

How Far I’ll Go
from ‘Moana’
music & lyrics by Lin-Manuel Miranda
performed by Auli’i Cravalho

Never Give Up
from ‘Lion’
music & lyrics by Sia Furler and Greg Kurstin
performed by Sia

Runnin’
from ‘Hidden Figures’
music & lyrics by Pharrell Williams
performed by Pharrell Williams

The World Soundtrack Academy aims at supporting film and television music, sound design, composers and its worldwide promotion. In 17 year’s time, the membership of the WSAcademy has grown into a group of 370 international film music professionals deciding on the nominees through several rounds of voting. The Academy will announce the nominees for Discovery of the Year, Best Original Score for a Belgian Production and the Sabam Award for Best Young International Composer mid-September. The audience can also nominate their favorite score by voting for the Public Choice Award on the WSAwards website until September 9th 2017.

17th World Soundtrack Awards 
18 October 2017 – WSAwards Gala & Concert: Tickets
19 October 2017 – Symphonic Jazz Concert: Tickets

International Film Music Critics Association Soundtrack Awards 2016

As a member of the IFMCA I am delighted to share with you the 2016 Soundtrack Awards as voted for by all it’s members.

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INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES WINNERS OF 2016 IFMCA AWARDS; “ARRIVAL” TAKES SCORE OF THE YEAR, JUSTIN HURWITZ AND “LA LA LAND” WINS THREE OTHERS

FEBRUARY 23, 2017 — The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2016, in the 2016 IFMCA Awards.

The award for Score of the Year goes to Icelandic composer Jóhann Jóhannsson for his work on the critically acclaimed science fiction drama “Arrival,” directed by Denis Villeneuve, starring Amy Adams and Jeremy Renner. IFMCA member Jon Broxton said that “Jóhannsson’s approach to solving the film’s musical problems [is] absolutely fascinating, and the way he was able to musically convey some of the film’s more challenging cerebral ideas involving language and communication is astonishingly accomplished,” while IFMCA member Daniel Schweiger said that Jóhannsson “brilliantly captures both a sense of wonder and fear with beholding the mind-boggling, verbally-scrambled unknown, as whale cry motifs join with alternately moaning and chattering voices, backed by a strong orchestral sound that serves as a powerful universal musical translator in a way that’s both harmonically understandable, and profoundly strange.” This is the first IFMCA Award win of Jóhannsson’s career, him having previously been nominated for Best Original Score for a Drama Film for “The Theory of Everything” in 2014.

Composer Michael Giacchino is named Composer of the Year for the second year in a row, having written four outstanding works spanning multiple genres in the past year. His work in 2016 included the action-packed Marvel comic book fantasy film “Doctor Strange,” the socially aware Disney animated film “Zootopia,” the third installment of the rebooted Star Trek franchise “Star Trek Beyond,” and the score for the first of the Star Wars spinoff films, “Rogue One”. IFMCA member James Southall called “Rogue One” “a very impressive achievement indeed,” while IFMCA member Christian Clemmensen described “Doctor Strange” as “a mystical, optimistic, and smart superhero score with an alluring primary identity and generally excellent combination of electronic and ethnic accents with standard orchestral and choral elements.” This marks the fourth time Giacchino has been named Composer of the Year, following his previous wins in 2004, 2009, and 2015.

Composer Justin Hurwitz won three awards – Breakthrough Composer of the Year, Best Original Score for a Comedy Film, and Film Music Composition of the Year – all for his work on the massively popular and critically acclaimed musical comedy-drama “La La Land” directed by Damian Chazelle, starring Ryan Gosling and Emma Stone. “La La Land” is only the second full theatrical score of Hurwitz’s career, and for it he wrote a jazz-inspired orchestral score, and half a dozen original songs (with songwriters Benj Pasek and Justin Paul), the melodies of which flow through the majority of the underscore. IFMCA member Mihnea Manduteanu called “La La Land” “delightful and playful” and claimed that it captures “what it means to fall in love, to play, to dream,” while IFMCA member Jon Broxton heralded the score as “a masterpiece”.

The various other genre awards are won by Abel Korzeniowski for his music for the darkly stylish revenge drama “Nocturnal Animals”; Christopher Young for his wildly exciting action score for the Chinese historical adventure “Xi You Ji Zhi: Sun Wukong San Da Baigu Jing [The Monkey King 2]”; James Newton Howard for his score for lush and whimsical fantasy score for the Harry Potter prequel “Fantastic Beasts and Where to Find Them”; Laurent Perez del Mar for his evocative, emotional music for the French animated film “La Tortue Rouge [The Red Turtle]”; and Panu Aaltio for his wonderful music for the Finnish nature documentary “Järven Tarina [Tale of a Lake]”.

In the non-film categories, composer Ramin Djawadi wins the award for Best Original Score for a Television Series for his magnificent work on the sixth series of the critically acclaimed HBO fantasy drama “Game of Thrones,” while composer Austin Wintory wins the award for Best Original Score for a Video Game or Interactive Media for the second year in a row, this time for his work on the meditative, dream-like undersea adventure game “Abzû”.

Oakland, California-based Intrada Records is named Film Music Record Label of the Year in recognition of their ongoing excellence in restoring and releasing the most beloved film scores of the past. They were also honored with the award for Best New Archival Release – Re-Release or Re-Recording of an Existing Score for their lavish expanded release of Elmer Bernstein’s classic 1956 score “The Ten Commandments,” which IFMCA member Craig Lysy described as “one of the finest [scores] ever written and a glorious example of Golden Age film scores”. Finally, Burbank, California-based La La Land Records and producer Mike Matessino wins the award for Best New Archival Release – Compilation for their superb re-mastered release of “The John Williams Jurassic Park Collection”, a compilation of the timeless 1990s dinosaur adventure scores “Jurassic Park” and “The Lost World”.

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COMPLETE LIST OF WINNERS

FILM SCORE OF THE YEAR
• Arrival, music by Jóhann Jóhannsson

COMPOSER OF THE YEAR
• Michael Giacchino

BREAKTHROUGH COMPOSER OF THE YEAR
• Justin Hurwitz

FILM MUSIC COMPOSITION OF THE YEAR
• “Epilogue” from La La Land, music by Justin Hurwitz

BEST ORIGINAL SCORE FOR A DRAMA FILM
• Nocturnal Animals, music by Abel Korzeniowski

BEST ORIGINAL SCORE FOR A COMEDY FILM
• La La Land, music by Justin Hurwitz

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM
• Xi You Ji Zhi: Sun Wukong San Da Baigu Jing [The Monkey King 2], music by Christopher Young

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
• Fantastic Beasts and Where to Find Them, music by James Newton Howard

BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE
• La Tortue Rouge [The Red Turtle], music by Laurent Perez del Mar

BEST ORIGINAL SCORE FOR A DOCUMENTARY
• Järven Tarina [Tale of a Lake], music by Panu Aaltio

BEST ORIGINAL SCORE FOR A TELEVISION SERIES
• Game of Thrones, music by Ramin Djawadi

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
• Abzû, music by Austin Wintory

BEST NEW ARCHIVAL RELEASE – RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE
• The Ten Commandments, music by Elmer Bernstein; album produced by Douglass Fake and Roger Feigelson; liner notes by Frank K. De Wald; album art direction by Joe Sikoryak (Intrada)

BEST NEW ARCHIVAL RELEASE – COMPILATION
• The John Williams Jurassic Park Collection, music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land)

FILM MUSIC RECORD LABEL OF THE YEAR
• Intrada Records, Douglass Fake, Roger Feigelson

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The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music.

Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, Chile, China, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.

Previous IFMCA Score of the Year Awards have been awarded to John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “War Horse” in 2011, John Powell’s “How to Train Your Dragon” in 2010, Michael Giacchino’s “Up” in 2009, Alexandre Desplat’s “The Curious Case of Benjamin Button” in 2008, Dario Marianelli’s “Atonement” in 2007, James Newton Howard’s “Lady in the Water” in 2006, John Williams’s “Memoirs of a Geisha” in 2005 and Michael Giacchino’s “The Incredibles” in 2004.

For more information about the International Film Music Critics Association go to www.filmmusiccritics.org, visit our Facebook page, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org.

FILMIC SOUNDTRACK AWARDS 2016

It feels that there were more soundtracks than ever last year!! Yippee, I am inclined to write but when it comes down to voting for the IFMCA  it became a never ending quest to reduce the list down to the very best. I was so close to the wire as well with meeting the deadline but I made it. Here is the cream of the cream in my humble opinion.

Film Score of the Year
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High Rise – Clint Mansell
The Light Between The Oceans – Alexandre Desplat
Dark Waves [Bellerofonte] – Alexander Cimini
Julieta – Alberto Iglasias
Nocturnal Animals – Abel Korzeniowski
I listened to High Rise very early on in the year on in 2016 and it’s the soundtrack I have returned to the most. Both this and Dark waves are reviewed in this blog.

Film Composer of the Year
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Fernando Velazquez
Alexander Cimini
Rachel Portman
John Debney
Mark Korven
The sheer versatility of Velazquez’s 2016 scores has been mind blowing. Take Guernica, A Monster Calls and Ozzy for starters!

Breakthrough Composer of the Year
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Nicholas Britell
Simon Franglen
Justin Hurwitz
E Dylan
Daniel Belardinelli
Britell is on the up with scores such as Free State of Jones and Moonlight, watch this space!

Best Original Score for a Drama Film
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High Rise – Clint Mansell
The Light Between The Oceans – Alexandre Desplat
Julieta – Alberto Iglasias
Nocturnal Animals – Abel Korzeinowski
Hacksaw Ridge – Rupert Gregson-Williams
Yep that’s right, four of my Top Scores of the Year are in the Best Drama category as well as Best of the Year. Gregson-William’s triumphant score well deserves to be in this category.

Best Original Score for a Comedy Film
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The Nice Guys – John Ottman and David Buckley
Dad’s Army – Charlie Mole
Tordenskold & Kold – Henrik Skram
Eddie The Eagle – Matthew Margeson
Swiss Army Man
Anyone who can near perfect score a soundtrack to match the scores of the 70’s is OK in my book.

Best Original Score for an Action/Adventure/Thriller Film
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The Jungle Book – John Debney
The Magnificent Seven – James Horner & Simon Franglen
The Legend of Tarzan – Rupert Gregson-Williams
Made In France – Robin Coudert
Criminal – Brian Tyler & Keith Power Tussled with the first 2 but Debney’s score is just so luscious in parts!

Best Original Score for a Fantasy/Science Fiction/Horror Film
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Dark Waves [Bellerofonte] – Alexander Cimini
Witch – Marl Korven
Arrival – Johann Johannsson
Fantastic Beasts and Where To Find Them – James Newton Howard
Gods of Egypt – Marco Beltrami
Cimini’s score is simply beautiful.

Best Original Score for an Animated Score
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Kubo and the Two Strings – Dario Marianelli
Tortue Rouge – Laurent Perez del Mar
Howard Lovecraft and the Frozen Kingdom – George Streicher
Ice Age Collision Course – John Debney
Bilal: A New Breed of Hero – Atli Ovarsson
Superb, Kubo is now officially one of my all time favourite animation film scores.

Best Score for a Documentary
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1916 The Irish Rebelleion – Patrick Cassidy
The Seventh Fire – Nicholas Britell
Before The Flood – music by Trent Reznor, Atticus Ross, Gustavo
Santaoalla & Mogwai
Ester Blenda – Frid & Frid

Best Original Score for a Television Score
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War & Peace
The Night Manager – Victor Reyes
Stranger Things – Kyle Dixon and Michael Stein
House of Cards [Series 4] – Jeff beal
The Crown – Rupert Gregson – Williams