Awards shows always come with a few surprises-even when you're involved in the voting process! Not everything you vote for wins, but then again, what would be the fun in that? I'm most pleased with the "Best Use of Trailer Music" award, and I'm pleasantly surprised by the wins JNH's LADY IN THE WATER received.

I'm slowly getting interested in video game scores and there were a lot of standouts in 2006. Overall, last year had its disappointments (as all years do), but I think there was plenty to get excited about. Here's hoping for another great year of film scores in 2007!

Cap Stewart

 

SURPRISE OF THE YEAR

Notes: Regarding Zimmer’s work on The Da Vinci Code: though it would have been nice to hear more brass in place of the synthesizers, the overall quality of the score is surprisingly pleasant. And with Over the Hedge, Rupert Gregson-Williams created a rich, organic tapestry with cheery melodies and effective vocal elements, thankfully avoiding the electronics-dominated approach I was expecting.


DISAPPOINTMENT OF THE YEAR

Notes: With one of the most amazing plots in recent memory (admittedly, that’s a bit of a subjective statement), The Prestige deserved so much more than the bland atmospheric concoction Julyan came up with. Christopher Nolan is a great director (one of my current favorites), but he needs to pick better composers.


MOST-UNOBTRUSIVE SONG ON A SCORE ALBUM

Notes: “Unobtrusive song”? Isn’t that an oxymoron? (Okay, so maybe I’m being a bit hyperbolic.)


BEST USE OF PREVIOUSLY RELEASED MUSIC IN A TRAILER

Notes: The use of both original and existing music for the World Trade Center trailer was astoundingly poignant.


BEST SCORE AS HEARD IN FILM

Notes: I found Charlotte’s Web to be a disappointment; the only high point was Elfman’s superb score. If only the script had captured the magical flare of the music. And who couldn’t get excited hearing Ottman’s use of Williams’ themes (as well as some excellent original music) for the Man of Steel?


BEST SCORE FOR TELEVISION

Notes: With all due respect to John Powell and Craig Armstrong, I believe John Cameron is the first composer to write a truly effective theme for a 9/11 movie.


DISAPPEARING COMPOSER OF THE YEAR

Notes: Last year we got Revenge of the Sith, War of the Worlds, Memoirs of a Geisha, and Munich. This year we only heard his Superman themes used by another composer. And so far, according to IMDb, there’s not much to look forward to in 2007 from him either.