Steve Townsley

SURPRISE OF THE YEAR

John Ottman’s remastery of John Williams’ already inimitable, unmistakable theme was pure joy to absorb. Again.

DISAPPOINTMENT OF THE YEAR

Bryan Tyler and Klaus Badelt deserve better. Randy Newman’s Cars/Bug’s Life sound is getting a little weary.

BEST SCORE MISSED BY OSCAR

(In the “I’ll bet It won’t get nominated” category, I’ll go with: )

“Lady in the Water” - James Newton Howard. Even though the music hints at goodness, it’s never fully developed, but it’s still kind of thrilling at the same time.

“United 93” – John Powell (probably just by virtue of the fact that it’s a John Powell score.)

“Tristan and Isolde” – Anne Dudley. Because nobody saw it.

MOST-UNOBTRUSIVE SONG ON A SCORE ALBUM

“You Know My Name” by Chris Connell and David Arnold, Casino Royale. (No, wait—D’oh! Even though it wasn’t included on the score album, it probably should have been—and *then* it would have been the most unobtrusive song on a score album. Aha!)

BEST USE OF PREVIOUSLY RELEASED MUSIC IN A TRAILER

Superman Returns – Williams’ “Krypton” Theme during the initial montage teaser for “Superman Returns”. “They can be a great people—they wish to be. They only lack the light to show them the way…For this reason--their capacity for good—I send them you, my only son.”

Miami Vice – “Numb Encore”. This was a compelling use of pop music in a trailer, which made the lack of Don Johnson and Phillip Michael Thomas look pretty cool anyway….

Meet the Robinsons – Edward Shearmur’s “Sky Captain” theme. Just a great theme, and it could use a little more exposure.

RECORD LABEL OF THE YEAR

iTunes. (The “i” is for “ironic”. Sad to say it, really, but with their exclusive additional material included on the “Casino Royale” soundtrack, I give them much credit. I’m scared to think this is where film scores are going to be in another couple years, but if this is a continuing trend….)

Varese continues to dominate in their coverage of most film score releases.

Decca, for snagging some of the best scores of 2006.

BEST SOUNDTRACK COVER ART

The Fountain - Still haven’t seen the movie, but the disc on the shelf is an eyecatcher, for certain.

Snakes on a Plane – For its outlandish simplicity and straightforward design.

Pan’s Labyrinth – Just looks pretty cool. Like something you’d see hanging in your college girlfriend’s dormroom.

BEST CUE AS HEARD IN FILM

“Hello Beastie” – Pirates of the Caribbean: Dead Man’s Chest. A 10-minute cues that doesn’t sound like it could be cut and pasted into anywhere else in the film, from the mournful quality of Captain Jack’s last stand, to the triumphantly evil musical stomping of the resurrected Captain Barbossa’s as he descends the stairs…one hell of a cliffhanger, and the music is perfect.

“The Name’s Bond…James Bond” – Casino Royale. Kind of like (yet not quite) like hearing the Imperial March in Attack of the Clones….

“Memories” – Superman Returns. If you saw this in IMAX 3-D, this scene was the first cue to use the 3-D effect, and hearing the triumphant reprisal of Williams’ “Leaving Home” cue as Clark remembers his Smallville boyhood gave me chills.

BEST CUE AS PRESENTED ON ALBUM

“CheValiers de Sangreal” – The DaVinci Code, Hans Zimmer. This cue was really hinted at in the film, but hearing it in its totality on the album is quite engaging and its’ swelling to a magnificent climax is quite enjoyable.

“Memories” – Superman Returns, John Ottman. Also one of my favorites on the album, as well.

“Eragon” – Eragon, Patrick Doyle. Patrick Doyle + Fantasy = Very Yes.

BEST SCORE AS HEARD IN FILM

Lady in the Water – James Newton Howard. Something about the music kept this movie from being a complete oddity, and made it more magical than it appeared on the surface.

Superman Returns – John Ottman. I might be a little biased here, but it’s true, whatever your qualms with the Super-franchise, the restoration of Williams’ thematic score was definitely one of the right moves, coupled with Ottman’s original themes and interpretations.

Flyboys – Trevor Rabin. World War I flight drama includes the right touch of grandeur and drama.

BEST FILM SCORE AS HEARD ON ALBUM

The Fountain – Clint Mansell. Mansell’s got moodiness down perfectly, this album is a great listen to just absorb.

The DaVinci Code – Hans Zimmer. All of Hans Zimmer’s cues for this archeological thriller are well ordered and given a good presentation on Decca’s score release.


BEST SCORE FOR VIDEO GAME

“Soul of the Ultimate Nation” – Howard Shore. There seems to be no reason for Shore to prove himself by taking on video games, so when he makes the effort to do so, it is entirely the audience that benefits.


BEST SCORE FOR TELEVISION

“Heroes” – Wendy Melvoin and Lisa Coleman. (Currently unavailable on CD.) The surreal, ethnic-strings, featuring the alternately creepy/enlightening voice of Shenkar is a fascinating approach to this brand new series started in 2006. Let’s hope for a score album soon.

BEST SCORE FOR ANIMATED FILM

Arthur and the Invisibles – Eric Serra. Well, I’m not going to give it to Randy Newman for reaching into his bag of Randy Newman tricks and pulling out a (surprise!) Randy Newman score for “Cars”, even if it was an enjoyable film. Eric Serra’s done some interesting new work with this animated film, and if he continues to use this approach, maybe more fans will look forward to his continued employment, rather than cringing every time he’s announced….

BEST ACTION SCORE

Mission Impossible 3 – Michael Giacchino. Granted, using a universally acceptable, globally recognizable action theme is a pretty surefire way to get yourself noticed music-wise, and even John Ottman and David Arnold were in similar boats, but I think Giacchino had to deal with more action per-square foot of film with MI3….

BEST DRAMATIC SCORE

United 93 – John Powell. (Doesn’t get any more dramatic than this.)

BREAKOUT COMPOSER OF THE YEAR

Danny Elfman. For not sticking just to film, but releasing his first symphony, despite the oddness of it….

DISAPPEARING COMPOSER OF THE YEAR

Basil Poledouris and Shirley Walker. We miss you two. (deceased no longer eligible for this category)


OUTSTANDING COMPOSER OF THE YEAR

Trevor Rabin. For hangin’ in there, even with a bunch of perfunctory popcorn-munchers. “Flyboys” was awesome, though.


MOST MEMORABLE/OUTSTANDING THEME OF 2006

I’d say Zimmer’s “Captain Jack” theme is pretty clever, even if it is a drunken, lilting version of “He’s a Pirate”….

James L. Venable’s “Neckin’ on the Swing” from Clerks II is pretty boisterous overblown for a theme, but I like that…

“Lady in the Water”, even if it never does quite take off…