Who’s running this Academy?
Below is an article describing the technicality on which the brilliant score to Chris Nolan’s The Dark Knight was disqualified from eligibility of Academy Award nominations/wins. This brings up some very important questions. Why, if the score is actually the best of the year, can’t five people win? This seems like an injustice for some of the most talented people in the business. It’s not just this music issue either, people are being looked over on stupid technicalities, some people are overlooked because of politics. While The Departed was a fantastic movie, everyone knows that Martin Scorsese didn’t win best director for it, he won for his previous work to which people refused to award notice. When will the time come when the Academy recognizes talent when it’s actually deserved? What are your qualms with the Academy? What are some of the most important over looked performances (due to technicalities or otherwise) in your opinion? Some that come to mind: Forrest Gump winning best picture over Pulp Fiction (I mean really), Ron Howard winning for A Beautiful Mind of all his films? Angelina Jolie wasn’t even nominated for her stirring performance as Mariane Pearl in A Mighty Heart when it was clearly one of the best of the year. There’s tons, help me out.
Academy disqualifies ‘Dark’ score
Music cue sheet lists five names as composers
The score for “The Dark Knight” has been disqualified by the executive committee of the Academy music branch.Formal letters to that effect are expected to go out this week to composers Hans Zimmer and James Newton Howard, who collaborated on the music.
Their previous collaboration, on “Batman Begins,” was similarly disqualified in 2005.
Sources inside the committee said that the big issue was the fact that five names were listed as composers on the music cue sheet, the official studio document that specifies every piece of music (along with its duration and copyright owner) in the film.
Zimmer said, in an interview with Variety prior to this week’s Acad action, that listing multiple names on the cue sheet was a way of financially rewarding parts of the music team who helped make the overall work successful. (Performing-rights societies like ASCAP and BMI use the cue sheet to distribute royalties to composers.)
Zimmer, Howard and the other three individuals — music editor Alex Gibson, ambient music designer Mel Wesson and composer Lorne Balfe — reportedly signed an affidavit stating that the score was primarily the work of Zimmer and Howard.
That apparently wasn’t enough for the majority of the committee, which was also supplied with documentation indicating that more than 60%, but less than 70%, of the score was credited to Zimmer and Howard.
The “Dark Knight” score — and the whole issue of multiple-composer collaboration, which is on the rise in Hollywood these days — has occupied about four hours of discussion over the past two executive committee meetings.
Some members sided with Zimmer and Howard; citing the originality and cutting-edge nature of the music, they urged others to keep the “Dark Knight” score eligible despite the cue-sheet issue.
Both Zimmer and Howard declined comment on the ruling. Both are seven-time nominees; Zimmer won for “The Lion King.”