For Oscar-nominated composers, scoring multiple genres and directors may seem daunting. Yet, one pivotal moment often stands out - a scene where music has an undeniable impact on the film. Ludwig Göransson's score in Ryan Coogler's "Sinners" is a prime example. In a juke joint scene, Preacherboy (Miles Caton) sings "I Lied to You", accompanied by an eclectic mix of images showcasing African drummers, Jimi Hendrix-style guitarists, and modern hip-hop artists.
For Göransson, this moment was particularly special as it captured the essence of blues music. He drew inspiration from his ancestors and future self through Preacherboy's music. "He closes his eyes, starts playing and he’s connecting with his ancestors and his future self through his music," Göransson explained in an interview. This musical scene not only highlighted Preacherboy's talent but also symbolized the evolution of blues music.
In contrast, Max Richter's score for Chloe Zhao's "Hamnet" was instrumental in shaping the film's conclusion. The composer's piece, "On the Nature of Daylight," from his 2004 album "The Blue Notebooks," had a profound impact on director Zhao. She was dissatisfied with the written ending and sought alternative inspiration. Richter's music unlocked the ending for her, and it became an integral part of the film.
Meanwhile, French composer Alexandre Desplat created a grand waltz for Guillermo del Toro's "Frankenstein" to emphasize Victor's creative process. However, rather than highlighting the horror elements, Desplat opted for a more artistic approach, blending excitement with dark humor through pauses and counterpoints in his score.
Lastly, Jerskin Fendrix's composition for Yorgos Lanthimos' "Bugonia" was shaped by months of solitary research on bees, spaceships, and other esoteric topics. The resulting music, performed by a 90-piece London orchestra, allowed the composer to tap into the film's themes of paranoia and grandiosity.
These examples demonstrate how each Oscar-nominated composer brought their unique musical vision to their respective films, creating pivotal moments that elevate the cinematic experience.
For Göransson, this moment was particularly special as it captured the essence of blues music. He drew inspiration from his ancestors and future self through Preacherboy's music. "He closes his eyes, starts playing and he’s connecting with his ancestors and his future self through his music," Göransson explained in an interview. This musical scene not only highlighted Preacherboy's talent but also symbolized the evolution of blues music.
In contrast, Max Richter's score for Chloe Zhao's "Hamnet" was instrumental in shaping the film's conclusion. The composer's piece, "On the Nature of Daylight," from his 2004 album "The Blue Notebooks," had a profound impact on director Zhao. She was dissatisfied with the written ending and sought alternative inspiration. Richter's music unlocked the ending for her, and it became an integral part of the film.
Meanwhile, French composer Alexandre Desplat created a grand waltz for Guillermo del Toro's "Frankenstein" to emphasize Victor's creative process. However, rather than highlighting the horror elements, Desplat opted for a more artistic approach, blending excitement with dark humor through pauses and counterpoints in his score.
Lastly, Jerskin Fendrix's composition for Yorgos Lanthimos' "Bugonia" was shaped by months of solitary research on bees, spaceships, and other esoteric topics. The resulting music, performed by a 90-piece London orchestra, allowed the composer to tap into the film's themes of paranoia and grandiosity.
These examples demonstrate how each Oscar-nominated composer brought their unique musical vision to their respective films, creating pivotal moments that elevate the cinematic experience.
. It's like they're speaking a different language or something! I mean, have you seen those scenes where Preacherboy is singing and it's like the whole room comes alive? 
The way Göransson incorporated African drummers and Jimi Hendrix-style guitarists was genius. And then there's Max Richter's score for "Hamnet" - I loved how his music helped shape the ending of that film 
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It's amazing how composers can tap into their creativity and create something so unique. And Alexandre Desplat's grand waltz for "Frankenstein" was just beautiful 
. Each of these scores is like a world unto itself.
, these composers are total geniuses! I mean, come on, they're Oscar nominees for a reason 
. Ludwig Göransson's score in "Sinners" is like a masterclass in blues music, period. And Max Richter's contribution to "Hamnet" is straight fire 
, I can see why the director was inspired by it.
. Alexandre Desplat's score for "Frankenstein" is like a perfectly crafted waltz - elegant and unsettling at the same time 
. And Jerskin Fendrix's composition for "Bugonia" is, well, I'm not even sure how they came up with that stuff 
. They're taking risks and pushing boundaries to create something truly special. So yeah, the Oscar-nominated composers are definitely doing something right 
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... and how Richter's score just kinda... opened up a whole new world for Zhao to explore in "Hamnet". 
Their ability to tap into a film's essence is seriously inspiring. For me, it's all about the layout – how they arrange notes, rhythms, and instrumentation can make or break a scene. The way Göransson wove African drummers, hip-hop artists, and blues vibes in "Sinners" is pure magic 
And Desplat's decision to blend excitement with dark humor in "Frankenstein"? Genius! 
I'm obsessed with how each composer has their own unique process – Fendrix's research on bees and spaceships for "Bugonia"? Mind. Blown. 
But at the same time, I think Max Richter's score for "Hamnet" was way too mellow, it's like he just phoned it in... wait, no... that's not true... his music is actually super emotive and perfect for the film's themes. 
& future self 
meanwhile Richters music in Hamnet is like a key that unlocks this new ending 
I gotta say though, these composers are seriously underrated. I mean who needs a 'blue note' when you got the blues itself? 
Göransson's scene in "Sinners" was fire 
That waltz of his is like the perfect balance of whimsy and dread. I wanna hear more of that, pls! 
that must've been to research all those weird topics and then craft a score out of it. It's like the composer was one step ahead of Lanthimos' mind or something.
, they're like magic makers for our eyes & ears! I mean, can you imagine a film without music? It's like the puzzle is missing its perfect piece 
. Each of these scores added this extra layer of depth to their films, it's mind-blowing. For me, it's all about how music can evoke emotions & transport us to another world 
. These composers took risks & created something truly special 
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. Meanwhile, Richter's piece for "Hamnet" was like the perfect antidote to Zhao's initial ending - its beauty just unlocks a whole new level of storytelling 
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