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Oscars 2026 – Best Original Song & Score – Nevermind the Oscars Music · CinemaHounds - A Lorehounds Podcast

• 0:16
  [SPEAKER_06]: Hello lovely listeners and welcome to the Cinema Hounds World Wind Masterclass on everything Oscars 26 today.
• 0:23
  [SPEAKER_06]: We are back for the now second annual Nevermind the Oscars music deep dive crossover event.
• 0:30
  [SPEAKER_06]: Looking at this year's Best Original Song and Best Original Score nominees with Mark from Nevermind the Music.
• 0:37
  [SPEAKER_06]: We will break down the five original song and then five original score nominees with clips and marks usual expert music analysis combined with my movie production insights and we will talk a bit about the movies, they're a part of as well especially how the music supports the story.
• 0:56
  [SPEAKER_06]: Plus we'll shout out a couple extras we wish had been nominated.
• 1:07
  [SPEAKER_06]: Alright, shall we get right into it?
• 1:12
  [SPEAKER_06]: And I am here with Mark, welcome back Mark from Nevermind the Music, so just in case before we begin, if there's anyone listening who is somehow not yet familiar with Nevermind the Music, how would you explain it?
• 1:25
  [SPEAKER_00]: First of all, glad to be back feels like a little while since we did the last Oscars episode about it, right?
• 1:31
  [SPEAKER_00]: Probably exactly a year ago, never mind the music is me and my co-host Nicole, I am a musician.
• 1:39
  [SPEAKER_00]: She is a psychologist.
• 1:42
  [SPEAKER_00]: We are both professors, but we get geeky and laugh about
• 1:47
  [SPEAKER_00]: basically dissecting a different pop song every week me talking about songwriting heard talking about you know sociology, neuroscience, all sort of stuff with made up words um and yeah it's it's fun we've been part of lore hounds now for gosh a year and a half and it's been really fun talk about the himmy demmy semi-quiver whatever until this about made up words yeah himmy demmy's typically don't play me I'm not I'm not English oh I've got better ones
• 2:17
  [SPEAKER_00]: They come up from from time to time, but yeah, the music has got it really bad.
• 2:21
  [SPEAKER_00]: We have really ridiculous terminology with especially when there is perfectly good like colloquial uses, you know, one that comes up on my podcast is, it's not a key change.
• 2:33
  [SPEAKER_00]: It's a modulation.
• 2:34
  [SPEAKER_00]: Like why?
• 2:35
  [SPEAKER_00]: Why do we have to say that especially?
• 2:37
  [SPEAKER_00]: Why can't we just call it a key change?
• 2:39
  [SPEAKER_00]: Like look,
• 2:40
  [SPEAKER_00]: literally my duration means something else in music also that is completely unrelated so why not just call it a key change but no I have to be employed as a music theory teacher so I have to have alienating language that my students only learn when I bequeath it to them right otherwise they the AI's would take over so anyways yeah check us out if you haven't already um happy to be back to talk about movies again
• 3:05
  [SPEAKER_06]: And this year, so this is our second year doing the Nevermind the Oscars Music crossover.
• 3:11
  [SPEAKER_06]: And there's a big difference this year.
• 3:14
  [SPEAKER_06]: You actually got a chance to watch all of the nominees and a couple extra.
• 3:18
  [SPEAKER_00]: Yeah, that is a massive difference from last year where gosh, I feel like I had probably only seen like three of the films or something like that.
• 3:29
  [SPEAKER_00]: The funny thing is, I feel like I can speak really easily and naturally about all these films now and the music, but my actual music perspective might not be as
• 3:42
  [SPEAKER_00]: insightful and pure in the sense of like, hey, Mark, you got to watch these, you know, listen to this 10 minutes of score from what, what it have been last year.
• 3:53
  [SPEAKER_00]: I'm trying to think something that I didn't get a chance to see at the time.
• 3:59
  [SPEAKER_00]: What's the, uh,
• 4:00
  [SPEAKER_00]: concave or something and all the strings and all the brutalist on the martin know or whatever the glass or monica instrument or whatever they were using whereas now i just watched the movie you know and i have thoughts of the score and i went back and i listened and i listened to the songs again and things like that but
• 4:16
  [SPEAKER_00]: I'm not emotionally pure anymore, but that's better because I actually, for as a musician, I have to say, full disclosure, I don't fixate on score when I'm listening to a movie.
• 4:29
  [SPEAKER_00]: I'll notice it, but I try to let it do its job.
• 4:34
  [SPEAKER_00]: And not distract me, it's not like I'm analyzing the film composition techniques or whatever film music scoring that's happening because I want to enjoy the story.
• 4:43
  [SPEAKER_00]: And so this the score might make me tear up, but it's not triggering my never mind the music brain like you might expect of a trained composer.
• 4:51
  [SPEAKER_00]: So I think that's a survival mechanism.
• 4:53
  [SPEAKER_00]: But I say that all just to qualify.
• 4:55
  [SPEAKER_00]: I may not I may not have as as outside the box.
• 5:01
  [SPEAKER_00]: viewpoints as maybe I did last year because I watched the same emotional arcs the rest of it.
• 5:06
  [SPEAKER_00]: Right.
• 5:06
  [SPEAKER_00]: Right.
• 5:07
  [SPEAKER_06]: I mean, but that is technically how it's supposed to be evaluated by those voting on this is is how it supports the movie that it's a part of.
• 5:16
  [SPEAKER_06]: So that is fair.
• 5:18
  [SPEAKER_06]: Okay, but with that caveat in mind, what is your overall thoughts on this year's crop of best original song and best original score nominees?
• 5:27
  [SPEAKER_00]: Yes.
• 5:28
  [SPEAKER_00]: So
• 5:29
  [SPEAKER_00]: I guess I would say it's hard to compare to last year because I don't remember exactly who was who was listed last year, but I think there's some strong songs here.
• 5:38
  [SPEAKER_00]: I think not to show my own biases too much, but we have some songs that really matter in the films, which is really cool, like whether we're talking about not to spoil too much, but
• 5:52
  [SPEAKER_00]: You know, I lied to you.
• 5:54
  [SPEAKER_00]: That is an iconic moment in that scene.
• 5:56
  [SPEAKER_00]: Golden.
• 5:57
  [SPEAKER_00]: We hear golden, like four times.
• 5:59
  [SPEAKER_00]: And I know wicked, the songs are important, but that's a musical, right?
• 6:02
  [SPEAKER_00]: I guess so is so is K-pop demon hunters, I guess that doesn't count.
• 6:05
  [SPEAKER_00]: But you know, even deer meat, like that, that has an emotional culmination near the end of that movie, right?
• 6:10
  [SPEAKER_00]: And we don't have a whole lot of credits.
• 6:13
  [SPEAKER_00]: songs this summer.
• 6:15
  [SPEAKER_00]: And I think that's cool.
• 6:16
  [SPEAKER_00]: I have a bias against credit songs.
• 6:19
  [SPEAKER_00]: My students were annoyed at me because last semester, maybe we should have time this for the Oscars, but I actually direct a ensemble at school, which is like kind of like a pop group we do in rock, hip hop, whatever, that kind of stuff.
• 6:31
  [SPEAKER_00]: And we did movie music, last semester.
• 6:34
  [SPEAKER_00]: So it was all
• 6:35
  [SPEAKER_00]: film like iconic songs from iconic films and people kept recommending stuff in me like nope not doing a credit song it has to be an important part of a scene it has to have made you cry right so no I mean what whatever we did stuff we did stuff from shrek it wasn't all two degrees but I wasn't gonna do like whatever
• 6:57
  [SPEAKER_00]: a lot of Diane Warren or whatever at the end of the end credits, love songs, just what I I ruled them out categorically.
• 7:03
  [SPEAKER_00]: Um, so that's my own bias.
• 7:05
  [SPEAKER_00]: Um, in terms of the scores, I thought they were pretty good overall.
• 7:11
  [SPEAKER_00]: I, I appreciated the diversity of style very much.
• 7:15
  [SPEAKER_00]: I don't know if, if.
• 7:20
  [SPEAKER_00]: I would say that I liked them more than last year's necessarily.
• 7:24
  [SPEAKER_00]: I appreciated a lot of what I heard from a few of these in particular, but also because I had watched all these movies.
• 7:33
  [SPEAKER_00]: I also have a little more, yeah, yeah, Hollywood score kind of sentiment about a few of them, which didn't happen as much last year because I didn't actually
• 7:45
  [SPEAKER_00]: see, you know, all the film, I feel like it didn't hit quite the same.
• 7:49
  [SPEAKER_00]: So maybe the highs are higher for me.
• 7:52
  [SPEAKER_00]: This, this season, so to speak.
• 7:54
  [SPEAKER_00]: Um, but yeah, I'm not mad at any of the nominees.
• 7:59
  [SPEAKER_00]: I don't think I, I don't think I see.
• 8:02
  [SPEAKER_00]: Now again, I haven't seen all the shortlist ones, but I did see some of them.
• 8:06
  [SPEAKER_00]: And there wasn't anything, now I have not seen wicked for good yet.
• 8:10
  [SPEAKER_00]: And there's a reason for that.
• 8:13
  [SPEAKER_00]: I didn't watch anything to go, why did this one knock-in-nominated, right?
• 8:19
  [SPEAKER_00]: And maybe you're gonna disagree with me there, but I felt pretty good about the nominees.
• 8:26
  [SPEAKER_00]: So I guess that means at least for me, they're not doing anything wrong.
• 8:29
  [SPEAKER_00]: What do you think?
• 8:30
  [SPEAKER_06]: Yeah, I thought it was a strong crap of nominees.
• 8:34
  [SPEAKER_06]: I prepared medleys of almost all of them.
• 8:36
  [SPEAKER_06]: I'm asking you to remember
• 8:39
  [SPEAKER_06]: four of this course on your own, but listeners at home, you will hear the finish medley clips for those.
• 8:45
  [SPEAKER_06]: But yeah, so just to say, I did, I put together medley clips for each of these, including the songs, our medley clips from throughout the song, just to give you a sample of what they sound like.
• 8:56
  [SPEAKER_06]: So none of these sound like what they sound like on the soundtrack that's just, you know, to give you a tease.
• 9:02
  [SPEAKER_06]: just to give that caveat up front and also for each of the two categories, I did highlight one extra from the short list that I wish would have made it in that category.
• 9:13
  [SPEAKER_06]: But overall, I'm quite happy with the nominees I would say.
• 9:17
  [SPEAKER_02]: Cool.
• 9:17
  [SPEAKER_06]: And even though I say, you know, I highlight from the short list, it might be tough to say what I would want them to replace.
• 9:28
  [SPEAKER_00]: We disagree.
• 9:29
  [SPEAKER_00]: I skimmed your outline a little bit, but I don't think I caught exactly which things that would have been.
• 9:34
  [SPEAKER_00]: And so I wonder if there's things that I liked that you didn't put as your, okay, we'll see.
• 9:40
  [SPEAKER_00]: I'm trying to think how many, I guess, I think there are four movies, I saw four of the short lists, but that I did listen to the music from the song
• 9:57
  [SPEAKER_00]: of of of all of them.
• 9:59
  [SPEAKER_00]: Sorry.
• 9:59
  [SPEAKER_00]: Sorry.
• 9:59
  [SPEAKER_00]: Um, we'll get we'll get into it.
• 10:01
  [SPEAKER_00]: I have a smattering of shortlist stuff that I ended up getting to see.
• 10:05
  [SPEAKER_00]: And it's a mix between.
• 10:08
  [SPEAKER_00]: Maybe it's only three.
• 10:09
  [SPEAKER_00]: I don't know.
• 10:09
  [SPEAKER_00]: We'll we'll get.
• 10:10
  [SPEAKER_00]: Okay.
• 10:11
  [SPEAKER_06]: All right.
• 10:11
  [SPEAKER_06]: Well, let's let's start with the best original song category.
• 10:15
  [SPEAKER_06]: Um, and this category has been around since 1934.
• 10:19
  [SPEAKER_06]: And since 2011, it's been fixed at five nominees each year.
• 10:24
  [SPEAKER_06]: And to qualify, the song must be original for the film and must be either incorporated into the film itself or as we said, the first credit song that sort of, you know, captures the emotional beat to the film going into the credits and as you mentioned, I think we have a higher instance than usual because this is often a category dominated by credit songs and at least two of these are very important to the core plot of the film.
• 10:49
  [SPEAKER_06]: So that's nice and they are the two front runners.
• 10:53
  [SPEAKER_06]: which we will be starting with, but who gets awarded this award is the not the performers of a song unless they also wrote the music and or lyrics.
• 11:06
  [SPEAKER_06]: So it is the actual writers of the song who get this award although often the performers of the song perform it at the Oscars, but this year
• 11:16
  [SPEAKER_06]: Again, there seems to have been a recent trend in tamping down on the performance of the best original songs that the Oscars and this year they're only having the two front runners perform.
• 11:27
  [SPEAKER_06]: What do you think of that?
• 11:28
  [SPEAKER_06]: What do you think Diane Warren thinks of that?
• 11:31
  [SPEAKER_00]: And that would be, is that going to be golden and I lied to you?
• 11:34
  [SPEAKER_06]: Yep.
• 11:35
  [SPEAKER_00]: Yeah, I think that sucks.
• 11:37
  [SPEAKER_00]: Like it's only five songs.
• 11:39
  [SPEAKER_00]: I know it's not the Grammys.
• 11:40
  [SPEAKER_00]: I know we're not trying to do a concert here, but
• 11:44
  [SPEAKER_00]: You can't even medley anything you can't I know you I just feel like it's an opportunity especially since some of these are you know iconic you know if you talk about Nick cave I mean Nick cave could get in more people's ears but he's a famous guy but also it might be kind of cool to see Anna Maria Martinez
• 12:07
  [SPEAKER_00]: Yeah, essentially an art song on stage.
• 12:11
  [SPEAKER_00]: It's an opportunity for this to get exposed.
• 12:14
  [SPEAKER_00]: Whereas like, I don't know, like, if you just look, I want to see, is it gonna be miles?
• 12:23
  [SPEAKER_00]: Was it Miles Katern?
• 12:24
  [SPEAKER_00]: What's Miles Katern?
• 12:25
  [SPEAKER_00]: Performing or is is profile city going to be on state like that?
• 12:29
  [SPEAKER_06]: I've seen them perform together, so maybe they'll do that.
• 12:31
  [SPEAKER_06]: I'm not sure at least Miles Katern will be there to hit the note.
• 12:35
  [SPEAKER_00]: With Ludwig in the background playing guitar, too.
• 12:38
  [SPEAKER_06]: Yeah, Ludwig, right.
• 12:40
  [SPEAKER_06]: I'm sure will be there because he's also famous at this point.
• 12:43
  [SPEAKER_00]: Right.
• 12:46
  [SPEAKER_00]: It's a missed opportunity.
• 12:48
  [SPEAKER_00]: What can I say?
• 12:49
  [SPEAKER_00]: I am looking forward to I will very much Very unlikely to watch the actual Oscars, but very likely to want to watch these performances later and I wish I could watch all of them, right?
• 13:03
  [SPEAKER_06]: I mean, yeah, I'm definitely, I obviously am watching the entire Oscars eating up every second of it and I don't want them to do something like Shunt, you know, the short films to the side or, you know, commercial break, like they do in a lot of other award shows.
• 13:18
  [SPEAKER_06]: I want them to I just want people to chill out and be like, this is the Oscars.
• 13:22
  [SPEAKER_06]: It might take three and a half hours, settle in, get some snacks.
• 13:25
  [SPEAKER_06]: there are commercial breaks.
• 13:28
  [SPEAKER_06]: But I just blows my mind that of all things, they would cut the original songs because that's something that's inherently entertaining.
• 13:36
  [SPEAKER_06]: Why would you not include them all?
• 13:37
  [SPEAKER_06]: And I'll say that this trend, it's been, they've been pushing this
• 13:44
  [SPEAKER_06]: In recent years, two years ago, they said they were going to do this, and there's a huge backlash, and so they backtracked it.
• 13:50
  [SPEAKER_06]: Last year, they basically, if I remember correctly, just did a wicked medley with the two leads of that film.
• 13:57
  [SPEAKER_06]: And now this year, this, and I'm like, I don't like this trend, and maybe I'll say when the awards go to,
• 14:10
  [SPEAKER_06]: Um, that will, like, that will lift, I suppose, a lot of the restrictions that are based on the fact that it's based on broadcast on ABC length restrictions, things like that on YouTube, they can kind of do whatever they want.
• 14:22
  [SPEAKER_06]: So hopefully if not before then they will at least then reinstate the music because what are we doing here.
• 14:30
  [SPEAKER_06]: Come on.
• 14:32
  [SPEAKER_00]: Is there.
• 14:33
  [SPEAKER_00]: Did the song from, gosh, what was the film?
• 14:37
  [SPEAKER_00]: It had two songs from it.
• 14:39
  [SPEAKER_00]: The musical.
• 14:42
  [SPEAKER_00]: The song was called like, L-Mall or something last year.
• 14:45
  [SPEAKER_00]: Oh, is that mean?
• 14:46
  [SPEAKER_06]: The amperez.
• 14:47
  [SPEAKER_00]: Did Amelia Perez, like, because that, I know that, didn't that song win one of the songs from her?
• 14:52
  [SPEAKER_00]: Yeah.
• 14:52
  [SPEAKER_00]: But like, it hid,
• 14:54
  [SPEAKER_00]: recently there was like scandal associated with some of the performance like I wonder if last year they also would like let's just keep it symbol and put Cynthia and Ariana on stage that everybody loves and let them sing and not do
• 15:09
  [SPEAKER_06]: Oh, I don't know.
• 15:10
  [SPEAKER_06]: They did it at the BAFTAs last year, so I'm maybe confusing that, but yeah, I don't know.
• 15:15
  [SPEAKER_06]: They're just looking at ways to cut down the broadcast, and I think this is not the way to do it, or they should just schedule more time for the broadcast.
• 15:24
  [SPEAKER_06]: And I know they're like, oh, but young people only want to hear golden, and I'm like, well, give them golden.
• 15:29
  [SPEAKER_06]: Great.
• 15:30
  [SPEAKER_06]: Give them an entire K-pop demon hunter's medley.
• 15:32
  [SPEAKER_06]: Like, there are more good songs in that film
• 15:36
  [SPEAKER_06]: This is, they don't let me turn them in the awards and probably some people at home are glad, they would at least be more music.
• 15:45
  [SPEAKER_06]: So you mentioned the short list.
• 15:46
  [SPEAKER_06]: I'm just going to rattle off.
• 15:47
  [SPEAKER_06]: There were 15 songs shortlisted.
• 15:50
  [SPEAKER_06]: We'll talk about the five nominees separately plus one extra.
• 15:53
  [SPEAKER_06]: But just to rattle off the ten that didn't get nominated.
• 15:58
  [SPEAKER_06]: That was as a lie, as you need me to be from Trent
• 16:04
  [SPEAKER_06]: Dream as one.
• 16:05
  [SPEAKER_06]: And by the way, we're going to come back to Tronaries in the next category.
• 16:08
  [SPEAKER_06]: Dream as one from perform by Miley Cyrus in Avatar Fire and Ash, drive from Ed Sheerian in F1, dying to live from Billie Eidle and Jay Ralph in Billie Eidle should be dead.
• 16:22
  [SPEAKER_06]: The girl in the bubble performed by Ariana Grande and no other place like home performed by Cynthia Arrivo in
• 16:34
  [SPEAKER_06]: Last time I seen the sun performed by Alice Smith and Miles Caten from sinners, so that would have been the second sinner song if I'd had been nominated.
• 16:42
  [SPEAKER_06]: Our love performed by Tom Baston and Carrie Mulligan from the Ballad of Wallace Island.
• 16:47
  [SPEAKER_06]: We're going to come back to that one.
• 16:49
  [SPEAKER_06]: Salt, then sour, then sweet from Sarah Barrellis with Brandy Carlyle from Come See Me in the Good Light.
• 16:56
  [SPEAKER_06]: And you said you saw a few of these, I know you've seen the Ballad of Wallace Island.
• 17:00
  [SPEAKER_06]: You told me all fair, what else?
• 17:03
  [SPEAKER_00]: Yeah, so let's come see me in the good light, by the way, I like Sarah Borrell, it's in Bernie Carlisle.
• 17:08
  [SPEAKER_06]: It's one of the nominated documentaries.
• 17:11
  [SPEAKER_00]: Oh, wow.
• 17:11
  [SPEAKER_06]: Okay, so about an artist, Andrea Martin, who gets a cancer diagnosis and it's facing the mortality.
• 17:21
  [SPEAKER_00]: Okay, so of these, what have I seen?
• 17:24
  [SPEAKER_00]: I mean, not counting centers and all that.
• 17:27
  [SPEAKER_00]: We'll talk about that.
• 17:27
  [SPEAKER_00]: I have seen that.
• 17:29
  [SPEAKER_00]: I saw F1.
• 17:32
  [SPEAKER_00]: I saw the ballot of all asylum.
• 17:36
  [SPEAKER_00]: I think that's it on this list.
• 17:40
  [SPEAKER_06]: Okay.
• 17:41
  [SPEAKER_00]: Yeah.
• 17:42
  [SPEAKER_00]: And I don't know, are we talking about those?
• 17:44
  [SPEAKER_00]: Like, what do you think of it?
• 17:45
  [SPEAKER_06]: I mean, we'll come back to the ballot of all asylum.
• 17:47
  [SPEAKER_00]: Okay.
• 17:48
  [SPEAKER_00]: If you want to see anything, I mean.
• 17:51
  [SPEAKER_00]: drive so that it's here in song it was kind of rock and for edge here and I thought it was cool it was more rock than I expected um it was kind of a cool song I don't remember it in the movie though like it didn't make an impact when I watched that film so no I don't know maybe that was a credit song is a credit song yeah I mean it was fine like I I don't have a problem with it it was it was it was cool but I don't think it's better necessarily than in the ones that got
• 18:21
  [SPEAKER_00]: It's really difficult outside a context of the film to really have a, I mean, they're fine.
• 18:29
  [SPEAKER_00]: I don't know what to say about a song from a musical that you hear one time without having seen the musical, right?
• 18:33
  [SPEAKER_00]: I feel like you got to let something like that cook a little bit.
• 18:38
  [SPEAKER_00]: I don't know.
• 18:39
  [SPEAKER_00]: I know you aren't one of the people who thinks the songs from the first half or better than the songs from the second half, so I wasn't going in.
• 18:47
  [SPEAKER_00]: And I haven't seen so I want to see wicked, but and I would have seen it exempt half of my family would have been actively mad at me if I wouldn't saw it without them.
• 18:57
  [SPEAKER_00]: So I'm kind of waiting for
• 18:59
  [SPEAKER_00]: for us to get our everybody's had the flu the last few weeks we'll get our act together we'll watch it on demand one of these days and I kind of couldn't do that to my wife and my daughter and just watch it on a lunch break or something.
• 19:10
  [SPEAKER_00]: So yeah, I don't know what are your thoughts on those if we're not going to talk about later.
• 19:13
  [SPEAKER_06]: Yeah.
• 19:14
  [SPEAKER_06]: I mean, so those are the two new songs that were written, obviously, or they wouldn't be eligible here.
• 19:21
  [SPEAKER_06]: So they are not part of the people saying, you know, the first half is better than the second half.
• 19:26
  [SPEAKER_06]: It's their attempt to be like, look, let's beef up the second half.
• 19:29
  [SPEAKER_06]: My favorite song from the second half, though, is the one after which it's named for good.
• 19:34
  [SPEAKER_06]: which is not eligible here because that is part of the stage show.
• 19:39
  [SPEAKER_06]: I think that these are both lovely songs and in a weaker year, I might have been glad to see them both nominated.
• 19:46
  [SPEAKER_06]: I'll be honest of the five nominees.
• 19:50
  [SPEAKER_06]: I suppose the one I'm least excited about is the Diane Warren one to your me, which will obviously talk about this.
• 19:58
  [SPEAKER_06]: It is a nominee.
• 20:00
  [SPEAKER_06]: Diane Warren, I respect that she has to be represented, she has to be right.
• 20:04
  [SPEAKER_00]: Yeah.
• 20:05
  [SPEAKER_06]: And I really appreciate the way in which she's represented here this year.
• 20:08
  [SPEAKER_00]: So we'll get to that.
• 20:09
  [SPEAKER_06]: We'll talk about it.
• 20:10
  [SPEAKER_02]: Yeah.
• 20:10
  [SPEAKER_06]: But yeah, the one from the one that I most feel like was a miss, not including, which we will talk about in a bit is the one from the ballot of Wallace Island.
• 20:20
  [SPEAKER_00]: Yeah, for sure.
• 20:21
  [SPEAKER_00]: And I was surprised by that one in certain ways.
• 20:23
  [SPEAKER_00]: And for reasons that, yeah, aren't what I would have expected.
• 20:28
  [SPEAKER_00]: So yeah, let's come back to it.
• 20:30
  [SPEAKER_06]: Alright, well let's start with the juggernaut just in case anyone's been living under a rock we're going to be talking about
• 21:08
  [SPEAKER_06]: All right, so that is golden from K-pop demon hunters.
• 21:11
  [SPEAKER_06]: It is one of the top songs of the year overall.
• 21:15
  [SPEAKER_06]: So it is the heavy favorite to win with one possible spoiler.
• 21:19
  [SPEAKER_06]: We'll get to next.
• 21:21
  [SPEAKER_06]: The nominees for this one are EJ is the primary artist who's singing Edo.
• 21:26
  [SPEAKER_06]: You, Han Lee, Hay, Dong, Nam, Mark, Sun and Blick, Teddy Park, and 24, they collectively are credited for the music and lyrics, released by Republic Records.
• 21:39
  [SPEAKER_06]: So you can tell just by that list of nominees, this is very much a commercial song.
• 21:42
  [SPEAKER_06]: This is the only one where I really...
• 21:44
  [SPEAKER_06]: listed the record label.
• 21:49
  [SPEAKER_06]: It is performed by E.J.
• 21:51
  [SPEAKER_06]: Audri Nuna and Ray Ami as the fictional K-pop girl group, Puntrix, which is the central group.
• 21:57
  [SPEAKER_06]: So different singers than the voice actors for the acting part of this film, I mean, and the plot for anyone who's not familiar with K-pop demon hunters.
• 22:09
  [SPEAKER_06]: I mean, I've got to say that the title of this film is a marketer's dream because
• 22:14
  [SPEAKER_06]: They sing.
• 22:15
  [SPEAKER_06]: They dance.
• 22:16
  [SPEAKER_06]: They battle demons.
• 22:17
  [SPEAKER_06]: When K-Pop superstars, Rumi Mira and Zoe aren't selling out stadiums, they're using their secret powers to protect their fans from supernatural threats.
• 22:26
  [SPEAKER_06]: And this film got two nominations at the Oscars this year, Best Original Song, and Best Animated Feature, and it's expected to win both.
• 22:34
  [SPEAKER_06]: What do you think about K-Pop demon hunters overall?
• 22:38
  [SPEAKER_06]: And I'll say you did cover this also in your Grammys episode, because it was a player there.
• 22:45
  [SPEAKER_00]: Yeah, right.
• 22:45
  [SPEAKER_00]: We, everybody, we did.
• 22:46
  [SPEAKER_00]: It's too late, but you can still hear our deep dives on the artist Nicole and I recorded at Grammys Preview.
• 22:53
  [SPEAKER_06]: I'll link to the Grammys Preview in the show notes for anyone who wants to hear it.
• 22:56
  [SPEAKER_06]: Yeah.
• 22:56
  [SPEAKER_06]: I had this song stuck on my head for like a week after.
• 22:58
  [SPEAKER_00]: Yeah.
• 22:59
  [SPEAKER_00]: So this song was alive.
• 23:01
  [SPEAKER_00]: This this film was alive and well for like a year in my house.
• 23:05
  [SPEAKER_00]: It's the sort of cliche where my youngest was super into it.
• 23:08
  [SPEAKER_00]: She probably watched it 10 times in my,
• 23:11
  [SPEAKER_00]: her older brother was just like, oh, I hate that movie.
• 23:13
  [SPEAKER_00]: Like, it had to be performative on both sides.
• 23:16
  [SPEAKER_00]: How awesome and how terrible it was, right?
• 23:18
  [SPEAKER_00]: I finally watched it.
• 23:20
  [SPEAKER_00]: I, you know, it was in the background before I finally watched it.
• 23:22
  [SPEAKER_00]: I liked it.
• 23:22
  [SPEAKER_00]: I thought it was cute.
• 23:23
  [SPEAKER_00]: I thought the animation style was cool.
• 23:25
  [SPEAKER_00]: Um, there's a,
• 23:27
  [SPEAKER_00]: I think there's one more, there's one song in the middle that I like more than this.
• 23:31
  [SPEAKER_00]: There's like the, there's a few songs.
• 23:34
  [SPEAKER_05]: Ballad between the, the right, leader of the other boy band and, and, and, really.
• 23:51
  [SPEAKER_05]: I try to smile, I'll suffocate and throw but What is it feel right every time I like you it What is it feel like I can tell you anything All the secrets that keep me changing All the damage that might make me dangerous
• 24:18
  [SPEAKER_05]: Let the past be the past and it's way Between a pasta and this pasta rockin' lost the side by it Ain't no choice when all these voices keep me pointy towards nowhere It's just easy when I'm with you No one sees me the way you do I don't trust it but I want it I keep going back to what we could be
• 24:43
  [SPEAKER_02]: Yeah, I don't remember his name.
• 24:56
  [SPEAKER_00]: That's a good song too.
• 24:58
  [SPEAKER_06]: I just rewatched the last night and I forget his name.
• 25:00
  [SPEAKER_06]: Yeah.
• 25:00
  [SPEAKER_00]: Oh, yeah, it was a little while ago when I watched it, but I
• 25:06
  [SPEAKER_00]: I think this is a well written song.
• 25:07
  [SPEAKER_00]: I think it's catchy as heck.
• 25:08
  [SPEAKER_00]: I think it's pretty well performed.
• 25:10
  [SPEAKER_00]: It's very sterile, right?
• 25:12
  [SPEAKER_00]: Like you can bear, it wasn't until watching case and point.
• 25:16
  [SPEAKER_00]: Wasn't till watching the film, and I'm like, oh, that's a different character singing this verse.
• 25:19
  [SPEAKER_00]: Like I literally, their voices are so like over processed and cliche kind of pop music that you can't even really tell who's voice you're hearing.
• 25:29
  [SPEAKER_00]: But it's well written,
• 25:32
  [SPEAKER_00]: Friends of our pod, uh, one hit thunder did an episode on the Grammys.
• 25:37
  [SPEAKER_00]: I pretty sure it was there.
• 25:38
  [SPEAKER_00]: That's show of theirs.
• 25:39
  [SPEAKER_00]: And one of them surmised, this song sounds like it was written by an AI.
• 25:43
  [SPEAKER_00]: And I hope that's not true.
• 25:45
  [SPEAKER_00]: Because we, we were on records saying we like this song, but it does have a little bit of that, right?
• 25:50
  [SPEAKER_00]: It does have a little bit of the very perfect production, very perfect everything in its right place.
• 25:56
  [SPEAKER_00]: Yeah, it's good.
• 25:57
  [SPEAKER_00]: I think it's appropriately a frontrunner, runner.
• 26:00
  [SPEAKER_00]: I don't think it's the one that I hope to win, right at my.
• 26:04
  [SPEAKER_00]: Right.
• 26:05
  [SPEAKER_06]: Yeah, I mean, I'll say I rewatch his film last night as I just said and I still think I think it's a great film and uh, you know, um, it's not one.
• 26:14
  [SPEAKER_06]: I'm not mad to see all of the preteens of the world embrace it.
• 26:19
  [SPEAKER_06]: Um, it has a good message at it.
• 26:21
  [SPEAKER_06]: It's fun.
• 26:22
  [SPEAKER_06]: It's it does have good music.
• 26:24
  [SPEAKER_06]: I'm not really a pop music girl in general, but I still have a lot of appreciation for most.
• 26:30
  [SPEAKER_06]: I hate that soda pop song that's so annoying.
• 26:32
  [SPEAKER_06]: But I was still have a presentation.
• 26:35
  [SPEAKER_06]: That was maybe one of the other way, right?
• 26:36
  [SPEAKER_00]: Last time.
• 26:37
  [SPEAKER_00]: I think it's kind of supposed to be.
• 26:39
  [SPEAKER_06]: But I think it was another one that was, it wasn't shortlisted, but it was one that people talked about might maybe getting an nomination too, and I'm so glad that didn't happen.
• 26:48
  [SPEAKER_00]: Well, a lot of kids love that song, like unironically, but yeah, it's pretty stupid.
• 26:54
  [SPEAKER_06]: But I mean, but it is, you know, I listed seven writers and and for the music and lyrics, and that is, I don't know if there's a cap for this category, but that's definitely more writers than I'm going to list for any other song on here.
• 27:09
  [SPEAKER_06]: It is, and as I said, it's the only one where I'm listing the record label because it is very much like a Sony production.
• 27:16
  [SPEAKER_06]: rather than an artist pouring their heart out, which is what I think we get with the rest of the songs.
• 27:23
  [SPEAKER_06]: So yeah, but that being said, okay, so it cost apparently about a hundred million or so to create this film.
• 27:31
  [SPEAKER_06]: It only grossed
• 27:33
  [SPEAKER_06]: like 25 million in the theaters, but that's because of Netflix and because, you know, they released it only for sing-alongs after the facts when they're like, oh, wow, this is a hit.
• 27:44
  [SPEAKER_06]: And not only is a hit, just to follow the timeline here.
• 27:47
  [SPEAKER_06]: So in a late July of 2025,
• 27:50
  [SPEAKER_06]: Netflix announced that K-pop demon hunters had become the platform's most watched original animated film of all time.
• 27:58
  [SPEAKER_06]: And then a month later, and of August, they said it went watch 236 million times, passing red notice as the most watched film on Netflix of all time.
• 28:07
  [SPEAKER_06]: September 3rd, they said it was passed 266 million views, which made it now the most watched
• 28:18
  [SPEAKER_06]: and then December 24th, end of the year, and by then it had reached 500 million views, and Nielsen said the 20.5 billion minutes of watch time in 2025 made it the most streamed film of the year overall across platforms.
• 28:36
  [SPEAKER_06]: So, and that's just at the end of the year, we're now a couple months into February, it's certainly gone beyond that.
• 28:42
  [SPEAKER_06]: So, yeah, there's a sequel coming.
• 28:43
  [SPEAKER_06]: I will be watching it, and obviously this is just like one of the biggest media juggernauts of the entire year.
• 28:49
  [SPEAKER_06]: So, I understand it's dominating, but I'm also like boring.
• 28:53
  [SPEAKER_00]: Yeah.
• 28:55
  [SPEAKER_00]: It's safe for them to give it the award, right?
• 28:59
  [SPEAKER_00]: But yeah.
• 29:00
  [SPEAKER_00]: Yeah.
• 29:02
  [SPEAKER_06]: Yeah.
• 29:02
  [SPEAKER_06]: I mean, yeah.
• 29:03
  [SPEAKER_06]: It's up the charts in more than 30 countries.
• 29:05
  [SPEAKER_06]: It's definitely a global phenomenon.
• 29:08
  [SPEAKER_06]: And yeah, it is, as I said, it's nice that this is one of the songs that really is plays a central role in the film itself.
• 29:18
  [SPEAKER_06]: It's definitely not just a credit song.
• 29:20
  [SPEAKER_06]: It's funny though.
• 29:21
  [SPEAKER_06]: So I talked in the BAFTA episode about how K-pop demon hunters was disqualified for the BAFTAs because Netflix declined to do there's a, you know, you have to have a play for a week in the UK first before it goes on streaming in the UK to be able to do it in one like one theater in London just to play it.
• 29:40
  [SPEAKER_06]: just just in case I guess they underestimated it and then it was Chile and they petitioned for special status and baff does like no Netflix do theaters um that's me support theaters okay but despite that still at the baff to ceremony they had them perform this song like not only for everything disqualified still gonna shoehorn it in that's funny that's the show
• 30:03
  [SPEAKER_06]: Um, yeah, you can watch as of course yourself on Netflix only an hour and 36 minutes long and it is most likely to win 23 wins so far, seven other times honored.
• 30:15
  [SPEAKER_06]: It's one critics choice, golden globes, the Grammys, it got one of the four awards of the Grammys, only missed 11 times so there's still hope for something else to squeeze in and there's six pending awards including the Oscars.
• 30:32
  [SPEAKER_06]: If anything else sneaks in, it will be my personal favorite.
• 30:36
  [SPEAKER_06]: I don't mind telling you, I lied to you from sinners, which will surprise no one that I'm supporting sinners.
• 30:44
  [SPEAKER_06]: The nominees for this one are Ludwig Gorenson and Rafael Sadeek for writing the music and lyrics for Sadeek.
• 30:51
  [SPEAKER_06]: This is his second nomination after Mighty River from Mudbound, which was a 2017 movie.
• 30:57
  [SPEAKER_06]: And for Goronson, this is his fourth and fifth nominations after, and he's one choice.
• 31:04
  [SPEAKER_06]: He won for Black Panther score and for the Oppenheimer score, and he was also nominated for lift me up from Black Panther Wakanda forever.
• 31:15
  [SPEAKER_06]: Um, and in 2026, Goronson goes strong.
• 31:19
  [SPEAKER_06]: He also did the scores this year for the Mandalorian and Grogu and the Odyssey from Christopher Nolan.
• 31:25
  [SPEAKER_06]: So we'll probably see him back again this year, but, um, I, that's fine.
• 31:30
  [SPEAKER_06]: Give me all the Goronson you can.
• 31:31
  [SPEAKER_06]: And this is my favorite score personally that he's ever done.
• 31:35
  [SPEAKER_06]: The song, of course, it's we talked about performed by Miles Kton.
• 31:39
  [SPEAKER_06]: All right, let's, I guess, I mean, I'll set up the film real quick before we get into the song itself.
• 31:46
  [SPEAKER_06]: Okay, just in case you haven't heard any of the other episodes directed by Ryan Kougler.
• 31:52
  [SPEAKER_06]: From the USA, it's about trying, two brothers trying to leave their trouble lives behind, return to their hometown to start again only to discover that an even greater evil is waiting to welcome them back.
• 32:04
  [SPEAKER_06]: So its vampires meets racism, there's an entire dedicated deep dive episode I'll link in the show notes and also we talked about this in the best picture preview or we noted that with 16 nominations it now is set a new record.
• 32:17
  [SPEAKER_06]: Um, we also talked about it in all three categories of the production design costumes and makeup and hair episode.
• 32:23
  [SPEAKER_06]: We're talking about it today in both categories, song and score.
• 32:27
  [SPEAKER_06]: We'll be talking about it in future episodes dedicated to cinematography, VFX, editing, sound, directing, original screenplay, three acting nominations, and casting.
• 32:37
  [SPEAKER_07]: And here's how that song goes, a medley again.
• 32:46
  [SPEAKER_07]: And they say the truth hurts, so I lied to you.
• 33:00
  [SPEAKER_12]: Somebody take me.
• 33:19
  [SPEAKER_06]: Okay, so Mark, we've never spoken about sinners on the air at all.
• 33:24
  [SPEAKER_06]: So what are your thoughts in the film and what are your thoughts on this song as an nominee?
• 33:28
  [SPEAKER_00]: We're talking song and that score.
• 33:30
  [SPEAKER_00]: Yeah, we'll talk more shortly.
• 33:32
  [SPEAKER_00]: I missed the party on this film.
• 33:34
  [SPEAKER_00]: I saw it a while ago, but I saw it probably a month after y'all did your podcast about it.
• 33:40
  [SPEAKER_00]: And this is
• 33:42
  [SPEAKER_00]: right up my alley up another period piece vampire thing like I'm a set me American south like I'm a sucker for that kind of thing.
• 33:49
  [SPEAKER_00]: Yeah.
• 33:50
  [SPEAKER_00]: This movie is awesome.
• 33:52
  [SPEAKER_00]: Loved it.
• 33:54
  [SPEAKER_00]: I've only seen it the once I want to see it again.
• 33:56
  [SPEAKER_00]: I wasn't surprised by how good it was, but it was good.
• 34:01
  [SPEAKER_00]: Yeah, it had been thoroughly over hyped also by other people and I still liked it.
• 34:06
  [SPEAKER_00]: Um,
• 34:07
  [SPEAKER_00]: I think this one, like golden, but more than golden, occupies a pivotal moment in this, in the film, that this, the scene is just so breathtaking.
• 34:21
  [SPEAKER_00]: It's visually beautiful if,
• 34:25
  [SPEAKER_00]: Well, I'll say, okay, the one knock I'll have about it is, I listened to the song and prepping for this episode, just the song again.
• 34:32
  [SPEAKER_00]: And it's the delta between what you see watching the film and what you experience listening to the song is massive.
• 34:40
  [SPEAKER_00]: Like, the song is so hyped, not hyped.
• 34:45
  [SPEAKER_00]: Elevated by, it's called the zero montage.
• 34:49
  [SPEAKER_00]: Yeah, and it's, so if bad bunny could win the Grammy
• 34:55
  [SPEAKER_00]: with Debby Tira or Moss photos, which essentially is a fusion album, right?
• 35:01
  [SPEAKER_00]: Because that album is, he's got all the reggae tone, but also there's playna in there and salsa and all these other Puerto Rican traditional and other popular styles that aren't reggae tone in there.
• 35:12
  [SPEAKER_00]: If that can win that, this is equally a fusion, right?
• 35:16
  [SPEAKER_00]: Because it starts with this Delta blues, you heard a little bit of it there, there's like the grio kind of,
• 35:22
  [SPEAKER_00]: I don't know what the name of the instrument is, but the West African sort of loot instrument that comes in and then later there's like a psychedelic soul almost like
• 35:32
  [SPEAKER_00]: Funkadelic style guitar solo and then like G Funk like Dr. Dre kind of since happening over a breakbeat like it just keeps bringing stuff in and it's a kind of chaos when you listen to it by itself without the visual but it's just a breathtaking scene and very well-performed Miles Caton has like such a unusual deep but but a wide-ranging voice
• 35:59
  [SPEAKER_00]: Yeah, this one would be my pick.
• 36:02
  [SPEAKER_06]: I'm still piercing, yeah.
• 36:05
  [SPEAKER_00]: Mm-hmm.
• 36:05
  [SPEAKER_00]: Yeah, I would say this is my pick.
• 36:07
  [SPEAKER_00]: In terms of the one that I want to win, I think there's something about its encapsulation of so much of what the film is doing, and it's such an emotionally effective scene.
• 36:22
  [SPEAKER_00]: I feel like there's a few, there's like,
• 36:26
  [SPEAKER_00]: multidimensionality to its use in a way that like actually ballot of walls island, I felt has a little bit of that too, but most of these like, you know, maybe deer me does, but it's it's not really what you see is what you get.
• 36:39
  [SPEAKER_00]: There's a lot there.
• 36:40
  [SPEAKER_00]: And I'm talking long on it, but yeah, this one's cool.
• 36:42
  [SPEAKER_00]: No, it's nothing.
• 36:43
  [SPEAKER_00]: Watch the movie.
• 36:44
  [SPEAKER_06]: there's a lot to say about this yeah and it is one i would say even if you don't plan to watch the movie look up the film clip from this it's what's called the surreal montage and it is like a real it is a turning point in the story it is doing something that i don't think's ever really been seen before in film
• 37:03
  [SPEAKER_06]: It's the one when when we did our deep dive Anthony said, you know, when he saw this happen on screen who said every hair raised on his body and that was just him, he knew that this was a moment in film a moment that would be remembered and so it's as you said it's difficult to separate it from that because there are these.
• 37:24
  [SPEAKER_06]: uh, long kind of musical interludes supporting what's visually happening on screen.
• 37:29
  [SPEAKER_06]: And so, yeah, for that reason, it is very deeply tied to this film more than golden is, which can just play on the radio as is, um, and you don't need to see what's happening on screen, which is more.
• 37:43
  [SPEAKER_06]: I would say like when they do golden's performed a few times in Kpop team and hunters, but the main time that's usually used that I clicked from is when they perform on stage toward the end.
• 37:54
  [SPEAKER_06]: And it is a pivotal climax moment in the film, but it's also just like more like the visuals are there to support the music rather than with sinners.
• 38:04
  [SPEAKER_06]: I would say with I lied to you, I would say it's the other way around.
• 38:07
  [SPEAKER_00]: Well, and golden is literally in universe, a pop single, right?
• 38:12
  [SPEAKER_00]: So it's form is what it's supposed to be.
• 38:14
  [SPEAKER_00]: This is more like maybe in an opera, can we really differentiate this as a song versus score, right?
• 38:22
  [SPEAKER_00]: It's score within it, right?
• 38:24
  [SPEAKER_00]: There are segments that really it's sound design and score.
• 38:28
  [SPEAKER_00]: And I say in opera because you don't necessarily in an opera always have obvious,
• 38:33
  [SPEAKER_00]: points of start and break when an area begins versus the rest of the tea that might be more fluid in some cases, right?
• 38:39
  [SPEAKER_00]: And this kind of has that, has that organic sense that is just structured so differently from a pop single like golden or, you know, dear me is structured like a pop single too.
• 38:50
  [SPEAKER_06]: Right.
• 38:51
  [SPEAKER_06]: Yeah, I mean, yeah, this is when I was going, when I put together the score medley since it's also nominated here there, I was going to include the surreal montage and then I was like, well, it's already basically included in this song, so it's include other music there.
• 39:08
  [SPEAKER_06]: But yeah, it is the backbone of the score as well.
• 39:11
  [SPEAKER_06]: I'll say, so Ludwig Gorinson and his wife Serena, who was the producer for the music for this album, they moved to New Orleans for three months because I'll say they are Gorinson is Swedish.
• 39:25
  [SPEAKER_06]: I'm not sure whether it's wife is from, but they're both definitely
• 39:29
  [SPEAKER_06]: white outsiders to blues music to in a certain way except that Gorenson did grow up on it does have a real great love for it but he wanted to work with leading blues musicians like Raphael Sadik obviously who co-wrote the song with him like Buddy Guy who shows up in the film itself later on and several other people.
• 39:53
  [SPEAKER_06]: This is another one that like like wicked we talked about last year much of this music was recorded live on set and I think you you can feel that as well the presence of you know it's not it doesn't feel separated from it like K-pop demon hunters not to keep kicking that we said we liked it but it is a very commercial one and this one feels much more rooted in the film I would say musically sound auditorially do you agree with that?
• 40:22
  [SPEAKER_00]: Oh, yeah.
• 40:24
  [SPEAKER_00]: But there's like all the songs in this, too, too.
• 40:27
  [SPEAKER_00]: I mean, they live in the world like K-pop, demon hunters, like the music is a part of the story, like the vampire songs are cool in this.
• 40:34
  [SPEAKER_00]: You know, last time I seen the sun is gorgeous, which I think that was shortlisted, right?
• 40:38
  [SPEAKER_00]: Like, maybe they're not as impactful as this scene, but the music is very rooted in the story here.
• 40:46
  [SPEAKER_06]: right, it's central to the story.
• 40:47
  [SPEAKER_06]: Yeah.
• 40:48
  [SPEAKER_06]: Yeah.
• 40:48
  [SPEAKER_06]: And I'll say this is one for this film, Haley Steinfeld, who is a, you know, character in the film, plays a character in the film, also wrote and recorded an original song called Dangerous for this film.
• 40:59
  [SPEAKER_06]: And I'll be honest, it is my least favorite song on the soundtrack, just because it's the most poppy, and then I feel like it fits the least well.
• 41:06
  [SPEAKER_00]: What I can film is it in the film or just a song.
• 41:09
  [SPEAKER_06]: I think it's the first credit song.
• 41:11
  [SPEAKER_06]: Uh oh, but so I don't remember or maybe the first credit song after I don't even know if it's it was eligible for this award to be honest because Uh they do if you haven't seen sinners yet, you should know that first montage where buddy guys playing keep watching because one of the most important scenes happens after that Where With buddy guy and where he's at the bar
• 41:35
  [SPEAKER_00]: Yeah, talking.
• 41:36
  [SPEAKER_00]: Okay, yes, I forgot that that was an end credit scene.
• 41:39
  [SPEAKER_00]: The future.
• 41:42
  [SPEAKER_06]: Yeah.
• 41:43
  [SPEAKER_00]: Yeah.
• 41:43
  [SPEAKER_00]: Yeah.
• 41:44
  [SPEAKER_00]: Oh, yeah.
• 41:44
  [SPEAKER_00]: Totally.
• 41:45
  [SPEAKER_06]: Yeah.
• 41:45
  [SPEAKER_06]: That's one of the most important scenes in there.
• 41:47
  [SPEAKER_06]: So I definitely.
• 41:48
  [SPEAKER_06]: So I don't know because of that.
• 41:50
  [SPEAKER_06]: I don't know how this song dangerous fits in there.
• 41:53
  [SPEAKER_06]: But anyway, it's just interesting that the pop song that was written for this film is kind of the least interesting thing about it musically.
• 42:01
  [SPEAKER_06]: I won't linger too much for longer here because we will be talking about the score overall in the next category, but I'll just say that this was obviously one of the film juggernaut's of the year, the budget was 90 to 100 million, it made 369 million at the box office and when I talk about these box office incomes, this is of course not including things like video on demand where I'm sure it made a lot more.
• 42:26
  [SPEAKER_06]: they just don't report that the same way it's harder to track and this one if anything beats golden it'll be this one it's has eight prior wins four misses and three awards pending including the Oscars and you can watch it for yourself on HBO Max.
• 42:42
  [SPEAKER_06]: It's two hours and 18 minutes long.
• 42:44
  [SPEAKER_06]: When I just wrote that down in the notes last night, I was like, wait, is it really that long?
• 42:49
  [SPEAKER_06]: Because I've never timed checked it.
• 42:52
  [SPEAKER_06]: Where I've seen the film now four times.
• 42:54
  [SPEAKER_06]: And I've never timed checked it.
• 42:56
  [SPEAKER_06]: It's never felt that long to me.
• 42:58
  [SPEAKER_00]: That doesn't even seem long, but yeah.
• 43:00
  [SPEAKER_00]: Yeah, it flies.
• 43:01
  [SPEAKER_00]: I mean, it's...
• 43:03
  [SPEAKER_00]: Come on, man, it's a vampire movie in the early 20th century South with twin Michael B. Jordan's.
• 43:10
  [SPEAKER_00]: It flies like no pacing problems there.
• 43:15
  [SPEAKER_06]: Yeah.
• 43:16
  [SPEAKER_06]: All right, so those are the two big juggernauts.
• 43:19
  [SPEAKER_06]: Let's take a quick pause here.
• 43:21
  [SPEAKER_06]: And when we come back, we are going to talk about the queen of this category, just a second.
• 43:39
  [SPEAKER_06]: All right, it's time to get into Diane Warren that time has come and I'm delighted to say that Diane Warren, who for anyone who doesn't know this is her 17th nomination here, as we said she's unlikely to win, which will make her the nominee with the person with the most nominations who didn't win and Oscar in history.
• 44:00
  [SPEAKER_06]: Um, so congratulations on that Diane Warren, her previous nominations were just a shout out to set up some of the background for anyone who might not be familiar with her if you don't have a music background.
• 44:12
  [SPEAKER_06]: So 1987 was her first for nothing's going to stop us now from mannequin.
• 44:16
  [SPEAKER_06]: You've probably heard of that song.
• 44:18
  [SPEAKER_06]: She had a strong run from 1996 to 99 and 2001, which
• 44:24
  [SPEAKER_06]: This running included the songs because you loved me from up close and personal.
• 44:29
  [SPEAKER_06]: How do I live from Con Air?
• 44:31
  [SPEAKER_06]: I don't want to miss a thing from Armageddon.
• 44:33
  [SPEAKER_06]: These are all Diane Warren songs.
• 44:36
  [SPEAKER_06]: And then after that, she was nominated 2014 2015 and 2017 through this year.
• 44:44
  [SPEAKER_06]: But I'm not shouting out any iconic songs from her in this later category.
• 44:49
  [SPEAKER_06]: I have to unfortunately say, but she's still like she wants that Oscar.
• 44:52
  [SPEAKER_06]: She keeps getting nominated and 2022, they gave her an honorary Oscar.
• 44:58
  [SPEAKER_06]: But she still she wants to like to win competitively in her friends or supporting her and keep nominating her and we have in the death race community.
• 45:08
  [SPEAKER_06]: it's an ongoing joke that usually the worst movie of the year is linked to linked to her song.
• 45:16
  [SPEAKER_06]: And so this year, this year, I'm glad to say that it was not the worst movie of the year.
• 45:22
  [SPEAKER_06]: I actually thought it was a pretty decent movie.
• 45:24
  [SPEAKER_06]: So let's let's talk about the movie first real quick.
• 45:27
  [SPEAKER_06]: I'll say it is
• 45:28
  [SPEAKER_06]: Directed by Best Cargman, it's an American English language film, of course, and it's about it's a documentary about her life.
• 45:37
  [SPEAKER_06]: Hitmaker, legend, pain in the ass.
• 45:39
  [SPEAKER_06]: An intimate look at the life career and process of one of the most accomplished songwriters of all time, Diane Warren, and this is the only nomination it got.
• 45:48
  [SPEAKER_06]: Before we get into the song, what did you think of the documentary?
• 45:52
  [SPEAKER_00]: I liked it.
• 45:53
  [SPEAKER_00]: I've heard obviously a bunch of her songs.
• 45:55
  [SPEAKER_00]: I didn't know much about her as a person at all, and so I was fascinated by it.
• 46:00
  [SPEAKER_00]: It feels like it depicts her fairly.
• 46:02
  [SPEAKER_00]: Like it's not just hero worship.
• 46:04
  [SPEAKER_00]: There's some of that, but also she is kind of a painting the ass as depicted in the film.
• 46:11
  [SPEAKER_00]: And it's.
• 46:12
  [SPEAKER_00]: you know they they wait just the long long enough to to also identify her her neurodivergent aspects and things like that.
• 46:21
  [SPEAKER_00]: But I think because they want you know they want to you to kind of go through what other people in Hollywood maybe had to go through like what's this ladies deal right?
• 46:31
  [SPEAKER_00]: Um I enjoyed the documentary.
• 46:33
  [SPEAKER_00]: I'm not
• 46:39
  [SPEAKER_00]: Okay.
• 46:40
  [SPEAKER_06]: Okay.
• 46:40
  [SPEAKER_00]: So I enjoyed watching it.
• 46:42
  [SPEAKER_06]: Okay.
• 46:42
  [SPEAKER_06]: I'll say, yeah, about the documentary, I thought that it showed vulnerability.
• 46:48
  [SPEAKER_06]: Like I watch a lot of bio-pick docs that I find really standard and this one, it's not that it reinvents the format, but I thought it showed a certain vulnerability from her, which is something I look for from this type of film that made me appreciate her.
• 47:03
  [SPEAKER_06]: Shout out to her cat mouse, RIP, sorry, minor spoiler.
• 47:08
  [SPEAKER_06]: May rabbit, her new cat, live forever.
• 47:11
  [SPEAKER_06]: But yeah, it's, you get to know her as a person, not just as a song maker.
• 47:17
  [SPEAKER_06]: And so I do quite appreciate the documentary for that.
• 47:22
  [SPEAKER_00]: It was really sad when the cat that already looked dead died in the movie.
• 47:28
  [SPEAKER_00]: Oh, poor mouse, she held on as long as possible.
• 47:31
  [SPEAKER_00]: Sorry, that cat was something else.
• 47:33
  [SPEAKER_00]: It's one of those cats, everybody, we're like, it looks like a not a cat, like a, some kind of a gremlin, anyways.
• 47:41
  [SPEAKER_00]: It was cute.
• 47:41
  [SPEAKER_06]: She loves her cat so much and I understand.
• 47:45
  [SPEAKER_06]: Okay, but this song is, this is one that it sums up the documentary, but of course a lot of the documentary plays her songs that are not original for this.
• 47:55
  [SPEAKER_06]: You get to revisit all of her greatest hits, but this one, it plays you into the credits.
• 48:01
  [SPEAKER_06]: It's sung by Kesha, although of course written by Diane Warren, and it goes like this.
• 48:06
  [SPEAKER_06]: It's called Dear Me.
• 48:07
  [SPEAKER_04]: If I could write a note to my young self, here's what I'd say.
• 48:14
  [SPEAKER_04]: Everything you feelin' out, won't always keep it down, that'll be a better day.
• 48:21
  [SPEAKER_04]: Dear me, don't worry about it.
• 48:28
  [SPEAKER_04]: It'll all get better soon.
• 48:37
  [SPEAKER_04]: All right, so what are your thoughts on the song?
• 48:50
  [SPEAKER_00]: So as you're caveat, I'm not the best.
• 48:53
  [SPEAKER_00]: person to speak on power ballads in general.
• 48:56
  [SPEAKER_00]: I'm not huge fan.
• 48:57
  [SPEAKER_00]: I think there are a few I could think think through that I really love, but it's not really my type of vibe.
• 49:02
  [SPEAKER_00]: I will say you didn't name the ones in the last decade, even though she's been nominated every year.
• 49:08
  [SPEAKER_00]: I feel like the era of the power ballad was more the 90s, right?
• 49:13
  [SPEAKER_00]: That was more where it felt right.
• 49:17
  [SPEAKER_06]: Hey there, future editor, Alicia Popping in here because I feel like I didn't do my girl die-in full justice.
• 49:24
  [SPEAKER_06]: I named a lot of her iconic Oscar-nominated songs, but there are so many more that you've heard of the weren't nominated for Oscars, so just a rattle off.
• 49:32
  [SPEAKER_06]: a few more.
• 49:34
  [SPEAKER_06]: She also wrote rhythm of the night from 1985 sung by the barge.
• 49:38
  [SPEAKER_06]: If I could turn back time shares hit from 1989 when I see you smile by bad English from 1989 if you asked me to from Celine Dion 1992.
• 49:49
  [SPEAKER_06]: Don't turn around from Ace of Base from 1993 on Break My Heart, one of my all-time favorites from Tony Braxton, 1996.
• 49:57
  [SPEAKER_06]: I turned to you, Christina Aguilera, 1999, and another one of my low-key favorites, can't fight the moonlight from Leanne Rhymes, 2000, not to mention a bunch of songs for the likes of Meatloaf, Michael Bolton, Celine Dion, Reba McIntyre, etc.
• 50:15
  [SPEAKER_06]: etc.
• 50:15
  [SPEAKER_06]: etc.
• 50:16
  [SPEAKER_06]: Um, but yeah, you heard the dates I read it off.
• 50:21
  [SPEAKER_06]: These are all pretty much between the 80s and early 2000s.
• 50:25
  [SPEAKER_06]: So Mark's point stands entirely.
• 50:28
  [SPEAKER_00]: Um, I think she's extremely good at writing this kind of song.
• 50:34
  [SPEAKER_00]: I think it's fine.
• 50:35
  [SPEAKER_00]: I think it's fine.
• 50:36
  [SPEAKER_00]: I don't love she does.
• 50:38
  [SPEAKER_00]: She writes a hell of a chorus and I don't really feel like the song has a great catchy hook.
• 50:43
  [SPEAKER_00]: I think cashiest things it really well.
• 50:46
  [SPEAKER_00]: I, I'm 50, 50 on its importance in the movie, like I guess I'm really conflicted about the way this, look, I'm not, this is not spoilers, this is a documentary about about the thing we're talking about.
• 51:00
  [SPEAKER_00]: It ends talking about this whole Oscar thing and I'm really, I can't tell where they're going with it and it causes some dissonance because like, she kind of,
• 51:11
  [SPEAKER_00]: really wants to win an Oscar, right?
• 51:14
  [SPEAKER_00]: Right.
• 51:15
  [SPEAKER_00]: And it's one of those things like the buffalo bills going to the Super Bowl four years in a row in the 90s and losing every single one.
• 51:23
  [SPEAKER_00]: Like there's a point when it becomes more embarrassing to be second place, then like you almost don't want to be like, I can see why that would would.
• 51:31
  [SPEAKER_00]: uh... get at you and feel like disrespect but also i'm watching this woman who has everything she's want like for as an artist like you don't need that accolade you've got you have your own amazing like production or publishing company everybody thinks you're just the bee's needs of the songwriter like it's kind of a bummer that she would be so hung up on that right but so but then i'm it's conflicted because then
• 51:58
  [SPEAKER_00]: They give her kind of the honorary Oscar a couple of years ago, and I'm like, but is that insulting to, like, I don't know how I'm supposed to feel about this.
• 52:08
  [SPEAKER_00]: And the song appears kind of right in that, like, she's talking to her younger self about, you know, being confident, sort of that sort of vibe.
• 52:18
  [SPEAKER_00]: And I kind of can't figure out what the ultimate point is.
• 52:20
  [SPEAKER_00]: Like, well, how am I supposed to feel about this?
• 52:23
  [SPEAKER_00]: And I can't help but feel like,
• 52:25
  [SPEAKER_00]: She's been nominated 17 times and she doesn't win because people maybe don't like her.
• 52:30
  [SPEAKER_00]: And I know there might be neuro-a typical aspects to why that is.
• 52:35
  [SPEAKER_00]: That's really unfair.
• 52:36
  [SPEAKER_00]: But it is what it is, right?
• 52:39
  [SPEAKER_00]: I think I feel like people do think she's a pain in the ass as the description says and they nominate her because the music's great, but like they don't they don't love her enough.
• 52:48
  [SPEAKER_00]: Like I can't help but wonder
• 52:50
  [SPEAKER_00]: If, you know, this is a window into kind of actually what's going on here, um, and it's, I wish she didn't need that and maybe the film is made in a way to kind of make us think she cares more than she does.
• 53:06
  [SPEAKER_00]: Again, she's, what more do you need?
• 53:08
  [SPEAKER_00]: You don't have to be literally, you don't have to have every award possible.
• 53:13
  [SPEAKER_00]: If you could, you could, you could
• 53:20
  [SPEAKER_00]: she needs it and that that honorary Oscar was kind of a sham like I don't know I I've got a lot of a lot of complex feelings about this one as a songwriter and a movie fan and a music fan so sorry if I'm rambling a little bit but it makes it hard for me to really evaluate this song fairly because I'm like
• 53:39
  [SPEAKER_00]: If they give it to her now, as like a lifetime achievement award, even though that's kind of what's happened already.
• 53:45
  [SPEAKER_00]: This isn't the song.
• 53:47
  [SPEAKER_00]: This isn't actually better than the two songs we just talked about.
• 53:50
  [SPEAKER_00]: Right.
• 53:50
  [SPEAKER_00]: So if they gave it to her now, then I'm like, okay, now you're just kissing up to her because you feel guilty after 17 years.
• 53:57
  [SPEAKER_00]: And that's not fair to...
• 54:00
  [SPEAKER_00]: Raphael City can Lou Gorgensen, right, for to say nothing of the 17,000 people that co-composed Golden.
• 54:07
  [SPEAKER_00]: Um, I don't know.
• 54:07
  [SPEAKER_00]: You, you should take the mic back.
• 54:10
  [SPEAKER_00]: Um, okay.
• 54:10
  [SPEAKER_00]: Yeah.
• 54:10
  [SPEAKER_06]: No, I mean, I'm, I'm with you.
• 54:12
  [SPEAKER_06]: I, I have a soft spot as a death racer for Diane Warren, but also she has written some of the most iconic songs, but I think most people agree she should have won in the 90s.
• 54:22
  [SPEAKER_06]: She should have won for
• 54:23
  [SPEAKER_06]: don't want to miss a thing.
• 54:24
  [SPEAKER_06]: And I don't know off the top of my head what that was up against that ear, but like certainly that's got to be one of the most enduring songs in her catalog or of that year.
• 54:33
  [SPEAKER_06]: And so now, you know, when I'm going into a, I'm sorry, can I interrupt you?
• 54:41
  [SPEAKER_00]: I do not like that song.
• 54:42
  [SPEAKER_00]: Oh, and I could sing every note of the tune.
• 54:45
  [UNKNOWN]: Yeah.
• 54:46
  [SPEAKER_00]: Right, so it's a case and point, right?
• 54:47
  [SPEAKER_00]: I don't hate it, it's fine, it's not my style, but I know every note of that.
• 54:52
  [SPEAKER_00]: Are you not an aerospace fan?
• 54:54
  [SPEAKER_00]: I mean, I like, I like earlier aerospace more.
• 54:57
  [SPEAKER_00]: My wife is down with more of that vibe, but so I hear it sometimes, but eh, it's okay.
• 55:03
  [SPEAKER_00]: I could take her leave it on it, don't tell any of the other people I know here in Boston, I said that.
• 55:07
  [SPEAKER_00]: But, um,
• 55:08
  [SPEAKER_00]: But like still every note in that chorus I could sing, right?
• 55:14
  [SPEAKER_00]: Maybe not well.
• 55:15
  [SPEAKER_00]: But like that's how memorable song is.
• 55:16
  [SPEAKER_00]: Don't want to miss a thing.
• 55:17
  [SPEAKER_00]: Right?
• 55:17
  [SPEAKER_00]: Yeah.
• 55:18
  [SPEAKER_00]: From a crappy movie that we all saw on high school or whatever.
• 55:21
  [SPEAKER_00]: People have it stuck in their head just because we keep saying the title.
• 55:24
  [SPEAKER_06]: Yeah.
• 55:25
  [SPEAKER_00]: I've had it stuck on my head for...
• 55:27
  [SPEAKER_00]: for 20 years or whatever, 25 years or so.
• 55:29
  [SPEAKER_00]: Anyway, sorry to interrupt.
• 55:30
  [SPEAKER_00]: I just had to point that out.
• 55:31
  [SPEAKER_06]: Yeah.
• 55:32
  [SPEAKER_06]: No, but so as death racers, it's a fun thing when you're, you know, you finish up one year's Oscars and you're like, all right, what's going to be coming up next year?
• 55:41
  [SPEAKER_06]: One of the things people look at is what movies are coming out with Diane Warren songs.
• 55:46
  [SPEAKER_06]: And so when we saw this movie on, you know, lined up for this year, like, oh, that's got to be the Diane Warren song of this year.
• 55:56
  [SPEAKER_06]: Then it comes from an actual documentary about how much she wants this Oscar, like what better campaign is there than that.
• 56:03
  [SPEAKER_06]: But well, the better campaign would be if it were a song that were as original or catchy as the two juggernautids going up against.
• 56:14
  [SPEAKER_06]: So yeah, I'm not rooting for this one and as much as like I love having Diane Warren here every year.
• 56:21
  [SPEAKER_06]: It is the one that I would replace with the song.
• 56:24
  [SPEAKER_06]: We'll talk about in a little bit.
• 56:25
  [SPEAKER_06]: Yeah, I'll say this one.
• 56:27
  [SPEAKER_06]: It got one win at the Hollywood music and media awards for original song and a documentary.
• 56:32
  [SPEAKER_06]: It's had two misses, including at the Grammys and there's one award pending.
• 56:38
  [SPEAKER_06]: They askers and if you want to watch it yourself, it's a shorter one and hour and 32 minutes and it is currently on hoopla and canopy for those of you who have that library access and it's been floating around so you'll Depending on where you are, look it up and you should be able to find it.
• 56:56
  [SPEAKER_06]: Any final thoughts on Diane Warren?
• 56:59
  [SPEAKER_06]: No, all right.
• 57:01
  [SPEAKER_06]: Let's move on to Nick Cave.
• 57:02
  [SPEAKER_06]: So train dreams from train dreams.
• 57:08
  [SPEAKER_06]: The movie is about a logger who leads a life of quite grace as he experiences love and loss during an era of monumental change in early 20th century America, the films directed by Clint Bentley, it's American film in English.
• 57:22
  [SPEAKER_06]: It's been nominated four times, so we talked about it in the best
• 57:26
  [SPEAKER_06]: picture preview we're talking about it now and we'll talk about it again in the cinematography and adapted screenplay episodes.
• 57:34
  [SPEAKER_06]: The song Train Dreams is performed by Nick Cave who worked it into the score by Bryce Desner who had already created the score when when claimed Bentley approached Nick Cave to do this song and so it's the first nomination for both
• 57:56
  [SPEAKER_06]: I'll say this is Nick Cave, it's actually a lovely story when Clint Bentley approached him.
• 58:01
  [SPEAKER_06]: He's like, you have the right vibes for this and he's like, I actually love the book.
• 58:05
  [SPEAKER_06]: And because of that, he kind of wasn't sure whether he wanted to do the song, but then he listened to Destiny's score and he slept on it and then he next thing he know he had already written a song.
• 58:15
  [SPEAKER_06]: So here it is.
• 58:20
  [SPEAKER_11]: I've seen it grizzly because I've walked across an open plane.
• 58:27
  [SPEAKER_11]: I heard of a boy called Elvis something.
• 58:30
  [SPEAKER_11]: His voice could drive young girls insane.
• 58:34
  [SPEAKER_11]: Crazy dreams are going for us.
• 58:38
  [SPEAKER_11]: And I can't begin to tell you how that feels.
• 58:43
  [SPEAKER_11]: Yes, and yes, and yes, and yes, and yes, and yes, I can't begin to tell you how that feels.
• 58:55
  [SPEAKER_06]: So what would you think of the movie train dreams and what do you think of the song train dreams?
• 59:01
  [SPEAKER_00]: Yes, so
• 59:03
  [SPEAKER_00]: I knew nothing about this movie.
• 59:05
  [SPEAKER_00]: Did not know what it was about, did not know the setting, just jumped in.
• 59:09
  [SPEAKER_00]: I thought it was beautiful.
• 59:10
  [SPEAKER_00]: I don't know that I understand everything it was given to me.
• 59:13
  [SPEAKER_00]: I don't know that the significance of all the sort of turns of the story and the epicness of it that I, I feel like I need someone to talk to about it.
• 59:24
  [SPEAKER_00]: We can check in later about that story.
• 59:27
  [SPEAKER_00]: But it was...
• 59:28
  [SPEAKER_00]: It was a beautiful like watch, like I thought it was really, really interesting and really lovely from a cinematography standpoint.
• 59:36
  [SPEAKER_00]: I thought the acting was all nice.
• 59:38
  [SPEAKER_00]: The music was nice too.
• 59:42
  [SPEAKER_00]: I'm not a huge fan of Nick Cave.
• 59:43
  [SPEAKER_00]: I like the small amounts that I've heard, but so that's cool.
• 59:47
  [SPEAKER_00]: The thing that stuck out to me that was a little distracting and by the way,
• 59:53
  [SPEAKER_00]: a claim of the positionality of songs and films.
• 59:56
  [SPEAKER_00]: This one sort of like kind of just an end credits theme.
• 59:59
  [SPEAKER_00]: It starts before, but it doesn't really occupy a momentous part of the film or anything.
• 1:00:06
  [SPEAKER_00]: So I could ding it a little bit.
• 1:00:09
  [SPEAKER_00]: It's a very beautiful song, but I can't help but feel like the brothers.
• 1:00:16
  [SPEAKER_00]: sound too similar and it was distracting because I've had on my podcast with Nicole, massive conversations about this exact thing.
• 1:00:25
  [SPEAKER_00]: So Aaron Desner is Bryce Desner's brother.
• 1:00:29
  [SPEAKER_00]: They both were in this band called the, starts with a C. Oh, we are with a national, of course.
• 1:00:36
  [SPEAKER_00]: The national.
• 1:00:37
  [SPEAKER_00]: So what was it?
• 1:00:37
  [SPEAKER_00]: And then I was thinking the capital.
• 1:00:39
  [SPEAKER_00]: That's hilarious.
• 1:00:39
  [SPEAKER_06]: I know it's the national.
• 1:00:41
  [SPEAKER_06]: I shouldn't know that because the national is one of my all-time
• 1:00:45
  [SPEAKER_00]: The National doesn't sound like this, but Aaron produced a lot of Taylor Swift music and very specifically, all the really viby, reverb, B piano stuff on folklore, in particular, as well as some other things.
• 1:01:02
  [SPEAKER_00]: So I like Bryce better.
• 1:01:04
  [SPEAKER_00]: But it all sounds like that.
• 1:01:06
  [SPEAKER_00]: You think the Taylor Swift stuff sounds like this song sounds exact.
• 1:01:11
  [SPEAKER_00]: If you listen to Boni Verre on that Taylor Swift album, now Boni Verre often notable for like high fall set of vocals, but he does this like.
• 1:01:20
  [SPEAKER_00]: song exile in this deep kind of Nick cave voice.
• 1:01:23
  [SPEAKER_00]: It sounds just like this.
• 1:01:24
  [SPEAKER_00]: The piano sounds the same.
• 1:01:26
  [SPEAKER_00]: Literally, we have a whole episode.
• 1:01:28
  [SPEAKER_00]: The first episode of our season where I crack the code, why does why do all the songs on folklore sound the same?
• 1:01:33
  [SPEAKER_00]: And it's because of these little tricks that Aaron Disney is doing with the piano.
• 1:01:36
  [SPEAKER_00]: This trick isn't the same trick, but
• 1:01:39
  [SPEAKER_00]: and a cruisist is the fancy word for that by the way, they're not doing that in a song, but the sound, the vibe is the same and I really like the song.
• 1:01:48
  [SPEAKER_00]: It's beautiful, but it was distracting because it sounds like I did not literally know who wrote this music until I'm like, it sounds like Taylor Swift being sung by Nick Cave because, but what the thing is is that Taylor Swift record
• 1:02:05
  [SPEAKER_00]: A lot of it is like, because it was composed during the pandemic, like 2020.
• 1:02:09
  [SPEAKER_00]: It was a lot of like Aaron Desner would write a song, a backing track, and send it to Taylor, and she would sing over it.
• 1:02:17
  [SPEAKER_00]: And I kind of feel like that's sort of what happened here in the sense of like, hey, here's some viby music I wrote, come up with a song to go on top of it.
• 1:02:26
  [SPEAKER_00]: Nick, and it's just weird to me, like, my brother and I would not write the same kind of music.
• 1:02:31
  [SPEAKER_00]: And I do not want no, the whole score doesn't sound like that,
• 1:02:34
  [SPEAKER_00]: This song totally sounds like 2020 Taylor Swift, and it's, I really like that Taylor Swift album, so I like the song, but it's, it is distracting to me, and that's my crazy theory.
• 1:02:45
  [SPEAKER_00]: Everybody in the listener ship is going to disagree except for the people that don't disagree.
• 1:02:50
  [SPEAKER_06]: Um, yeah, so we're coming from different places definitely on that because I'm not a swifty and I do Will you pipe in will you pipe in the song exile by Taylor Swift?
• 1:03:00
  [SPEAKER_06]: Okay.
• 1:03:01
  [SPEAKER_00]: Later.
• 1:03:02
  [SPEAKER_00]: All right.
• 1:03:02
  [SPEAKER_09]: So listeners, you will hear a clip from exile by Taylor Swift right now.
• 1:03:21
  [SPEAKER_09]: And it took you five whole minutes to pack us up and leave me with it.
• 1:03:27
  [SPEAKER_09]: Holding all this love out here in the hall.
• 1:03:33
  [SPEAKER_09]: I think I've seen this from before, and I didn't like it.
• 1:03:41
  [SPEAKER_09]: Okay.
• 1:03:41
  [SPEAKER_06]: All right.
• 1:03:42
  [SPEAKER_00]: And I'm also going to- It's typically the Boni Verre, like the male vocal, not the, um, not Taylor.
• 1:03:48
  [SPEAKER_00]: Anyways, sorry.
• 1:03:50
  [SPEAKER_06]: Uh, okay.
• 1:03:51
  [SPEAKER_06]: The Boni Verre vocal, I'll make sure that it was that they just heard.
• 1:03:54
  [SPEAKER_00]: And, uh, got to hear Justin.
• 1:03:57
  [SPEAKER_06]: Okay, I'm going to pump in also right now, just for comparison sake from the national I need my girl is probably one of the most famous ones so listeners you'll hear that right now.
• 1:04:22
  [SPEAKER_07]: I was a fool if I was the semi-land And I know I was a lot of things But I...
• 1:04:36
  [SPEAKER_06]: sounds nothing like this but so but this is this is a thing is that um so you're coming from for me the national is is my reference Taylor Swift I listen to all the songs when they come out but I cannot come uh I cannot say they I have any deep familiarity with them in the same way so to me yeah they sound this sounds like the national light that song tree trees.
• 1:04:58
  [SPEAKER_00]: That's just saying yeah okay.
• 1:04:59
  [SPEAKER_06]: uh... and i don't get any of the tell us with stuff i got a listen more from it so we will let the listeners decide we'd love to hear what you think uh... if you want to see train dreams it's it's a best picture nominee definitely worth it it's beautiful both in form you know visually and also it is a beautiful but uh...
• 1:05:17
  [SPEAKER_06]: heart-wrenching story, I'll say.
• 1:05:19
  [SPEAKER_06]: You can watch it on Netflix.
• 1:05:21
  [SPEAKER_06]: It's an hour and 42 minutes long.
• 1:05:23
  [SPEAKER_06]: The song, not likely to win this award.
• 1:05:26
  [SPEAKER_06]: It hasn't won anything yet.
• 1:05:27
  [SPEAKER_06]: It's missed four times, including at the Critics Choice and Golden Globes.
• 1:05:30
  [SPEAKER_06]: And it has one pending, which is the Oscars.
• 1:05:33
  [SPEAKER_06]: But I have to well, we're talking about this folk adjacent music.
• 1:05:36
  [SPEAKER_06]: I have to bring up what I think is the biggest miss on this nominees list.
• 1:05:41
  [SPEAKER_06]: And that is from the Ballet of Wallace Island, which is about
• 1:05:45
  [SPEAKER_06]: a an eccentric lottery winner who lives alone in a remote island and tries to make his fantasies come true by getting his favorite musicians to perform at his home and I'll say that they are exes played by Tom Bastin and Kerry Mulligan so that is who you hear singing our love by James Griffiths was on the shortlist so this is what that sounds like.
• 1:06:08
  [SPEAKER_13]: Sometimes when you sleep, you look like you're on the bottom of the sea.
• 1:06:21
  [SPEAKER_13]: When your eyes go, it seems impossible to think.
• 1:06:30
  [SPEAKER_13]: We could have a grown home.
• 1:06:39
  [SPEAKER_06]: So what did you think of the ballad of Wallace Island and this song?
• 1:06:47
  [SPEAKER_00]: I like this movie a lot, especially the musical duo aspects like evoked a mighty wind to me in some ways, which is a comedy version of that, which is one of my favorite films, or also once, right, it has some things in common with once.
• 1:07:03
  [SPEAKER_00]: The story is very different, but the same kind of.
• 1:07:08
  [SPEAKER_03]: But I want you, all the more for that.
• 1:07:18
  [SPEAKER_03]: Words fall through me, and always fool me.
• 1:07:25
  [SPEAKER_03]: And I can't read out.
• 1:07:32
  [SPEAKER_03]: In games I've never heard of Mount to more than their melt will play themselves now
• 1:07:58
  [SPEAKER_00]: Yeah, that's one of my own favorites.
• 1:08:01
  [SPEAKER_00]: There's some good music from that too.
• 1:08:03
  [SPEAKER_00]: It's maybe not as pretty as some of that music, but still nice.
• 1:08:06
  [SPEAKER_00]: I like the movie a lot.
• 1:08:08
  [SPEAKER_00]: I think I was very surprised.
• 1:08:12
  [SPEAKER_00]: to be as affected by this song at the end of that movie.
• 1:08:16
  [SPEAKER_00]: And I'm not going to spoil anything.
• 1:08:18
  [SPEAKER_06]: But this is one also that you can watch the clip online.
• 1:08:22
  [SPEAKER_06]: It is from the middle of the movie, too.
• 1:08:24
  [SPEAKER_06]: It's part of the plot.
• 1:08:27
  [SPEAKER_00]: So it happens in real the movie and then happens again at the end of the movie.
• 1:08:30
  [SPEAKER_00]: And
• 1:08:32
  [SPEAKER_00]: Not going to spoil anything, but what got me watching it was not, you know, it's this love song between these two people that used to be a partnership romantically and musically, right, and they're coming together to play again.
• 1:08:48
  [SPEAKER_00]: And so it has all of that vibe, but the emotional effect, the affecting aspect has to do with this other character watching this performance
• 1:09:01
  [SPEAKER_00]: What the song means to him is so affecting and took me completely by surprise without spoiling anything.
• 1:09:11
  [SPEAKER_00]: It's kind of a joke character that just watching this guy watch a performance of a song that is meaningful, I found extremely
• 1:09:22
  [SPEAKER_00]: affecting.
• 1:09:23
  [SPEAKER_00]: What can I say?
• 1:09:24
  [SPEAKER_00]: Like more so than any of the actual ever seen because it's really a comedy, right?
• 1:09:28
  [SPEAKER_00]: It's a fun musical comedy.
• 1:09:30
  [SPEAKER_00]: And yeah, I don't know if you I'm trying to be vague.
• 1:09:33
  [SPEAKER_00]: I wish I could just talk frankly here, but I don't want to spoil it for people.
• 1:09:37
  [SPEAKER_00]: Do you know what I'm talking about?
• 1:09:38
  [SPEAKER_00]: That feel right.
• 1:09:39
  [SPEAKER_00]: Have you seen this recently enough to remember when I talk about it?
• 1:09:42
  [SPEAKER_06]: I mean, it's been a while since I saw it, but it does linger in my mind.
• 1:09:45
  [SPEAKER_06]: It is just one of those like, I don't the music, it's it's focusing music and you and I are both partial to that.
• 1:09:51
  [SPEAKER_06]: So, uh, take that, you know, for what it's worth.
• 1:09:54
  [SPEAKER_06]: But it does like the the entire movie.
• 1:09:57
  [SPEAKER_06]: It's something about it's a like bitter sweet throughout like it's it's frequently funny Particularly the guy who's bringing them together is often you know the comic relief, but it's there's something just
• 1:10:09
  [SPEAKER_06]: yearning about it as well.
• 1:10:11
  [SPEAKER_06]: It's just strikes at the soul of what I love about folk music.
• 1:10:18
  [SPEAKER_06]: So yeah, it is one where it's just the score, the soundtrack, and the film itself are so deeply intertwined in all of the narrative twists and turns that, yeah, the ballad of oil is silent.
• 1:10:29
  [SPEAKER_06]: I keep bringing it up because it's one of my favorite films of the year.
• 1:10:32
  [SPEAKER_06]: So if you like this sort of thing, definitely watch it.
• 1:10:35
  [SPEAKER_00]: Yeah, I'm glad I snuck it in.
• 1:10:36
  [SPEAKER_00]: I literally watched it yesterday.
• 1:10:37
  [SPEAKER_00]: So yeah.
• 1:10:39
  [SPEAKER_06]: I'm glad you did too.
• 1:10:39
  [SPEAKER_00]: All right.
• 1:10:40
  [SPEAKER_06]: I'll say if you like folk music, if you like traditional like Celtic American folk music, I also recommend the history of sound, which I call broke back mountain meets train dreams.
• 1:10:54
  [SPEAKER_06]: So bring your tissues for that.
• 1:10:55
  [SPEAKER_06]: But a little clip here.
• 1:10:57
  [SPEAKER_08]: This is what that sounds like.
• 1:11:04
  [SPEAKER_08]: You'll wake my mother.
• 1:11:08
  [SPEAKER_08]: She's sleeping here by my side.
• 1:11:14
  [SPEAKER_08]: In her right hand, silver dagger.
• 1:11:20
  [SPEAKER_08]: She says that I can't be your bride.
• 1:11:27
  [SPEAKER_10]: But if on earth we meet no more, we hope to meet in heaven.
• 1:11:39
  [SPEAKER_10]: Where congregations, there break up, Laugh and sweet communion.
• 1:12:06
  [UNKNOWN]: Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
• 1:12:21
  [SPEAKER_06]: So that was clips from Silver Dagger and here in the vineyard both sung by Paul Miscol and a clip from the theme song from the score by Oliver Coates.
• 1:12:34
  [SPEAKER_06]: Yeah, just a beautiful score and Josh O'Connor also sings a bit as well as other people from whom they're collecting various songs and that aspect, the movie's in some ways a bit like the movie from 2000 called Song Catcher.
• 1:12:48
  [SPEAKER_06]: If anyone else has a soft spot for that one,
• 1:12:50
  [SPEAKER_06]: But anyway, okay, we bring the folk section to a close here and let's move on.
• 1:12:55
  [SPEAKER_06]: Our love again, ballot of all asylum, unfortunately not nominated.
• 1:13:00
  [SPEAKER_06]: That's not to take away from this last one because the last nominee on the list is from a documentary called Viva Verdi and it's about life's third act, maybe the best one after all.
• 1:13:13
  [SPEAKER_06]: Viva Verde is an intimate glimpse into the lives of celebrated opera singers and musicians living out there, third act while mentoring music students at Casa Verde in Milan built by Giuseppe Verde in 1896.
• 1:13:25
  [SPEAKER_06]: So Verde, the composer, when he died, he set it up so that this retirement home for musicians would go into effect.
• 1:13:36
  [SPEAKER_06]: so it is a place where musicians go, you know, instead of going to a traditional assisted care living home, they move here and then also music students move in as well, young people and so that the retired musicians can also teach the young people.
• 1:13:54
  [SPEAKER_06]: two and pass on this knowledge.
• 1:13:57
  [SPEAKER_06]: And so the documentary is about that and and about interviewing several of the residents who just have had very interesting lives come from all over the world.
• 1:14:07
  [SPEAKER_06]: The thing that struck me the most is the woman who said when she first came from Tokyo It took 30 days by boat and now it's just 10 hours by plane.
• 1:14:15
  [SPEAKER_06]: It's just
• 1:14:15
  [SPEAKER_06]: so much has changed.
• 1:14:17
  [SPEAKER_06]: The film's directed by Iván Russo.
• 1:14:21
  [SPEAKER_06]: It is a US Italian joint production and those are the two languages spoken Italian and English.
• 1:14:28
  [SPEAKER_06]: You can watch it on the special streamer Joltz.
• 1:14:30
  [SPEAKER_06]: It's an hour and 18 minutes long.
• 1:14:33
  [SPEAKER_06]: It is restricted to the US.
• 1:14:35
  [SPEAKER_06]: There are, yeah, if you want more info on watching it, then check out our Discord, our wards season channel.
• 1:14:44
  [SPEAKER_06]: Um, the song is from Nicholas Pike did the score and did this song.
• 1:14:50
  [SPEAKER_06]: It's performed by Anna Maria Martinez, uh, and it's called Sweet Dreams of Joy.
• 1:14:55
  [SPEAKER_06]: And this is what it sounds like.
• 1:14:57
  [SPEAKER_12]: Softly hear from our ears for so near, round, round, round,
• 1:15:24
  [SPEAKER_12]: So this is the only nomination for this film, but interestingly enough, I didn't think it was going to get nominated.
• 1:15:40
  [SPEAKER_06]: I think most people didn't, I was surprised by it, but I had a message to do before nominations, like check out this song.
• 1:15:47
  [SPEAKER_06]: Let's talk about it regardless, but here we are, talking about it as a nominee.
• 1:15:52
  [SPEAKER_06]: What did you think of the film in the song?
• 1:15:54
  [SPEAKER_00]: I thought the film was nice.
• 1:15:55
  [SPEAKER_00]: I know something about Giuseppe Verde, but I didn't know anything about Verde's house.
• 1:16:01
  [SPEAKER_00]: You know, the acid of Verde here, whatever they call it.
• 1:16:04
  [SPEAKER_00]: It was a little, maybe a little too saccharin for me as a film, like...
• 1:16:11
  [SPEAKER_00]: I don't know what, what, it's not like a wanted it to be sad.
• 1:16:14
  [SPEAKER_00]: It's a retirement home, it's not like I wanted them to fixate on all the like, you know, the troubles with being an end of life broke musician in Italy.
• 1:16:22
  [SPEAKER_00]: But yeah, you know, I don't know, I could have used a little more drama to the narrative, so to speak of the documentary, but it was nice that I, I appreciate learning about it.
• 1:16:31
  [SPEAKER_00]: I know how important, I know something of how important Verity is to Italian culture, like literally political parties,
• 1:16:39
  [SPEAKER_00]: there's a at least one political party in the last hundred years that has created intentionally its acronym to be Verdi in Italy.
• 1:16:47
  [SPEAKER_00]: That's how important Verdi songs, you know, like what it'll pinceiro or whatever.
• 1:17:31
  [SPEAKER_00]: Is that, did I just do something that I just totally like somebody like Marilyn going to kill me, did I?
• 1:17:38
  [SPEAKER_00]: Oh, yeah, it is.
• 1:17:39
  [SPEAKER_00]: That's from Nabuko.
• 1:17:40
  [SPEAKER_00]: Yes, sometimes I mess up and I accidentally will go.
• 1:17:42
  [SPEAKER_00]: I'll drop a Puccini, you know, a really small reference when I mean buried because there are all these 19th century dudes.
• 1:17:49
  [SPEAKER_00]: Um,
• 1:17:50
  [SPEAKER_00]: Or like the Green DC that they're singing in that piece is drinking song famous like people know these songs like Americans know happy birthday right and that's how famous this stuff is so it was kind of cool to see how that kind of legendary figure actually translated into real people's lives.
• 1:18:10
  [SPEAKER_00]: in a real tangible way through this foundation or whatever he created before he died.
• 1:18:14
  [SPEAKER_00]: And so it was really cool to see that.
• 1:18:18
  [SPEAKER_00]: The song, I thought it was nice.
• 1:18:21
  [SPEAKER_00]: I see in your notes, what do you call this?
• 1:18:24
  [SPEAKER_00]: What do you think this is?
• 1:18:25
  [SPEAKER_00]: I see three words.
• 1:18:27
  [SPEAKER_06]: I was like opera meets pop, I mean, pop, I don't really hear pop means I don't really hear maybe it's from elsewhere more elsewhere in the soundtrack or the right score that I'm thinking of that.
• 1:18:38
  [SPEAKER_06]: But it's not it is a more definitely a more modern take on opera.
• 1:18:44
  [SPEAKER_06]: What do you think?
• 1:18:45
  [SPEAKER_00]: Right.
• 1:18:45
  [SPEAKER_00]: Well, and I wouldn't opera as a form, right?
• 1:18:48
  [SPEAKER_00]: Opera is a genre opera as the theatrical work.
• 1:18:51
  [SPEAKER_00]: So we wouldn't use the term
• 1:18:54
  [SPEAKER_00]: Like we could say art song.
• 1:18:55
  [SPEAKER_00]: This is an art song.
• 1:18:56
  [SPEAKER_00]: You know, a classical style singing, right?
• 1:18:59
  [SPEAKER_00]: Which operatic style performance to a certain extent, but it's ultimately a four minute song, whatever, right?
• 1:19:03
  [SPEAKER_00]: So it's not an area from a four minute song, right?
• 1:19:08
  [SPEAKER_00]: So, um,
• 1:19:10
  [SPEAKER_00]: it's interesting stylistically to me because it does make some nods to opera, but it didn't feel like varity to me.
• 1:19:17
  [SPEAKER_00]: There's the moments where the soprano is like, and then you almost felt like magic flute, like Mozart, and he kind of coloratorous stuff.
• 1:19:27
  [SPEAKER_00]: So, also interestingly, despite the patriotic kind of symbolism of Verity, I thought it was interesting that this is an English composer and a Puerto Rican soprano singing.
• 1:19:37
  [SPEAKER_00]: Not neither of them is Italian, and obviously they make a very much central the fact that Italy is a diverse place and like plenty of, you know, there's like it.
• 1:19:47
  [SPEAKER_00]: A South African guy living in the home.
• 1:19:50
  [SPEAKER_00]: There's a Japanese woman living in the home.
• 1:19:53
  [SPEAKER_00]: Like, Japanese Italian, Alzafia, African Italian people living.
• 1:19:56
  [SPEAKER_00]: It's not just a bunch of.
• 1:19:57
  [SPEAKER_06]: There's an Englishman who doesn't speak Italian living there.
• 1:20:00
  [SPEAKER_06]: You know, there's, yeah.
• 1:20:02
  [SPEAKER_00]: Englishman, you know, this is be that.
• 1:20:03
  [SPEAKER_00]: I don't even remember.
• 1:20:04
  [SPEAKER_00]: Wow.
• 1:20:04
  [SPEAKER_00]: So, the, you know, so, but still, I thought it was interesting for an American filmmaker to then use
• 1:20:13
  [SPEAKER_00]: in American via Puerto Rico and in English men to make the music.
• 1:20:17
  [SPEAKER_00]: But so I would describe as my, you know, if I were tapping into my grad school knowledge, this doesn't quite feel like Verdi to me.
• 1:20:25
  [SPEAKER_00]: This feels the music feels almost more while I would describe as neo romantic.
• 1:20:29
  [SPEAKER_00]: No, Verdi is a romantic composer in the classic sense, but he was very much associated with power and the gravity of the voice and this feels a lot more light than that.
• 1:20:39
  [SPEAKER_00]: And I'm thinking,
• 1:20:41
  [SPEAKER_00]: Maybe I'm influenced by knowing that this is an English composer, but I can't help but hear more Benjamin Britain or honestly like American reference points, folks probably haven't heard, but like, Ned Roram, just sounded sort of like Ned Roram, okay, Samuel Barber.
• 1:20:55
  [SPEAKER_00]: If people listen to like hermit songs by Samuel Barber, like there's the Amongst and his cat,
• 1:21:02
  [SPEAKER_00]: little, that's one of the most famous songs from Samuel Barber and art songs in American composer from probably like the 1930s or so very much evoking 19th century music, but in this lighter, more kind of, I would say playful way, anybody who served Adagio for strings from Platoon would not think it's very light, but there's something less heavy that this felt more like that than it did like actual Verdi, but it was nice, yeah, I don't
• 1:21:33
  [SPEAKER_00]: I don't know that it feels very 26 so it's difficult for me to because this is not if you go to like, if I drove to a Harvard to see what their grad students are writing right now, it would not at all sound like this.
• 1:21:43
  [SPEAKER_00]: I promise you that and this might be better music than that.
• 1:21:47
  [SPEAKER_00]: But so I wonder if this stands a chance just.
• 1:21:53
  [SPEAKER_00]: In terms of a mark of an era, it's a little bit of an ill-fitting song, but it's a good song.
• 1:21:58
  [SPEAKER_00]: It's really well performed.
• 1:22:00
  [SPEAKER_00]: The piano part is beautiful, almost minimalist, almost impressionist, romantic, all wrapped up in one very, very,
• 1:22:12
  [SPEAKER_00]: tender piano part.
• 1:22:14
  [SPEAKER_00]: But, you know, it's not going to win.
• 1:22:17
  [SPEAKER_06]: No.
• 1:22:17
  [SPEAKER_00]: I mean, my long answer.
• 1:22:18
  [SPEAKER_06]: This is the only nomination that it's gotten for the Oscars.
• 1:22:22
  [SPEAKER_06]: And as I said, it was a surprise.
• 1:22:24
  [SPEAKER_06]: There were some people even calling for it to be disqualified when they found out this song was actually written in 2017, but it was written for this film.
• 1:22:32
  [SPEAKER_06]: So it in the film was released this past year.
• 1:22:34
  [SPEAKER_00]: So it's development
• 1:22:36
  [SPEAKER_06]: Well, I mean, it's just when you see the film itself, you'll notice that the footage was taken between like 2017 and 2019, if I recall, correct.
• 1:22:45
  [SPEAKER_06]: And then there's an update about the residents that were featured at the end.
• 1:22:49
  [SPEAKER_06]: And well, you can imagine this is a hospice home in some ways.
• 1:22:54
  [SPEAKER_06]: So yeah, so but it was written for the film.
• 1:22:57
  [SPEAKER_06]: So that's just written at the beginning of the filming process, which look, and I would say so, was a lot of the center score.
• 1:23:05
  [SPEAKER_00]: I would say to that, was it eligible in 2017?
• 1:23:07
  [SPEAKER_00]: No, no.
• 1:23:08
  [SPEAKER_00]: No.
• 1:23:09
  [SPEAKER_00]: Because I filmed it.
• 1:23:10
  [SPEAKER_00]: Then what do you plan it about?
• 1:23:11
  [SPEAKER_00]: Yeah.
• 1:23:11
  [SPEAKER_00]: It's not like it was double eligible.
• 1:23:13
  [SPEAKER_00]: If it was, if it got two shots, that would be unfair, right?
• 1:23:16
  [SPEAKER_00]: But it wasn't eligible in 2017, 18, 19, 20, 21, 22, 23, 24, 20, 25.
• 1:23:19
  [SPEAKER_00]: 25.
• 1:23:22
  [SPEAKER_00]: It was only eligible now.
• 1:23:23
  [SPEAKER_00]: So, to say that it can't be eligible now, just means that film is ineligible categorically, which would be crazy.
• 1:23:29
  [SPEAKER_00]: Right.
• 1:23:30
  [SPEAKER_06]: And yeah.
• 1:23:30
  [SPEAKER_06]: And so that's I said, this is this was the surprise in this category.
• 1:23:34
  [SPEAKER_06]: And I find it personally a quite pleasant surprise.
• 1:23:37
  [SPEAKER_06]: And I've said the people behind it.
• 1:23:40
  [SPEAKER_06]: This is the most indie film.
• 1:23:42
  [SPEAKER_06]: I'm sure that we're going to be talking about today.
• 1:23:44
  [SPEAKER_06]: They're on this platform jolt, but they've been really supportive of the death racers too.
• 1:23:48
  [SPEAKER_06]: So again, see our discord for more conversation on how they're helping death racers see this film.
• 1:23:55
  [SPEAKER_06]: But yeah, I'm
• 1:23:57
  [SPEAKER_06]: It's not going to win, as you said, but I'm really glad that it's here that we're having this variety of music represented in this category.
• 1:24:05
  [SPEAKER_06]: Now, yeah, as looking at the category overall, we've already said we both prefer.
• 1:24:11
  [SPEAKER_06]: I lied to you.
• 1:24:12
  [SPEAKER_06]: We both think golden is most likely to take it, but you know, fingers crossed for I lied to you.
• 1:24:18
  [SPEAKER_06]: Do you have any other final thoughts on the
• 1:24:25
  [SPEAKER_06]: Alright.
• 1:24:26
  [SPEAKER_06]: Well, then let's take a quick break here when we come back.
• 1:24:28
  [SPEAKER_06]: We're going to talk about score.
• 1:24:42
  [SPEAKER_06]: Okay, best original score, it's been handed out since 1935 and this one has some interesting rulings in that it's, it can't be, the score cannot be too similar to prior movie scores, which,
• 1:24:58
  [SPEAKER_06]: they have special rules for sequels.
• 1:25:00
  [SPEAKER_06]: So since 2021, they said that 35% of the music down from 60% of the music has to be original unless it's a sequel or a franchise film, then it has to be 80% original.
• 1:25:16
  [SPEAKER_06]: So there's a much higher bar for sequels and franchise films across than other songs.
• 1:25:23
  [SPEAKER_00]: I don't think this affects really much except for possibly the short list of tronaries, right?
• 1:25:29
  [SPEAKER_00]: Right.
• 1:25:30
  [SPEAKER_00]: Well, we could not, we could have some of the short Oh, wicked, right, wicked.
• 1:25:35
  [SPEAKER_06]: But wicked was eligible.
• 1:25:38
  [SPEAKER_00]: None of them are franchises or sequels here of the actual five, right?
• 1:25:42
  [SPEAKER_00]: Yeah.
• 1:25:43
  [SPEAKER_06]: Yeah, so I'll wrap it off the shortlist real quick.
• 1:25:46
  [SPEAKER_06]: I'll just say they expanded it by five two years ago.
• 1:25:48
  [SPEAKER_06]: So the shortlist is 20 films.
• 1:25:50
  [SPEAKER_06]: So the 15 that didn't make it are avatar fire and ash by Simon Franklin, Captain America, Brave New World by Laura Carpman.
• 1:25:58
  [SPEAKER_06]: Diane Warren relentless by Leslie Barber.
• 1:26:00
  [SPEAKER_06]: This is again for the whole score, not just the song F1 from Hans Zimmer.
• 1:26:05
  [SPEAKER_06]: Head off from Hilder, Good in the Adult Teard.
• 1:26:08
  [SPEAKER_06]: House of Dynamite from Folk or Bertelman.
• 1:26:12
  [SPEAKER_06]: Wasn't that we didn't he do last year's?
• 1:26:16
  [SPEAKER_06]: Didn't he win last year?
• 1:26:18
  [SPEAKER_06]: No, no, no, sorry.
• 1:26:19
  [SPEAKER_06]: That was a couple years ago for all quiet on the western front.
• 1:26:22
  [SPEAKER_06]: Oh.
• 1:26:23
  [SPEAKER_06]: but then he was nominated again last year for Conclave.
• 1:26:26
  [SPEAKER_06]: So that's why we talked about him then.
• 1:26:30
  [SPEAKER_06]: J. J. Kelly by Nicholas Britell, Marty Supreme from Daniel Lopatin, who's better known as one O.
• 1:26:38
  [SPEAKER_06]: Tricks Point Never, or OPN.
• 1:26:41
  [SPEAKER_06]: Nuremberg from Brian Taylor, Sirrat from Kang-Deen Ray.
• 1:26:46
  [SPEAKER_06]: Train dreams from Bryce Desner again, that's a whole score, not just a song, drawn areas from nine inch nails, specifically Trent Resner and Atticus Ross, we'll come back to that one.
• 1:26:55
  [SPEAKER_06]: Truth and treason from Aaron Zigman, wake up dead man and I was out mystery from Nathan Johnson and wicked for good from John Powell and Stephen Schwartz.
• 1:27:04
  [SPEAKER_06]: And I have seen all the ones in this category.
• 1:27:07
  [SPEAKER_06]: Have you seen any of these?
• 1:27:09
  [SPEAKER_06]: other than the one.
• 1:27:09
  [SPEAKER_00]: So I saw F1 and honestly it felt like generic Hollywood score.
• 1:27:16
  [SPEAKER_00]: I'm not the biggest on Zimmer fan, but it's like, oh, it fit the movie.
• 1:27:20
  [SPEAKER_00]: But it wasn't it didn't really do anything for me.
• 1:27:23
  [SPEAKER_00]: The only other film that I've seen outside from, you know, already talking about train dreams is Marty's dream.
• 1:27:30
  [SPEAKER_00]: And it's funny because I started watching that.
• 1:27:33
  [SPEAKER_00]: trying once I finished the main 10 and I'm going to start watching the short list.
• 1:27:37
  [SPEAKER_00]: I sent you a DM immediately.
• 1:27:39
  [SPEAKER_00]: Oh my god.
• 1:27:40
  [SPEAKER_00]: It's tears for fears at the beginning.
• 1:27:42
  [SPEAKER_00]: I love this.
• 1:27:43
  [SPEAKER_00]: And you're like, yeah, people didn't think it fit.
• 1:27:47
  [SPEAKER_00]: And then three minutes later I'm like, oh my god, this is set in the 50s.
• 1:27:50
  [SPEAKER_00]: It's got so much synth in there, like it sounds like a really awesome score, and that's obviously music supervision, the 80's pop music, but the score felt like an excellent 80's film, and it is very much a late 50's early 60's period piece.
• 1:28:09
  [SPEAKER_00]: I like the music, but it is a really curious stylistic choice.
• 1:28:14
  [SPEAKER_06]: I mean, obviously we're talking about Marty Supreme a lot because it's one of the biggest nominees.
• 1:28:18
  [SPEAKER_06]: I won't say too much, but I will say that the 80s score in the 50s film doesn't bother me.
• 1:28:24
  [SPEAKER_06]: I understand why some people are like it's anachronistic, but I also think that it just drives the energy of a safety film.
• 1:28:32
  [SPEAKER_06]: quite well.
• 1:28:33
  [SPEAKER_06]: The way it opens with that tears for fear, song and some other musical choices made throughout.
• 1:28:37
  [SPEAKER_06]: So I'm really liked the Marty Supreme score personally.
• 1:28:42
  [SPEAKER_00]: It's just weird.
• 1:28:43
  [SPEAKER_00]: Yeah.
• 1:28:43
  [SPEAKER_00]: But I mean, I love the music.
• 1:28:45
  [SPEAKER_00]: I like the film.
• 1:28:46
  [SPEAKER_00]: But okay.
• 1:28:47
  [SPEAKER_00]: So, but no, I haven't seen me the other ones.
• 1:28:50
  [SPEAKER_00]: Uh.
• 1:28:51
  [SPEAKER_00]: Sadly, so.
• 1:28:52
  [SPEAKER_06]: Okay.
• 1:28:53
  [SPEAKER_06]: Well, let's jump into, I mean, I'll say a front.
• 1:28:57
  [SPEAKER_06]: This is the likely winner and my choice as well.
• 1:29:00
  [SPEAKER_06]: We've already talked about this film, so I won't set it up too much, but the score is sinners, again, by Ludwig Gorinson, and the music clip I put together is a medley of free
• 1:30:10
  [SPEAKER_06]: did I make that montage slightly longer than the other ones maybe, but I also left out the surreal montage in there because as we said that that's mostly covered in that I lied to you which we already talked about.
• 1:30:22
  [SPEAKER_06]: But so yeah, we did already talk about one of the songs, but what do you think of the score overall?
• 1:30:28
  [SPEAKER_00]: So a lot of the same comments honestly, right?
• 1:30:30
  [SPEAKER_00]: It has a mix, right?
• 1:30:33
  [SPEAKER_00]: It has the folk traditions.
• 1:30:34
  [SPEAKER_00]: There's like Irish kind of Celtic,
• 1:30:38
  [SPEAKER_00]: which I guess would be sort of almost through like kind of Appalachia sort of this sort of southern, essentially like white American in the era, music with, you know, the sort of African, griot thing, and then the blues in there, Americana in general.
• 1:30:56
  [SPEAKER_00]: And there's like clustering modernist stuff that's like very not of that era, that's more, you know, sort of like what you would think
• 1:31:06
  [SPEAKER_00]: 20th century kind of experimental music or even like horror movie scores kind of those sort of things are in there and honestly I feel like the score even though it's made by a Swedish dude is like Why American music is the best music and I say that with all the jingle is I'm very much understood that I'm in playing there what what the fusions
• 1:31:29
  [SPEAKER_00]: that happened to create 21st century American music, or just magic.
• 1:31:34
  [SPEAKER_00]: The slave society of the 19th century created a forced kind of cultural exchange that led to so much suffering and so much absolutely amazing new forms of art.
• 1:31:55
  [SPEAKER_00]: And the blues jazz, rock and roll, R&B, hip hop,
• 1:31:59
  [SPEAKER_00]: And then like in this, if you take the surrounding area, that also was a part of that larger ecosystem, reggae, right, the Caribbean, like, uh,
• 1:32:07
  [SPEAKER_00]: music a Puerto Rico like it's just the best like there it's it sucks that it comes from such an awful thing and it also sucks that there should be a third leg on that stool which would be American indigenous music that didn't really get to be a part of the conversation in North America as much as it does in central South America.
• 1:32:25
  [SPEAKER_06]: I'll see because they incorporate a small amount of that into the center score because of the Choctaw which I didn't even know that madly but it's there.
• 1:32:33
  [SPEAKER_00]: But like not to tune our horn too much, but like the sins of this country led to an amazing like mix of music and this score is just a great tribute to that maybe by an outsider, but it's a great and it's it's song like it times other moments it's rhythmic and like propulsive other moments it's atmospheric
• 1:32:55
  [SPEAKER_00]: We didn't capture all that necessarily in your clips, but it's good.
• 1:33:01
  [SPEAKER_00]: I don't even know that it's necessarily my favorite of these, but it's really damn good.
• 1:33:05
  [SPEAKER_00]: I'm kind of undecided on other three that are battling in my head.
• 1:33:10
  [SPEAKER_00]: Sort of two really, but we'll see.
• 1:33:12
  [SPEAKER_06]: All right, we'll say from my perspective, yeah, this is, I do, my mother's mother's side of the family is from Mississippi and Alabama, and it has that background of, you know, because you, you had the, you had the black population of the south that were freedmen, you know, coming out of slavery, finding fighting for status there, and you also had on the Irish and Celtic side, you know, the,
• 1:33:38
  [SPEAKER_06]: indentured servants who had not the same but some striking similarities in that and they would live together in workhouses and when I go back through my family history I see you know because I also I have like a black branch of my family and people contacted me like as we're going through the genealogy like where does this come from you're like oh god oh god what's it going to be what's going to be oh they all lived in the workhouses together and
• 1:34:03
  [SPEAKER_06]: And they were all making this music together and this is where this unique American blend comes from that this film draws together so well so when I showed it to my mom she was like oh yeah let's watch the vampire movie you love so much and then at the end she's like oh my god that touched my soul that feels like
• 1:34:20
  [SPEAKER_00]: you know, where our family came from, um, descended from vampires.
• 1:34:25
  [SPEAKER_00]: Yeah, I guess.
• 1:34:26
  [SPEAKER_06]: Yeah, absolutely.
• 1:34:27
  [SPEAKER_06]: We are the vampires.
• 1:34:28
  [SPEAKER_06]: Um, but yeah, I just think that for me, I just love everything about this movie and, and the music most of all that is far and away, one of my favorite scores of all time.
• 1:34:39
  [SPEAKER_06]: So not only this year, um, and just the way that the music is core driving the narrative of this movie, which you really see
• 1:34:50
  [SPEAKER_06]: It all comes from Ryan Kougler's original script.
• 1:34:54
  [SPEAKER_06]: We'll obviously talk about that in a separate episode.
• 1:34:56
  [SPEAKER_06]: I love that Ryan Kougler and Robert Goronson were friends in college, and it's lovely to see them in interviews talk about that.
• 1:35:06
  [SPEAKER_06]: And just this intense, like,
• 1:35:09
  [SPEAKER_06]: Deep form of collaboration, the Ryan Kougler, fosters in general, but between these two men in particular, you just see that play out in this score.
• 1:35:17
  [SPEAKER_00]: Yeah.
• 1:35:18
  [SPEAKER_00]: I have to say, like college friends of mine, shame on you for not being super successful Hollywood directors, because it would be awesome.
• 1:35:26
  [SPEAKER_00]: If one of the people that I hung out with in college now was still calling me up, maybe it's me, maybe if I was a better composer, they would have become famous, but you know,
• 1:35:35
  [SPEAKER_06]: I mean, are any of them creating a Oscar nominated film?
• 1:35:40
  [SPEAKER_00]: No, that's what I'm saying.
• 1:35:41
  [SPEAKER_00]: You guys got a kind of deliverance called Remix.
• 1:35:45
  [SPEAKER_06]: I will say this is the favorite to win.
• 1:35:47
  [SPEAKER_06]: It's won 22 awards so far, plus honored ones.
• 1:35:51
  [SPEAKER_06]: It won the BAFTAs, I won the Grammys, it won for the film, it won Golden Globes, Critics Choice, it's only missed twice and there's two awards still pending including the Oscars.
• 1:36:04
  [SPEAKER_06]: sinners is the juggernaut, but we have to talk about the other film juggernaut of this season, which is one battle after another.
• 1:36:10
  [SPEAKER_06]: This film, again, directed by Paul Thomas Anderson, American film in English about some search for battle.
• 1:36:19
  [SPEAKER_06]: Others are born into it.
• 1:36:20
  [SPEAKER_06]: When their evil nemesis resurfaces after 16 years, a band of ex-revolutionaries reunite to rescue the daughter of one of their own.
• 1:36:28
  [SPEAKER_06]: And you'll find a triple dive into this film in the show notes because David
• 1:36:34
  [SPEAKER_06]: three different groups of people about this film.
• 1:36:37
  [SPEAKER_06]: It has 13 nominations, the other largest nominee of the year.
• 1:36:41
  [SPEAKER_06]: So we talked about it in the best picture preview and in production design, we're talking about it in score and we'll talk about it again in cinematography editing sound, directing adapted screenplay for acting nominations and casting.
• 1:36:54
  [SPEAKER_06]: And
• 1:36:55
  [SPEAKER_06]: Yeah, this is the Johnny Greenwood is the one who did this score and this is his third nomination after Phantom Thread in 2017 in the power of the dog in 2021.
• 1:37:08
  [SPEAKER_06]: You will hear a guitar for Willah, Ocean Waves, French 75 and one battle after another.
• 1:37:38
  [UNKNOWN]: Thank you.
• 1:38:11
  [SPEAKER_06]: So it has just like driving beat at the center of it.
• 1:38:29
  [SPEAKER_00]: Yeah.
• 1:38:30
  [SPEAKER_06]: Yeah.
• 1:38:31
  [SPEAKER_00]: Maybe to we say, can we say Johnny Greenwood also probably best known not as a film composer?
• 1:38:37
  [SPEAKER_00]: Right.
• 1:38:40
  [SPEAKER_00]: radiohead.
• 1:38:41
  [SPEAKER_00]: Right.
• 1:38:42
  [SPEAKER_00]: Right.
• 1:38:43
  [SPEAKER_00]: Like he's one of the guys in radiohead, which is, you know, very famous and influential, but also like experimental at times, right?
• 1:38:52
  [SPEAKER_00]: Um, and I think it's, it's kind of like, um, I feel like there isn't enough.
• 1:39:03
  [SPEAKER_00]: Laura Hound's time spent on this podcast.
• 1:39:06
  [SPEAKER_00]: So I should stall and talk for like 50 minutes because David didn't do it enough.
• 1:39:10
  [SPEAKER_00]: Um, yeah, what can I say?
• 1:39:12
  [SPEAKER_00]: I'll say this movie, I like it.
• 1:39:15
  [SPEAKER_00]: It's a good movie.
• 1:39:17
  [SPEAKER_00]: I was also siding it a lot and listening to the Laura Hound's talking about it and not to ever choose signal too much, but the third episode.
• 1:39:26
  [SPEAKER_00]: I think it's John coming in the third episode.
• 1:39:28
  [SPEAKER_00]: I'm like, yeah, now I'm hearing that because there's things about it that just kind of like, and I sent you DMs some of this while or right after I was watching it like, I don't know.
• 1:39:37
  [SPEAKER_00]: I like this move.
• 1:39:37
  [SPEAKER_00]: There's something weird about it.
• 1:39:39
  [SPEAKER_00]: So folks who haven't go back and listen to the coverage that gets less glowing as the episodes go on, I would say, but but it's really a great film.
• 1:39:49
  [SPEAKER_00]: It's just gone issues too.
• 1:39:52
  [SPEAKER_00]: So musically,
• 1:39:54
  [SPEAKER_00]: Yeah, I thought this one was cool.
• 1:39:57
  [SPEAKER_00]: This is the one where I'm like, maybe maybe I kind of like it more than the sinners.
• 1:40:01
  [SPEAKER_00]: I don't know, I don't think it's better.
• 1:40:02
  [SPEAKER_00]: But yeah, there's like player piano in there.
• 1:40:06
  [SPEAKER_00]: There's weird looping stuff, it's dissonant and it's erratic, like it's unpredictable in that.
• 1:40:11
  [SPEAKER_00]: It has like an intensity without being loud.
• 1:40:14
  [SPEAKER_00]: That,
• 1:40:15
  [SPEAKER_00]: It's I would say to me it's more postmodernist than modernist, right?
• 1:40:20
  [SPEAKER_00]: Like there's something about it that's kind of all mixed up and there's incongruities with what we're hearing and what we're seeing on the screen that I think can contribute to kind of a nervous energy through parts of this film that I thought was pretty effective.
• 1:40:36
  [SPEAKER_06]: Yeah, so the score was recorded with the London Contemporary Orchestra conducted by Hugh Bruns and released by Nonset Records and this is a sixth Greenwood collaboration with Paul Thomas Anderson.
• 1:40:48
  [SPEAKER_06]: He's been working with him since there will be blood in 2007 and this is the other big
• 1:40:54
  [SPEAKER_06]: financial juggernaut of the year in these categories.
• 1:40:57
  [SPEAKER_06]: It cost 132, some say 175 million to make and it made 209 million at the box office but it's definitely made some more money than that's on video on demand.
• 1:41:12
  [SPEAKER_06]: The score won two awards so far was honor twice missed 15 times mostly in favor of sinners.
• 1:41:20
  [SPEAKER_06]: And it has two pending awards, including the Oscars, and you can see it for yourself and listen to the score on HBO Max two hours and 42 minutes long and let's, I've, yeah, moved up this this other score that is the other most, uh, I don't want to say dissonance or discordant, but the other most modern nominee, let's say, which is Bogonia, well, can I just ask do you, what do you think of the one battle score?
• 1:41:47
  [SPEAKER_06]: I think it is, you know, it reminds me, like last year, I didn't love the brutalist, but I did love the score and it won.
• 1:41:57
  [SPEAKER_06]: Okay.
• 1:41:58
  [SPEAKER_06]: Yeah.
• 1:41:58
  [SPEAKER_06]: And this one, it reminds me of that, but a little bit less so.
• 1:42:03
  [SPEAKER_06]: And for me, for this one, it does match with the sort of stumbling,
• 1:42:09
  [SPEAKER_06]: discordance of the plot you know the way it's kind of a shaggy dog story and it's kind of like a shaggy dog driving score that so it does go well with the movie except sometimes it's like the score the timing of the score would intentionally be off what was happening on screen and that was like would drive me crazy a little bit watching.
• 1:42:28
  [SPEAKER_06]: I think unlike last year with the brutalist where I found things that I just really loved about the score that made it my favorite.
• 1:42:38
  [SPEAKER_06]: For this one, I appreciated, but I find the fact that I'm whole home on the film, perhaps getting in my way in the way of my appreciation of this one a bit.
• 1:42:50
  [SPEAKER_00]: Yeah, like with brutalists, yeah, with brutalists.
• 1:42:53
  [SPEAKER_06]: It was still my favorite even though I I like this film after the brutalists, but yeah, yeah, I don't know.
• 1:43:02
  [SPEAKER_00]: I think center deserves it more.
• 1:43:04
  [SPEAKER_00]: I think this is good.
• 1:43:05
  [SPEAKER_00]: Good though.
• 1:43:06
  [SPEAKER_00]: Okay.
• 1:43:06
  [SPEAKER_00]: I like this score.
• 1:43:07
  [SPEAKER_00]: All right.
• 1:43:08
  [SPEAKER_06]: So Bagonia is the other most modern discordant.
• 1:43:14
  [SPEAKER_06]: We'll say.
• 1:43:15
  [SPEAKER_06]: So this is a Jerskin-Fendrix.
• 1:43:18
  [SPEAKER_06]: This is his second nomination after poor things in 2023.
• 1:43:22
  [SPEAKER_06]: So you collaborate with Yurgos Lenth-Mosalatu is the film director for Bagonia.
• 1:43:27
  [SPEAKER_06]: The film is from the UK, Ireland, South Korea, and USA because it is of remake of, as I've talked about elsewhere, of a Korean film.
• 1:43:35
  [SPEAKER_06]: Save the Green Planet.
• 1:43:36
  [SPEAKER_06]: The language is mostly English, we'll say, and the plot of the film is too conspiracy obsessed.
• 1:43:41
  [SPEAKER_06]: Young men kidnapped the high-powered CEO of a major company convinced that she is an alien intent on destroying planet Earth.
• 1:43:48
  [SPEAKER_06]: and it received four nominations the film so we talked about in best picture preview score now we'll talk about it in adapted screenplay and best actress and the music clip that people at home are going to hear is bees eclipse and saliva antifreeze
• 1:44:21
  [UNKNOWN]: Thank you very much.
• 1:44:53
  [SPEAKER_06]: I mean, I'll just say I think that this score is...
• 1:45:12
  [SPEAKER_06]: I guess I feel more about this the way I felt about the Brutalist last year where this one I really appreciate the inventiveness of the score.
• 1:45:20
  [SPEAKER_06]: It's kind of all over the place.
• 1:45:22
  [SPEAKER_06]: Like Jerskin was given.
• 1:45:23
  [SPEAKER_06]: This was one where unlike Ryan Couglar is like Ludwig Gorenson, let's make you part of this entire process from the very beginning.
• 1:45:33
  [SPEAKER_06]: With this, Lampthmos is like,
• 1:45:40
  [SPEAKER_06]: put together a score based on these prompts, and he gave prompts like bees, spaceship, basement.
• 1:45:47
  [SPEAKER_06]: And so there's are the names of some of the songs.
• 1:45:50
  [SPEAKER_06]: What do you think about this score overall?
• 1:45:53
  [SPEAKER_06]: Or in the film too, since we haven't heard it.
• 1:45:54
  [SPEAKER_00]: So the film, it's funny.
• 1:45:56
  [SPEAKER_00]: I listened to your coverage of the best picture nominees and this came up, the like preview a month ago, or whatever before I'd seen it.
• 1:46:04
  [SPEAKER_00]: And I felt like spoiled.
• 1:46:06
  [SPEAKER_00]: Not because you spoiled the plot, but because of literally the genre that one of you said this was that made me when I was watching it go oh I know where this is going and I did because I would have gone in being like
• 1:46:18
  [SPEAKER_00]: completely blindsided by a lot of it, but but I saw the new where it was going and so I was listening to the score with that in mind, right?
• 1:46:26
  [SPEAKER_00]: And the score feels very much like it was written by a guy who was given the word's bees basement and spaceship.
• 1:46:33
  [SPEAKER_00]: So it's very odd.
• 1:46:34
  [SPEAKER_00]: There's buzzing.
• 1:46:35
  [SPEAKER_00]: There is synthy stuff.
• 1:46:37
  [SPEAKER_00]: There's chimie.
• 1:46:38
  [SPEAKER_00]: There's swirling stuff.
• 1:46:40
  [SPEAKER_00]: It is unsettling.
• 1:46:40
  [SPEAKER_00]: It's not scored to picture.
• 1:46:42
  [SPEAKER_00]: Obviously he wrote a bunch of music and then they put it in or maybe they
• 1:46:48
  [SPEAKER_00]: It's cool.
• 1:46:49
  [SPEAKER_00]: I liked it.
• 1:46:50
  [SPEAKER_00]: It's haunting.
• 1:46:50
  [SPEAKER_00]: It's sort of mid-20th century avant-garde like it feels more pushing the envelope just as from a compositional statement standpoint than any of the other scores.
• 1:47:01
  [SPEAKER_00]: I don't know.
• 1:47:05
  [SPEAKER_00]: I don't know that.
• 1:47:07
  [SPEAKER_00]: I don't even know what I think of this movie, like I kind of liked it, but also kind of it's just it's kind of a lot.
• 1:47:13
  [SPEAKER_00]: So it's difficult for me to really say where this one ranks with me.
• 1:47:17
  [SPEAKER_00]: I do appreciate the score.
• 1:47:18
  [SPEAKER_00]: I think it sounds really cool.
• 1:47:22
  [SPEAKER_00]: I'm a little, yeah, I'm just a little like unsure where it falls.
• 1:47:27
  [SPEAKER_00]: I guess I wasn't taken on much of an emotional journey by it though, right?
• 1:47:31
  [SPEAKER_00]: And that's part of that is the movie.
• 1:47:34
  [SPEAKER_00]: The movie is a certain kind of movie.
• 1:47:36
  [SPEAKER_06]: Yeah, and I'm really glad I would people do have to say I'm really glad I watched the movie But I'll say it's my second favorite of the Of the best picture nominees.
• 1:47:47
  [SPEAKER_00]: Oh wow.
• 1:47:48
  [SPEAKER_00]: It's just so weird, but like yeah I did you know what you're getting to you're not very versatile
• 1:47:54
  [SPEAKER_00]: Yeah, right.
• 1:47:55
  [SPEAKER_06]: Well, I mean, so I had already watched, and I love Save the Green Planet, the film that it's a remake of the Korean film, right?
• 1:48:02
  [SPEAKER_06]: So I knew a little bit too much going in, and I actually in a way wish that I didn't, I think it would have been more fun to be surprised by it.
• 1:48:11
  [SPEAKER_06]: But, and I do of the two, even though Lantimos, one of my favorite directors, I prefer Save the Green Planet version of this story.
• 1:48:18
  [SPEAKER_11]: Okay.
• 1:48:18
  [SPEAKER_06]: But I still quite like this.
• 1:48:20
  [SPEAKER_06]: The difference with this, I would say, that length most dives more into the nuanced psyche of especially the central characters here.
• 1:48:29
  [SPEAKER_06]: Right.
• 1:48:31
  [SPEAKER_06]: Yeah, as far as the score, I appreciate the inventiveness.
• 1:48:35
  [SPEAKER_06]: It's, again, performed by the London Contemporary Orchestra, which is same as one battle after another.
• 1:48:42
  [SPEAKER_06]: So they're having a big year.
• 1:48:44
  [SPEAKER_06]: And I just like, for instance, Fendrix wrote that adolescent thrashing bombastic music, he said that to reflect it, Teddy, the central characters, angst on being alone and paranoid.
• 1:48:59
  [SPEAKER_06]: And I think that it does, it's an interesting way that it's composed where he didn't get to see the script, but just given the themes.
• 1:49:07
  [SPEAKER_06]: And so in that way, it does feel a little more disconnected from the movie than the other scores, but I think that it really reflects a lot of ideas and interesting ways.
• 1:49:16
  [SPEAKER_06]: I'll say this was a mid budget success, 45 to 55 million on the budget.
• 1:49:23
  [SPEAKER_06]: It made 42 million in the theaters, but it's still more than broke even after, you know, video on demand and all that stuff.
• 1:49:31
  [SPEAKER_06]: It's you can watch it yourself on peacock.
• 1:49:34
  [SPEAKER_06]: It's now in 58 minutes long.
• 1:49:35
  [SPEAKER_06]: The score has not won anything yet.
• 1:49:38
  [SPEAKER_06]: It missed four times and the Oscars is the last one pending.
• 1:49:41
  [SPEAKER_06]: So it's unlikely to win here, but I think it's an interesting interesting submission.
• 1:49:46
  [SPEAKER_06]: I will say when it comes to the modern scores, the one that I really wanted to see in here was the Tron Ari score from nine inch nails or
• 1:49:57
  [SPEAKER_06]: and Trent Resner is usually the one credited, but this time they actually said, let's credit nine inch nails.
• 1:50:02
  [SPEAKER_06]: And so, Tron Aries, again, the third tron movie about a highly sophisticated program called Aries, played by Jared Leto.
• 1:50:08
  [SPEAKER_06]: It's sent back from the digital world into the real world on a dangerous mission, marking humankind's first encounter with AI beings.
• 1:50:15
  [SPEAKER_06]: And the writing, not the greatest, but I think, I'm gonna talk about this film again and with the VFX, but I just think,
• 1:50:22
  [SPEAKER_06]: The score to me was really interesting.
• 1:50:23
  [SPEAKER_06]: Here's a little sampler platter from that of infiltrator.
• 1:50:27
  [SPEAKER_06]: This changes everything and in it.
• 1:51:04
  [SPEAKER_06]: So I know you didn't get a chance to watch this movie.
• 1:51:06
  [SPEAKER_06]: I'll say this is one where you can tell by the beat that it really drives the film, the score.
• 1:51:13
  [SPEAKER_06]: And it just really creates an immersive watching experience.
• 1:51:16
  [SPEAKER_06]: Are you a fan of nine inch nails or Trent Rezner?
• 1:51:19
  [SPEAKER_00]: I like nine inch nails.
• 1:51:21
  [SPEAKER_00]: I like trends other film scores, which I haven't seen all of it, but what I've seen, like, yeah, he's a great, great at this.
• 1:51:30
  [SPEAKER_00]: This is very cool in that just the clips you're playing, it feels like
• 1:51:35
  [SPEAKER_00]: It has that early digital synthesizer thing, like the 80s when the first trauma came out, right?
• 1:51:42
  [SPEAKER_00]: And so they're giving that full disclosure.
• 1:51:44
  [SPEAKER_00]: I have never seen a single trauma despite being for the years old, exactly the age of people who would have seen it.
• 1:51:53
  [SPEAKER_00]: So I've never seen Tron, so I don't have a lot of context except there is a musical vibe that I've heard before, right?
• 1:51:59
  [SPEAKER_00]: And this fits that.
• 1:52:00
  [SPEAKER_00]: It's cool.
• 1:52:00
  [SPEAKER_00]: I can't comment on how awesome the score is, because I haven't seen the movie or listen to more than 30 seconds of it, but it's I'm a fan of what Trent does.
• 1:52:10
  [SPEAKER_00]: So more power.
• 1:52:12
  [SPEAKER_00]: Sorry, he didn't get nominated.
• 1:52:14
  [SPEAKER_06]: Yeah, I mean, I just, I think that I've filmed on the technical side was really underestimated, but I'll talk about that more in, uh, looking forward to the effects.
• 1:52:23
  [SPEAKER_06]: So that's just me putting it out there, um, just justice for town areas and it's over maligned and I feel like a lot of people malign it because they don't like Jared Leto, which fair I don't.
• 1:52:34
  [SPEAKER_06]: I understand why people dislike him.
• 1:52:36
  [SPEAKER_06]: He doesn't ruin movies for me the same way he seems to do for others.
• 1:52:40
  [SPEAKER_06]: I think if you just want a nice experience, I'll say the Tron score is what I hoped the F1 score would be.
• 1:52:49
  [SPEAKER_06]: if that makes sense with that sort of driving, you know, I totally get that.
• 1:52:53
  [SPEAKER_00]: Yeah.
• 1:52:54
  [SPEAKER_00]: Totally.
• 1:52:55
  [SPEAKER_00]: Yeah.
• 1:52:55
  [SPEAKER_00]: They should have dad Trent Resner do the F1 score.
• 1:52:58
  [SPEAKER_00]: Yeah.
• 1:52:58
  [SPEAKER_00]: Right.
• 1:52:59
  [SPEAKER_00]: That's like a that movie.
• 1:53:01
  [SPEAKER_00]: I like that movie that movie is a like a product placement essentially.
• 1:53:05
  [SPEAKER_00]: Right.
• 1:53:05
  [SPEAKER_00]: So I'm not surprised.
• 1:53:06
  [SPEAKER_00]: They went to the sort of classic everything.
• 1:53:10
  [SPEAKER_00]: Classics stars, classic composer that sort of, you know, it's
• 1:53:15
  [SPEAKER_00]: It's a little generated in the lab for, you know, an officially licensed sports film.
• 1:53:22
  [SPEAKER_00]: But I enjoyed watching it and the music's good music.
• 1:53:25
  [SPEAKER_06]: But well, okay, speaking of classic composers, the last two films we'll talk about are more of the on the traditional score and just kind of lovely stuff.
• 1:53:36
  [SPEAKER_02]: Interesting.
• 1:53:37
  [SPEAKER_06]: Let's talk first about HamNet.
• 1:53:39
  [SPEAKER_06]: I think for me, HamNet has the more interesting hook.
• 1:53:44
  [SPEAKER_06]: So a score by Max Richter, this is his first nomination, film director by Chloe Zhao, American film.
• 1:53:51
  [SPEAKER_06]: Oh, so the UK and American film in English, it's about the powerful story of love and loss that inspired the creation of Shakespeare's timeless masterpiece Hamlet, but I'll say the central character is very much Shakespeare's wife called Agnes here, sometimes she's called Anne Hathway, not the actress, obviously.
• 1:54:09
  [SPEAKER_06]: This cabinet was nominated eight times this year so we talked about the best picture preview.
• 1:54:14
  [SPEAKER_06]: It also came up in production design and costumes.
• 1:54:17
  [SPEAKER_06]: We're talking about the score and then it'll come up again and directing adapted screenplay, best actress and casting and it's most likely to win best actress.
• 1:54:25
  [SPEAKER_06]: And just to set up the song, it is a, you're going to hear at home a medley of the sky and of the undiscovered country.
• 1:55:33
  [SPEAKER_06]: I'll say, yeah, the of the undiscovered country is a more upbeat, beat, reprise of the most memorable on the nature of daylight.
• 1:55:49
  [SPEAKER_06]: It's also called elsewhere in the school.
• 1:55:52
  [SPEAKER_06]: What did you do with the film?
• 1:55:54
  [SPEAKER_00]: on the nature of daylight on the nature of daylight, so I'm a fact, Max Richter's cool.
• 1:55:59
  [SPEAKER_00]: He did the arrival score in the most iconic score moment in that is called on the nature of daylight.
• 1:56:06
  [SPEAKER_00]: Is they did he literally recycle the same piece of music or is it different?
• 1:56:11
  [SPEAKER_06]: Hey, it's another future check-in because I had to look up the history of this song after what Mark brought up and it turns out it has a much richer history than either of us even realized.
• 1:56:23
  [SPEAKER_06]: So to quote this article from a V club that I will link in the show notes,
• 1:56:27
  [SPEAKER_06]: Richter wrote the score for Hamlet, but he returned to his acclaimed back-cadlog for its finale borrowing on the nature of daylight from his 2004 release, The Blue Note Books.
• 1:56:38
  [SPEAKER_06]: The album, which The Guardian heralded, is one of the greatest pieces of classical music for the 21st century, was written as what Richter described as a protest album about Iraq, a meditation on violence.
• 1:56:51
  [SPEAKER_06]: Both the violence that I had personally experienced around me as a child,
• 1:56:55
  [SPEAKER_06]: and the violence of war at the utter futility of so much armed conflict.
• 1:57:01
  [SPEAKER_06]: It's second track quickly became one of Richter's signature works.
• 1:57:05
  [SPEAKER_06]: It only took a couple of years following the blue notebooks released for Hollywood to become inspired.
• 1:57:10
  [SPEAKER_06]: Martin Scorsese used it in Shutter Island, the ensemble drama disconnect included it on their soundtrack for a story about modern technologies,
• 1:57:23
  [SPEAKER_06]: It's so prominently and crushingly used in Geneva nives a rival that it led to the film's actual composer, Johan Johansson being deemed ineligible for a best-score Oscar.
• 1:57:36
  [SPEAKER_06]: But Hamnet truly feels like the last time we can get away with using this Richter piece in a narrative.
• 1:57:43
  [SPEAKER_06]: Jow and Richter use it so sublimely in this climactic outpouring of grief and creativity.
• 1:57:48
  [SPEAKER_06]: a well-earned moment of catharsis through art that they earn the right to repeat what is now cliche.
• 1:57:54
  [SPEAKER_06]: So there we go.
• 1:57:59
  [SPEAKER_00]: because that's a great, that's a great film cue.
• 1:58:02
  [SPEAKER_00]: The on the nature of daylight is, so I'm a fan of Max Richter, both like his films, like Arrival's a great score, but also just, you know, he writes concert music.
• 1:58:10
  [SPEAKER_00]: He's a post-minimalist, I feel like I'm kind of like, Kindred Spirit in terms of the kind of music that I like creating to.
• 1:58:17
  [SPEAKER_00]: This is very like, you say it's more traditional, but it feels like John Taverner, like Mystic Minimalist, like mid 20th century,
• 1:58:26
  [SPEAKER_00]: Like it doesn't have the romanticism that like a classic film score does it feels a little more somber almost thousand year old at the same time as being modern like there's something in it and not as much as some of the direction to that's how the director's film this is one I kind of wish I didn't know that it was about Shakespeare's family because when I was watching it
• 1:58:52
  [SPEAKER_00]: You could probably be at least an hour into that movie before you understood that that's who this was right.
• 1:58:57
  [SPEAKER_00]: They don't say his name.
• 1:58:59
  [SPEAKER_00]: They said eventually like like two hours into it like oh, it's hamlet but there's this guy writing at some point and he says like what what what yonder light dot and he quotes.
• 1:59:09
  [SPEAKER_00]: Shake right Romeo and Juliet, but if I didn't know they if they.
• 1:59:14
  [SPEAKER_00]: Right.
• 1:59:15
  [SPEAKER_00]: I would have thought always just thinking of Shakespeare while he's writing the film itself spoils it not just by the title, but there's an opening card that says like Hamlet and Hamlet were spelled interchangeably for the long so they do so I'm not spoiling it, but yeah, but it would have been an interesting like stealth sequel kind of like
• 1:59:39
  [SPEAKER_00]: interesting about this is how little score there was.
• 1:59:43
  [SPEAKER_00]: There are massive periods, entire scenes with no music, and then an emotional moment, what happened, and then the music would turn on.
• 1:59:51
  [SPEAKER_00]: And I thought that was pretty effective.
• 1:59:53
  [SPEAKER_00]: I thought,
• 1:59:54
  [SPEAKER_00]: This wasn't my favorite of the movies.
• 1:59:57
  [SPEAKER_00]: We watched it's a little slow, I guess.
• 2:00:00
  [SPEAKER_00]: You could say, it's very beautiful in so many ways.
• 2:00:03
  [SPEAKER_00]: And I really enjoyed the experience.
• 2:00:05
  [SPEAKER_00]: The ending is so effective.
• 2:00:08
  [SPEAKER_00]: And part of what makes it so effective is what I'm talking about.
• 2:00:11
  [SPEAKER_00]: It's the lack of, and I won't say anything about what happens.
• 2:00:13
  [SPEAKER_00]: But there isn't really music, and then there is.
• 2:00:17
  [SPEAKER_00]: And that happens with, and that's on the nature of daylight.
• 2:00:22
  [SPEAKER_06]: That's all.
• 2:00:23
  [SPEAKER_00]: which is the bonkers if that's literally what it's called because that's the most famous I'm almost positive that is the most famous cue from a rival which he also wrote like a decade ago So but that parallel is a little bit that that ending scene is like There is an emotion that's not there and then suddenly that emotion is there and it's extremely effective and there's an extremely effective use of a hand that is Really wonderful acting and wonderful filmmaking and the music plays a really important role in that and I think
• 2:00:53
  [SPEAKER_00]: This one is the other one that, because like I like the one that'll music a lot, but this one,
• 2:01:00
  [SPEAKER_00]: owns a part of the narrative in a way that centers music owns a part has a role in the narrative centers music just there's so much more of it right like I can't give max credit max Richter credit for like five minutes with no score even though that's actually an effective strategy from the creators perspective.
• 2:01:21
  [SPEAKER_06]: So I think the editor credit there I suppose.
• 2:01:24
  [SPEAKER_00]: Right, in the director, but maybe I mean, Max Richter might have been a part of the conversations.
• 2:01:28
  [SPEAKER_00]: Like, I think it's between me.
• 2:01:31
  [SPEAKER_00]: It's between that, but Frank Sin is great too.
• 2:01:34
  [SPEAKER_00]: But Frank Sin is more traditional.
• 2:01:36
  [SPEAKER_00]: Like, I always like a score that I notice doing something different a little bit.
• 2:01:41
  [SPEAKER_00]: And so sinners and HamNet, I think, probably for me are the most successful, but I'm also, I like Richter's stuff in the past, so maybe on bias.
• 2:01:51
  [SPEAKER_06]: Yeah.
• 2:01:51
  [SPEAKER_06]: You know, so also this is the third most successful commercially in this category, it's it costs 30 to 35 million to make and it's made 88 million just in the box office alone and yeah, it's definitely as far as a film, it's considered like the third most.
• 2:02:11
  [SPEAKER_06]: awards season successful film after sinners in one battle after another and what I find interesting about it though is so this is the score and this is by the way would be my second choice pick in this category personally but what I found interesting is that because it's such a heavy movie at times so many emotions for the cast and everything to live through as they were filming
• 2:02:34
  [SPEAKER_06]: they would do dance takes at the end.
• 2:02:36
  [SPEAKER_06]: So you can find a link to this video in the show notes where you can see after that final scene, which is indeed a heavy one.
• 2:02:44
  [SPEAKER_06]: They have everyone coming out dancing on the stage to Rihanna as we found love, which is musically doesn't go with the movie at all.
• 2:02:53
  [SPEAKER_06]: It's way too modern, but the medically it is the perfect way to sum up how this film ends.
• 2:03:01
  [SPEAKER_06]: So I find that very interesting that that was even though they have this this score, you know, that we've been discussing in their minds.
• 2:03:10
  [SPEAKER_06]: They're also thinking, Rihanna, we found love.
• 2:03:13
  [SPEAKER_00]: Yeah, Rihanna, love also famously, one of the bumper ad bumper music for my podcast is a knockoff of we found love that I created.
• 2:03:22
  [SPEAKER_00]: So yeah, it's a very cool, cool little dance group.
• 2:03:25
  [SPEAKER_00]: Yeah.
• 2:03:26
  [SPEAKER_06]: I said I'm not a pop fan.
• 2:03:27
  [SPEAKER_06]: I'm not, but I am a Rihanna fan.
• 2:03:31
  [SPEAKER_00]: All right, one more.
• 2:03:32
  [SPEAKER_00]: All right.
• 2:03:33
  [SPEAKER_00]: So yeah.
• 2:03:34
  [SPEAKER_00]: So we're going to do it.
• 2:03:35
  [SPEAKER_00]: So we're going to do it.
• 2:03:36
  [SPEAKER_06]: So I'll just say this one hasn't won any Cabinet score, nine misses, one pending the Oscars.
• 2:03:43
  [SPEAKER_06]: You can watch it by renting it for now.
• 2:03:46
  [SPEAKER_06]: It will eventually be on peacock and it's two hours and six minutes long.
• 2:03:50
  [SPEAKER_06]: That brings us to perhaps the most traditional of the lot Frankenstein score by Alexander Displot, a day plot.
• 2:03:57
  [SPEAKER_06]: I never know which way to pronounce his name.
• 2:03:58
  [SPEAKER_06]: This is his 12th nomination.
• 2:04:01
  [SPEAKER_06]: He was nominated for the Queen, the curious case of Benjamin Button, Fantastic Mixter Fox.
• 2:04:06
  [SPEAKER_06]: The King's speech, Argo Filomena, the imitation game, Isle of Dogs, and Little Women, and One twice for the Grand Bud Best Hotel and the shape of water.
• 2:04:15
  [SPEAKER_06]: So absolutely a juggernaut.
• 2:04:16
  [SPEAKER_06]: in this category, film, of course, by Guillermo del Toro, the language mostly English a little bit of Danish.
• 2:04:24
  [SPEAKER_06]: It's only Monsters Play God.
• 2:04:25
  [SPEAKER_06]: It's the Frankenstein plot.
• 2:04:27
  [SPEAKER_06]: I won't go through it again.
• 2:04:27
  [SPEAKER_06]: We did do an entire deep dive into this.
• 2:04:30
  [SPEAKER_06]: I did a deep dive into Frankenstein in general.
• 2:04:32
  [SPEAKER_00]: The whole season of content, everybody.
• 2:04:35
  [SPEAKER_06]: You can find it on the podcast, the one for this movie in the show notes.
• 2:04:40
  [SPEAKER_06]: I'll link that nominated nine times talked about in the best picture preview.
• 2:04:45
  [SPEAKER_06]: It's going to take home probably all of production design costume or makeup and hair.
• 2:04:49
  [SPEAKER_06]: We're talking about it in school.
• 2:04:50
  [SPEAKER_06]: And we'll talk about it again in cinematography and sound adapted screenplay and supporting actor.
• 2:04:54
  [SPEAKER_06]: In the music clip that you will hear at home is William and father and the castle.
• 2:05:12
  [UNKNOWN]: Thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us today, thank you very much for joining us
• 2:05:57
  [UNKNOWN]: Thank you.
• 2:06:10
  [SPEAKER_06]: What did you think of the film overall?
• 2:06:13
  [SPEAKER_06]: Are you a Frankenstein fan?
• 2:06:14
  [SPEAKER_06]: What do you think of the film?
• 2:06:15
  [SPEAKER_06]: What do you think of the score?
• 2:06:16
  [SPEAKER_00]: I am a Frankenstein fan.
• 2:06:17
  [SPEAKER_00]: I have not seen that many Frankenstein movies, but I read the book when I was young, and I enjoyed the book.
• 2:06:22
  [SPEAKER_00]: I read.
• 2:06:22
  [SPEAKER_00]: I have a double addition that turning one direction is Frankenstein flipping it is Dracula.
• 2:06:28
  [SPEAKER_00]: And I have that, it's like really unwieldy.
• 2:06:31
  [SPEAKER_00]: It makes the book massive.
• 2:06:32
  [SPEAKER_00]: But I read it when I was 12 or whatever, and loved both of them.
• 2:06:37
  [SPEAKER_00]: Guillermo del Toro is one of my favorite directors.
• 2:06:38
  [SPEAKER_00]: I think Pan's Labyrinth could be my favorite film of all time.
• 2:06:42
  [SPEAKER_00]: It's absolutely in the top five for me.
• 2:06:45
  [SPEAKER_00]: So I'm a sucker for for a lot of his work.
• 2:06:49
  [SPEAKER_00]: I thought this movie was was really great.
• 2:06:53
  [SPEAKER_00]: I, you know, there's parts when you see such an off-than-adaptive thing.
• 2:06:58
  [SPEAKER_00]: There's parts where I'm like, oh, well, why didn't they build the bride?
• 2:07:00
  [SPEAKER_00]: They didn't even do, sorry, spoiler like, well, there's all stuff like that.
• 2:07:03
  [SPEAKER_00]: But overall, I like this interpretation.
• 2:07:05
  [SPEAKER_00]: I thought it was well done.
• 2:07:06
  [SPEAKER_00]: Um, and yeah, we're not talking about the music yet.
• 2:07:11
  [SPEAKER_00]: Just talk about the music.
• 2:07:13
  [SPEAKER_00]: Oh, yeah.
• 2:07:14
  [SPEAKER_00]: Um, this is the most traditional of this course.
• 2:07:17
  [SPEAKER_00]: It fits that though.
• 2:07:19
  [SPEAKER_00]: I think this would be weird with Trent Resner.
• 2:07:21
  [SPEAKER_00]: It would be weird with the John and Greenwood.
• 2:07:23
  [SPEAKER_00]: I think, but it also wasn't.
• 2:07:25
  [SPEAKER_00]: boring kind of like, God, I hate to, I don't want to hate on Hans Zimmer, but like I, it didn't feel as like replacement level as F1.
• 2:07:35
  [SPEAKER_00]: Like it, it's traditional, it didn't get me that excited, but it's atmospheric when it needs to be, it's not as sort of,
• 2:07:43
  [SPEAKER_00]: sweeping melodic and romantic that you would think for a movie with this story and this inspiration know era, right?
• 2:07:52
  [SPEAKER_00]: It didn't feel as highly romantic in the capital R since it was a little more modernist than that and a little more subtle.
• 2:08:01
  [SPEAKER_00]: And I liked it.
• 2:08:02
  [SPEAKER_00]: I don't think it is doing
• 2:08:06
  [SPEAKER_00]: something worth the attention that would make it win.
• 2:08:10
  [SPEAKER_00]: But it did its role in the film.
• 2:08:13
  [SPEAKER_00]: It's successful.
• 2:08:14
  [SPEAKER_00]: Yeah.
• 2:08:16
  [SPEAKER_06]: Yeah, I mean, I like the thinking behind it, you know, the way it is tied to, it takes a traditional approach of like what are the themes for the different characters.
• 2:08:26
  [SPEAKER_06]: So they use violin for the creature because they wanted that something that was both delicate and wild.
• 2:08:34
  [SPEAKER_06]: So, you know, I love decisions like that.
• 2:08:38
  [SPEAKER_06]: It's a plot, he's not like a, he's not like a horror person per se, but he has worked with Yamaldor Toro a few times now, and he says about it to quote him, Gamos cinema is very lyrical, and my music is rather lyrical too.
• 2:08:52
  [SPEAKER_06]: So I think the music of Frankenstein will be something very lyrical and emotional.
• 2:08:57
  [SPEAKER_06]: I'm not trying to write horrific music, although you will have heard particularly the castle in that medley that I just played.
• 2:09:03
  [SPEAKER_06]: It has that more Gothic classic Gothic touch to it.
• 2:09:06
  [SPEAKER_06]: So I think he did that well blending something that is, you know, nods back to the origins of Frankenstein, but also does feel like, okay, this is a new version created by a Mexican man, we should say, because there is more, you know, he just spots said I'm I'm French, I, yeah, it's why I want to call him, they plough probably it is.
• 2:09:29
  [SPEAKER_06]: So, he says, you know, his natural instinct is to be restrained and very French, whereas Del Toro says, like, make it Latin, make it sing, make it lively, and so the score is a marriage of those two things.
• 2:09:42
  [SPEAKER_06]: This one, it's in Netflix one, so it costs 120 million to make.
• 2:09:45
  [SPEAKER_06]: Didn't make much in the box office because they barely put it in the theaters, but you can watch it on Netflix two and a half hours long.
• 2:09:52
  [SPEAKER_06]: It's one, one, award, honored ones, 13 misses, again, hello sinners.
• 2:09:58
  [SPEAKER_06]: and to pending including the Oscars.
• 2:10:01
  [SPEAKER_06]: So, okay, we come to the end.
• 2:10:03
  [SPEAKER_06]: What is for your category here?
• 2:10:07
  [SPEAKER_06]: Do have you decided on a personal preference?
• 2:10:10
  [SPEAKER_00]: I think I'm going to go sinners.
• 2:10:12
  [SPEAKER_00]: I think it's sinners followed by ham and it.
• 2:10:14
  [SPEAKER_00]: I think
• 2:10:15
  [SPEAKER_00]: sinners is a preference and a prediction in both categories, though I think I don't have a second place that says, I think Hamlet is closer second than any of the songs are for me, relative to lie to you.
• 2:10:36
  [SPEAKER_06]: Yeah, I'll say sinners for me, a distant first, but I think overall, I think this is a strong category overall here, and as we said before, I'm glad to see the variety represented here for sure.
• 2:10:50
  [SPEAKER_00]: 100%.
• 2:10:51
  [SPEAKER_06]: Well, that we should have had nine inch nails, just say it.
• 2:10:54
  [SPEAKER_00]: Yeah.
• 2:10:55
  [SPEAKER_00]: Yeah, no, I mean, that would be more variety, that's for sure.
• 2:10:57
  [SPEAKER_00]: Yeah.
• 2:10:57
  [SPEAKER_00]: Well, this was fun.
• 2:10:58
  [SPEAKER_00]: I can't wait to read about who won the next day.
• 2:11:01
  [SPEAKER_06]: or follow along on the discord like I did for the de Grammys to I didn't actually watch it but I was watching people on our channel talk about it which was we have we have the live chat set up who will be under current shows when the Oscars come out and I know we'll have a we had a lively chat last year we've been having lively chats for some of the other ward shows so join in there but what is coming up on never mind the music as this comes out
• 2:11:27
  [SPEAKER_00]: All right, so last week we had a episode on boys to men, Motown Philly, so a regular old episode.
• 2:11:33
  [SPEAKER_00]: We've been talking about boys to men since the beginning and finally they got their own episode.
• 2:11:37
  [SPEAKER_00]: But the one that just dropped this week is actually a guest, my old friend from when I was a kid who moved out of the state and I didn't meet until again until 30 years later when we happened to coincidentally get jobs at the same year, teaching in the same city.
• 2:11:52
  [SPEAKER_00]: he is a scholar of media studies and a communication and he has a book on authenticity and a chapter on selling out.
• 2:12:02
  [SPEAKER_00]: And so we have a conversation with him about authenticity in music and what AI does to that.
• 2:12:07
  [SPEAKER_00]: What is it like to be authentic when you don't even know if they're humans?
• 2:12:12
  [SPEAKER_00]: And so we had a fun conversation with him that I think people in this milieu will appreciate.
• 2:12:18
  [SPEAKER_00]: So check it out.
• 2:12:19
  [SPEAKER_06]: Um, yeah, I haven't heard it yet, but you told me before we recorded that you referenced me as someone who's always bitching about A.I.
• 2:12:26
  [SPEAKER_06]: stealing out jobs, shakes fists.
• 2:12:28
  [SPEAKER_00]: Well, we talk about that, yeah, and there's some old old people yelling at clouds in that episode, but we try to also be open minded.
• 2:12:36
  [SPEAKER_00]: I find myself.
• 2:12:38
  [SPEAKER_00]: in a brief clip kind of defending AI and I edited it today and I'm like, oh my God, don't extra listen, share this with anybody I know.
• 2:12:47
  [SPEAKER_06]: I mean, yeah, it's a nuanced conversation, which is a whole nother discussion if had many other times.
• 2:12:54
  [SPEAKER_06]: So we'll let you go with thank you so much for your insights and your opinions and another great, never mind the Oscar's music crossover episode.
• 2:13:05
  [SPEAKER_00]: Awesome, until next time.
• 2:13:07
  [SPEAKER_06]: Okay, I'll keep this outro brief.
• 2:13:11
  [SPEAKER_06]: Thank you again to Mark.
• 2:13:13
  [SPEAKER_06]: Check out, so again, never mind the music.
• 2:13:15
  [SPEAKER_06]: The episodes we talked about are linked in the show notes.
• 2:13:17
  [SPEAKER_06]: Check out also, properly Howard, which just started their newly wed season of first-time movie watches.
• 2:13:25
  [SPEAKER_06]: And radioactive ramblings who have just wrapped up fallout and are about to start up the boys and invincible.
• 2:13:33
  [SPEAKER_06]: And of course on the Cinema Hounds feed and on the main lower hounds feed, we have the end of the Oscar series coming out this week.
• 2:13:42
  [SPEAKER_06]: So watch out for an episode about the tech categories, another about writing and directing in the final pre Oscars episode about the acting and new casting category.
• 2:13:54
  [SPEAKER_06]: And then join us if you are interested this Sunday March 15th at 8 p.m. Eastern time US or actually probably about an hour or so before that for the red carpet we will be gathering on the discord in the live chat awards channel to discuss the ceremony as it airs if you would like to join for that as well.
• 2:14:19
  [SPEAKER_06]: And of course there's plenty of non-award season stuff going on like David and John's weekly the pick coverage that upcoming one off from the bone temple.
• 2:14:30
  [SPEAKER_06]: John and I will be back to cover season two of one piece and John is also putting out just a few hours after this a long awaited continuation in the Earthsea book series.
• 2:14:43
  [SPEAKER_06]: Not to mention, watch out tomorrow for David's chat with Shaw and Nicole about checking in on the new season of paradise.
• 2:14:52
  [SPEAKER_06]: And subscribers, get voting the poll is open for March of the Millennials Month.
• 2:14:58
  [SPEAKER_06]: Last I looked mean girls was in the lead, but there's still a chance for oh brother, where are they?
• 2:15:05
  [SPEAKER_06]: If you want to help swing the votes that way.
• 2:15:08
  [SPEAKER_06]: And to this brings us to one of my favorite parts of the episode, the thanking portion starting with you, you, the person listening right now.
• 2:15:17
  [SPEAKER_06]: Thank you so much for giving us your time and your ears.
• 2:15:21
  [SPEAKER_06]: I hope you enjoyed it.
• 2:15:22
  [SPEAKER_06]: If you did, we would love it if you shared this episode with whoever else you think might enjoy it.
• 2:15:29
  [SPEAKER_06]: Kind ratings and reviews, rather listening are also extremely helpful and deeply appreciated.
• 2:15:34
  [SPEAKER_06]: Now, we always shout out our special thank yous to those who also give us their financial support, starting with our Discord server boosters, Aaron K. Tiller, the Thriller doves, everyone Athena, Angelaya, let's do, Nancy M. Goes to Partition, Radioactive Richard and Andrian.
• 2:15:52
  [SPEAKER_06]: And thank you to all of our subscribers.
• 2:15:55
  [SPEAKER_06]: We're hoping to grow this number so that we can focus more of our efforts on making the best podcast for you possible.
• 2:16:03
  [SPEAKER_06]: And we owe the most thanks to our highs to hear the Laura Masters, some Martian Michael G. Michelle E. SC, Peter O'H, Nancy M. Doe 71, Brian 863, Frederick H. Sarah L. Garcia, Andrew B. Kwong New, Nathan T. Sub-Zero, Aaron K. Dally V. Mothership, 61, Norles.
• 2:16:21
  [SPEAKER_06]: Kathy W. Lestu, Jeffrey B. Elisa U. Ben B. Scott F. Steven and Julia F. Colleus.
• 2:16:28
  [SPEAKER_06]: Ill-Mario, Paul K. Rocky-Zim, Jessica A.
• 2:16:31
  [SPEAKER_06]: Red Zippy, the TCS, Dope-Bamini, catch it!
• 2:16:35
  [SPEAKER_06]: LNR, Mrs. Tenet, A.C. Wilson, E.I.W.
• 2:16:38
  [SPEAKER_06]: Cassie K. Chumbaruni, Katiya, Josh Lue, Painton Pediex, Cori G. Quinch, and always last atrium.
• 2:16:45
  [SPEAKER_06]: Thank you all so much and see you next for a very lively discussion that I've already recorded.
• 2:16:51
  [SPEAKER_06]: The next episode where Dakota Arsenal, a professional working in the film industry and a fellow death racer, joins to discuss the cinematography VFX editing and sound categories, which
• 2:17:06
  [SPEAKER_06]: I kind of went on a deep dive into all of the technical details, so stay tuned for that to come out next.
• 2:17:14
  [SPEAKER_06]: And until then, I hope you have a great day.
• 2:17:16
  [SPEAKER_06]: Bye!
• 2:17:18
  [SPEAKER_01]: The lower-hounds podcast is produced and published by the lower-hounds.
• 2:17:21
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• 2:17:27
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• 2:17:33
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• 2:17:38
  [SPEAKER_01]: Thanks for listening.