It’s anybody’s game: this is a rare year when any of the five original-score nominees could win the Oscar. Two of the nominees are previous winners, two more are past nominees; only one is a newcom…
It’s anybody’s game: this is a rare year when any of the five original-score nominees could win the Oscar. Two of the nominees are previous winners, two more are past nominees; only one is a newcomer, and it’s a three-man ensemble.
Four films are period pieces: an admired German-language war film, a character study set against the Irish civil war, an epic of late 1920s Hollywood, and a coming-of-age story for a young filmmaker in the ‘50s and ‘60s; the fifth is a wild, anarchic tale of a Chinese American family that saves the universe.
Bertelmann’s scary three-note “destruction” motive — which reminded director Edward Berger of Led Zeppelin — permeates the entire score, and his music for the naive soldier Paul was filtered to emulate the “muffled” sound he might have experienced in trenches surrounded by gunfire and explosions. This is Bertelmann’s second Oscar nomination, and his BAFTA win on Sunday may bode well for Oscar.
“It was this wild, unhinged, hedonistic world full of underground music, and I realized that we could do things that would really stretch the boundaries of what we think of as 1920s music,” he says. He took inspiration from modern house, EDM and dance music to match the energy and reckless abandon conveyed in the film.
Brendan Gleeson plays his own music on the fiddle, and McDonagh didn’t want any faux-Irish music in the score, so Burwell’s score plays the increasingly dark and disturbing story and what he calls “the mystery of Inisherin.” This is Burwell’s third nomination .
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