The excitement is building as the 2024 Oscars approach, bringing with them a celebration of the finest achievements in the world of cinema. Of course, one of the most anticipated categories for music fans will be Original Score and Song. Here’s a look at the nominee’s.
Original Score Nominees
“American Fiction” composed by Laura Karpman
The soundtrack to “American Fiction” combines a whole lot of whimsy, with contemporary Jazz and piano anchoring throughout. Composer Laura Karpman has ties to the classical work with “Ask Your Mama” (in which Jessye Norman performed) and “The 110 Project” written for L.A Opera.
“Indiana Jones and the Dial of Destiny” composed by John Williams
Building on the iconic theme of the Indiana Jones franchise, the original score for “Dial of Destiny” takes audiences on a thrilling adventure. The soundtrack also earns composer John Williams his 54th Oscar nomination (source People).
“Killers of the Flower Moon” composed by Robbie Robertson
This score by Robbie Robertson feels very modern, with lots of electric guitar, and to quote Jennifer Walden “calculated quiet.” It does a good job of capturing the tension of the film.
“Oppenheimer” composed by Ludwig Göransson
“Oppenheimer” director Christopher Nolan claims the only real idea he had for the score was for it to “basing the score on the violin.” The composer Ludwig Göransson echo’s this saying that “In seconds you can go from something beautiful to something completely horrifying” (source: Youtube). Electronic and real instrumentation help echo the conflict of the film.
“Poor Things” composed by Jerskin Fendrix
The original score for “Poor Things” captures a quirky, sometimes tonally uncomfortable soundtrack by Jerskin Fendrix. The score favors woodwinds and organs as well as post-production manipulation to parallel what the character is going through mentally (source. LA Times).
Original Song Nominees
“The Fire Inside” (“Flamin’ Hot”) composed by Diane Warren
This catchy, modern song with Latin beat earns Diane Warren her 15th nomination in this category (source: EW). It is performed by the multi-talented Becky G (actress/singer/activist).
“I’m Just Ken” (“Barbie”) composed by Mark Ronson and Andrew Wyatt
He may only have a good day if Barbie looks at him but this nomination is sure to make composers Mark Ronson and Andrew Wyatt smile. Ryan Gosling undoubtedly took a risk with this role, but he is not a stranger to performing musically having been part of the Mickey Mouse Club and previously 2016’s “La La Land.” Gosling is also nominated for Best Supporting Actor.
“It Never Went Away” (“American Symphony”) composed by Jon Batiste and Dan Wilson
Multi-instrumentalist, composer, and singer Jon Batiste is back with a hauntingly beautiful composition (previously won for Soul Best Original score). “It Never Went Away” is from the Netflix documentary following Jon’s journey to composing a symphony. It was composed with Dan Wilson.
“Wahzhazhe (A Song For My People)” (“Killers of the Flower Moon”) composed by Scott George, Kenny Bighorse, and Vann Bighorse
Inspired by a true story, the “Killers of the Flower Moon” soundtrack ends with “Wahzhazhe” which was composed by Osage Nation members Scott George, Kenny Bighorse and Vann Bighorse. The piece is performed by the Osage Tribal Singers and is raw and culturally rich.
“What Was I Made For?” (“Barbie”) composed by Billie Eilish and Finneas O’Connell
“What Was I Made For?” composed by brother/sister duo Billie Eilish (who also performs the track) and Finneas O’Connell underscores the emotional essence of the “Barbie” film. It marks the second nomination for Billie and Finneas, they previously won for “No Time to Die” featured in the James Bond Franchise.
Best Picture Nominee: “Maestro”
In addition to the music categories, “Maestro,” a film based on the life of legendary composer Leonard Bernstein, has earned a nomination for Best Picture. Classic FM revealed that Bradley Cooper (also nominated for Best Actor) has a background in both popular and classical music and has had a love for conducting since he was eight years old.
There is nothing like the magic of cinema, and it’s clear, not only with these nominees but also with the countless others who came before them, that the films that the cinematic experience would lack their profound impact and emotional resonance without their compelling scores.
