Results of the Golden Globe Award in the year 2012.
The Artist is a silent film directed by Michel Hazanavicius using the techniques and expressions reminiscent of old-time movie making. Composer Ludovic Bource’s original music is brilliant and catchy in the spirit of Chaplin, Max Steiner and Franz Waxman and evokes the big romantic symphonic repertoire from the 19th Century. The music speaks and replaces the words—it becomes part of the story and is essential to the film.
The soundtrack for the 2011 US adaptation of The Girl With The Dragon Tattoo, by David Fincher, composed by Trent Reznor and Atticus Ross. This is the second soundtrack that Reznor and Ross have worked on together, the previous being The Social Network, also for David Fincher. Soundtrack includes Reznor and Karen O of the Yeah Yeah Yeahs’ take on Led Zeppelin’s ‘Immigrant Song’.
Hugo marks the sixth collaboration between director Martin Scorsese and composer Howard Shore. Like Scorsese’s film, Shore’s score to Hugo is a love letter both to the French culture in the 1930s and to the groundbreaking early days of cinema.
Hugo tells the story of Hugo Cabret, a boy who lives behind the walls of a Parisian train station. Shore’s music is composed for two ensembles one nested within the other to create a sense of layering in the musical palette. Inside a full symphony orchestra resides a smaller ensemble, a sort of nimble French dance band that includes an Ondes Martenot, musette, cimbalom, tack piano, gypsy guitar, upright bass, 1930s trap-kit and an alto saxophone. ‘’I wanted to match the depth of the sound to the depth of the image,’’ says Shore. The score’s central theme is a Parisian waltz that develops into the song Coeur Volant. Howard Shore invited renowned French singer Zaz to collaborate with Elizabeth Cotnoir and him on the song, which captures the lyrical essence of the world of Hugo.
The dramatic countryside of Dartmoor has inspired John Williams to compose a score of such beauty and quiet majesty that one might think the earth was speaking through him, much as the heavens have done for nearly five decades. When I first heard John s sketches of the four central themes for War Horse, I didn t need my memories of the film to underscore the feelings I was having. The music was a stand-alone experience and it affected me deeply, as have so many of John s scores during our nearly 40-year collaboration. I feel that John has made a special gift to me of this music, which was inspired not only by my film but also by many of the picturesque settings of the poet William Wordsworth, whose vivid descriptions of the British landscape inspired much of what you are going to hear.