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Who can take the Academy seriously when over the span of 24 (I'm being generous now) Bond films full of record-breaking stunts, sets of unmatched quality, amazing cinematography and innovative everything, only four (!) statues were ever won and the most recent of those feels more like a concession than anything else. What's more, not a single one of John Barry's epic Bond scores like GF, YOLT, OHMSS, MR, ... was even nominated!
LALALAND won 6 Oscars for doing what had been done countless times before but with the added spice of celebrating Hollywood in its golden years as well. Now, I have nothing against LALALAND; I'm just a trifle frustrated that the Academy has continuously chosen to neglect the unparalleled technical and artistic brilliance that's prevalent in the Bond series.
I agree.
The Oscars, of course, aren’t credible for the single reason only English-language films are more or less able to win the bloody thing.
Even if they go for something different in recent years they came up with La vie en rose and La vita è bella. That’s just not getting it.
Of course a film like YOLT should have won Best Score, Best Cinematography and Best Production Design, but the fact that it didn’t just proves you don’t have to give a damn anyway.
And when they are, it's not Duran Duran's A View to a Kill or a-ha's The Living Daylights or Tina's GoldenEye that wins but Sam Smith crying.
Or, as pointed out, TSWLM score gets nominated but none of the John Barry scores. I mean surely OHMSS, YOLT or TLD deserved it more, right?
I couldn't agree more. Any one of Barry's scores should have been nominated. TBH, that Sam Smiths's "Writing's On The Wall" would actually win the Oscar when, for example, 'You Only Live Twice", "All the Time In the World", or "A View To A Kill" was never even nominated signifies the drop in standards for current film scores. I imagine WOTW was the best out of a very unmemorable batch of songs.
Most music in films today I couldn't hum, whereas "Journey to Blofeld's Hideaway" I instantly recognize.
It was great being young in the '80s when a lot of movies had great soundtracks loaded with pop and rock tunes.
Don't most of these award shows just boil down to politics in the end? And it only appears to be getting worse. All this hijacking of awards to make a political statement needs to be nipped in the bud.
How does CR not get nominated for best director or best actor, it’s a blockbuster franchise film but when talent is there it shouldn’t be ignored.
Plus they're usually wrong.
Also - I am sure Sylvester Stallone did not get an Oscar just because he played and wrote „Rambo“. He acted wonderful in „Creed“ and would have deserved it - but as said I am sure it was political why he did not receive it.
Didn't even know the Sam Smith song got nominated! TSWLM nomination I had simply forgot about. Barry not getting nominated for his scores just emphasize how much of a joke the The Oscars is.
Exactly. The ignoring of Barry and Adam in particular is laughable.
Not a single nomination for Barry's Bond work? There must have been some staggeringly good scores in 67 and 69.
Adam just as bad - a solitary nomination for TSWLM?
I thought it was only recently the Oscars have become a total joke but it seems ''twas ever thus.
If only they'd been working now where the only requirement is to be black or a woman (or ideally both).
The nominations at the height of Bondmania (GF, TB) make sense, as do the ones at the first critical/commercial rejuvenation (TSWLM, leading to MR and FYEO). Paul McCartney of course is an icon, as was the song.
And say what you will about Mendes--god knows I do--but the man is Oscar bait.
I actually don't consider Bond movies primarily action movies.
Sean
and
Dan
... have at it, boys (as I never seem to have an argument on this statement with our better halves)
Because it's Bond, it's a series and any film which is part of a series falls out anyway. Personally I don't find lalaland a good film at all. I always thought (still think) film is a medium to tell stories, and the oscars wer meant to judge those films on their ability to do so. For that alone CR should've won an oscar. But hell, it's part of a frenchise, so fat chance. It isn't 'artistic' enough for snobs in Hollywood.
@peter I disagree, there are 6 ;-)
It's not even the winning it's the lack of nominations.
Newman gets a nomination for SF but Barry doesn't for any of his Bond scores? I'm sorry but that's taking the piss academy.
This got me curious and I went searching. There were actually two sets of nominations back then, one for original score and another adapted for a musical or original musical, so there were even more chances.
YOLT was beaten in original by Thoroughly Modern Millie, which somehow won, Cool Hand Luke, Dr. Doolittle, Far from the Maddening Crowd and In Cold Blood.
OHMSS was beaten by Butch Cassidy and the Sundance Kid, which won, Anne of the Thousand Days, The Reivers, The Wild Bunch and The Secret of Santa Vittoria, whatever that is.
After Barry, my other favorite film composer is Jerry Goldsmith, who got screwed over even more. The man earned 18 Oscar nominations for scores and won just once, deservedly for The Omen, which helped that film immensely. He also never won a Golden Globe nor a Grammy for his scores although several nominations, but had better luck winning Emmys.
His Planet of the Apes score is one of the most original of all time and frequently on my playlist.
No question John Williams is one of the greatest, but I'm convinced he gets a nomination each time out due to respect or obligation.
Well, I don't really like arguing on the internet, even when it's just for fun.
So I'm not going to argue, but I am going to register my strong disapproval!