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and the oscar for best score goes to…

jonny greenwood for “there will be blood”?

um, no.

i know. let’s give the oscar to the most cloying and obvious score in recent memory.

honestly. i didn’t think much of atonement. the young girl (saorise ronan) was phenomenal, but the movie itself was badly in need of some editing. i nearly fell asleep while they wandered endlessly around france during world war ii.

but the thing that kept me awake was the score, because every time i started to nod off, there would be that goddamn tap tap tap on the typewriter sprinkled throughout the score, supposedly strategically. this to me is an idea that sounds like it arose in a committee, and should have been rejected. “hey, she’s a writer. what sound can we use symbolically in the score to show she’s a writer?”

can we get more obvious? this is oscar-worthy brilliantly divergent and original thinking?

it’s as if voters purposely picked the worst score, in protest. maybe they did.

all i know is that someday, jonny greenwood is going to be a even more critically acclaimed composer in musical genres other than rock. perhaps he’ll win that oscar someday, for another film.

my advice to him?

don’t waste your time scoring any more hollywood films. they don’t deserve you.

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