The “Interstellar” embargo has officially lifted (our review is here), so with the addition of composer Hans Zimmer, where are we now in the race for Best Original Score Oscar? He’s been nominated nine times, last in 2011 for his infamous (some say snubbed) supply of braaaams for Christopher Nolan’s “Inception.” But Zimmer has not won since 1995, for “The Lion King.” What gives?
Zimmer, now a Hollywood Music in Media nominee, is on track as a likely contender this year for his organ-heavy “Interstellar” score. (Paramount opens “Interstellar” next week, with the soundtrack rolling out via WaterTower on November 18.) Several experts at GoldDerby have tapped Zimmer to win the prize. The “12 Years a Slave” composer was snubbed for the nomination last year (did the score too closely resemble his 1999 nominated work for Malick’s “The Thin Red Line”?).
(“Interstellar” is one of four eligible Zimmer scores this year, including “The Amazing Spider-Man 2,” which Anne Thompson discusses with him in our detailed interview here.)
The Hollywood Music nominees — “Imitation Game,” “Birdman,” “Theory of Everything,” “Interstellar,” “Fury,” “The Judge” and “Gone Girl” — are the frontrunners for the prize at the moment. We interviewed the composer of “Birdman”‘s innovative all-drums score, Antonio Sanchez, here, and Trent Reznor who collaborates with Atticus Ross on “Gone Girl” here.
Our eyes are on “Gone Girl,” an electro score that’s both sickly sweet and suffocatingly menacing—the evil, dark and sordid underside of Reznor’s Oscar-winning work on David Fincher’s “Social Network.”