Wednesday, February 13, 2019

Music Behind the Ride: The Sherman Brothers

In the Disney theme parks around the world, you cannot get very far without hearing the music of the Sherman Brothers.  In this edition of Music Behind the Ride, I wanted to look at the songs written by the Sherman Brothers and the attractions they go with.

After catching the ear of Walt Disney, Robert B. Sherman and Richard M. Sherman became staff songwriters in 1960.  Loving their music, Walt would turn to the brothers for title songs and musical numbers for many films including: The Parent Trap (1961), The Sword in the Stone (1963), Mary Poppins (1964), The Monkey's Uncle (1965), That Darn Cat! (1965), and The Jungle Book (1967).  They would work on other projects after Walt Disney's death in 1966, like Chitty Chitty Bang Bang (1968), Adventures of Tom Sawyer (1973), Adventures of Huckleberry Finn (1974) and the Slipper and the Rose (1976).

They would resume a relationship with Disney with songs for The Aristocats (1970), Bedknobs and Broomsticks (1971), and the musical voice of Winnie the Pooh through the multiple shorts and theatrical Many Adventures of Winnie the Pooh (1977).  They returned to Disney feature films with new songs for The Tigger Movie (2000).

Chitty Chitty Bang Bang and Mary Poppins made the leap to the stage, with productions all over the world.  Even after Robert's death in 2012, Richard provided new lyrics to The Jungle Book (2016), wrote three new songs and cameoed in Christopher Robin (2018) and served as music supervisor for Mary Poppins Returns (2018).

Even with their impressive film resume, their music for the Disney parks are some of the most recognizable and revered.  Here's a sampling of what music of theirs you can hear in the park, both past and present.  [For easy reference, I'm going in chronological order by attraction opening.]

The Enchanted Tiki Room
This tropical indoor attraction opened at Disneyland in 1963.  The show features four macaw hosts along a whole menagerie of birds, tiki drummers, totem poles and flowers.  While there are other songs in the show, it's the title song by the Sherman Brothers that is the clear winner.  This was also the first song ever written for audio-animatronics.  Full of great lyrical puns, "The Tiki Tiki Tiki Room" is the main highlight and one of the catchiest songs in the Disney parks.  The show was copied at Magic Kingdom, opening as Tropical Serenade in 1971.  Walt Disney World's Magic Kingdom went through a phase as The Enchanted Tiki Room (Under New Management) from 1998-2011.  After a small fire in the show building, the much maligned show (which only featured a snippet of the main song), was replaced in 2011 with a re-instated but shorter version of the Disneyland original.   

It's a Small World
The original attraction was created for the 1964 New York World's Fair - located in the UNICEF pavilion intending to promote peace and unity through the children of the world.  After the fair, the ride was moved to Disneyland's Fantasyland and opened in 1966.  Several hundred children audio-animatronic dolls were designed by Mary Blair, and costumed in traditional dress by Alice Davis.  Instead of individual national anthems, the Sherman Brothers came up with "It's a Small World (After All)".  As the boats travel through the scenes, the song loops again as the voices sing in their native language while the musical arrangement matches the country as well.  Previously named Children of the World, the song gave the ride its final name.  Versions of the ride opened in Walt Disney World in 1971, Tokyo Disneyland in 1983, Disneyland Paris in 1992 and Hong Kong Disneyland in 2008.  In case you wonder why the iconic song is stuck in your head, the verse and chorus work in counterpoint together and the ride loops the song through the entire 12 minute ride.

Carousel of Progress
Originally part of the 1964 New York World's Fair, the Carousel of Progress made the move to Disneyland in 1967.  The auditorium rotates as audiences see four scenes from the 1900s to the 21st century.  Each scene begins the transition with the Sherman Brothers upbeat song "There's A Great Big Beautiful Tomorrow".  Even as one of Walt's favorite attractions, the Disneyland version closed in 1973 before moving to Florida in 1975.  To match some of the ride changes, the Sherman Brothers wrote "The Best Time Of Your Life".  Renamed Walt Disney's Carousel of Progress with the refurbishment in 1994, the original Sherman Brothers song was brought back.  Instrumental arrangements of "The Best Time Of Your Life" can be heard today in Tomorrowland at both parks. 

Adventure Thru Inner Space
Appearing in Disneyland's Tomorrowland in 1967, guests travel through the Mighty Microscope and see the world on an atomic level.  The first to use the Omnimover ride system, you travel past ice crystals, water molecules and even the nucleus of the atom.  At the end of the ride, you see displays of sponsor Monsanto.  In addition to the music score by Buddy Baker, the Shermans wrote "Miracles from Molecules".  The ride closed in 1985 to make way for Star Tours (which features a few tributes to the closed ride).  The song can still be heard today as part of the instrumental music loop throughout Tomorrowland.

America on Parade
As America celebrated its bicentennial in 1976, Disney went all out with America on Parade.  This larger than life parade in both California and Florida celebrated with huge People of America characters through scenes and stories of America over the years.  Among the patriotic tunes, the Sherman Brothers wrote "The Glorious Fourth", which was performed during the parade.  It ran until 1977, and naturally, the song hasn't been used since.

World Showcase March
At the grand opening ceremony of EPCOT Center in 1982, a large World Showcase Parade premiered with tons of musicians and dancers in fun costumes.  The parade was accompanied by the Sherman Brothers tune, "There's No Place Like World Showcase".  The song was performed a handful of times during the festivities and also in the Skyleidoscope lagoon show (1985-1987), but has since disappeared from the park.  

Magic Journeys
In 1982, Magic Journeys was one of opening attractions in EPCOT Center.  Located in the Journey Into Imagination pavilion, this 16-minute 3D film followed the imagination of a young child.  The preshow featured the Sherman Brothers song "Makin' Memories" while the short film used the titular song "Magic Journeys".  The slightly (okay, really) strange film was interesting enough to open in Disneyland's Tomorrowland in 1984, and Tokyo Disneyland in 1985.  All three would close to make way for another 3D film - Captain EO.  The ride did make a comeback in Magic Kingdom from 1987-1993 until Legend of the Lion King took over. 

Astuter Computer Revue
Opening with EPCOT Center in 1982 in the CommuniCore East building, there were interactive exhibits and shows about computers.  One of the shows featured was the Astuter Computer Revue - with guests standing in front of large glass windows overlooking the park's computer room.  'Transported' from the United Kingdom pavilion was host Earlie the Pearlie.  Performed by Broadway actor Ken Jennings (of Sweeney Todd fame), he was 'shrunken down' and able to dance among the computers.  He sang "The Computer Song", most related to the Mary Poppins Cockney-style tunes.  If you haven't heard of this show or song, the ride closed in 1984.  It was followed by Backstage Magic and later retooled into Innovations in 1994.

Journey into Imagination
This fan favorite from EPCOT opened in 1983 that used an Omnimover floating among the clouds and meeting the eccentric Dreamfinder.  He creates the dragon Figment and you ride through various imaginative ideas about literature, art and music.  The theme of the ride is best exemplified in the overly catchy Sherman Brothers song "One Little Spark".  Figment became a hit among Disney fans at Epcot, but with the ride's closure in 1998, the replacement Journey Into YOUR Imagination removed the Dreamfinder, the song and left Figment as a mere cameo.  The new ride and its Imagination Scanner was strongly disliked by fans and closed in 2001.  In 2002, Journey Into Imagination with Figment opened with a return of the song and Figment (sans Dreamfinder).  The current incarnation is still running in the park.     

Rocket Rods
Built on the track of the beloved PeopleMover in Disneyland's Tomorrowland in 1998. Technical problems surrounded the ride which closed for refurbishment in 2000 and never opened back. Due to the high speeds of the rocket cars, the PeopleMover track was permanently damaged. But the ride did have a theme song: "World of Creativity (Magic Highways of Tomorrow)". Arranged by Steve Bartek (a name familiar with Danny Elfman), the song is adapted from the Sherman Brothers song "Detroit" from The Happiest Millionaire (1967).

The Many Adventures of Winnie the Pooh
It's no surprise the numerous songs the Sherman Brothers wrote for the Winnie the Pooh films made it into the ride.  While none of the songs are original to the ride, the Sherman Brothers songs dot the entire soundtrack.  Originally opening in Florida in 1999, the ride made its way to Disneyland, Hong Kong Disneyland and Shanghai Disney.  Tokyo Disneyland's version, Pooh's Hunny Hunt, is unique to that park. Luckily, we hear the tunes of “Winnie the Pooh”, “A Rather Blustery Day”, “The Wonderful Thing About Tiggers”, “Heffalumps and Woozles”, “Hip Hip Pooh-Ray”, “The Rain, Rain, Rain, Came Down, Down, Down".

Disneyland Forever
As Disneyland celebrated its 60th Anniversary Diamond Celebration in 2015, the nighttime fireworks spectacular featured the new songs, "Live the Magic" and "A Kiss Goodnight" with music and lyrics by Richard Sherman. 

Almost everywhere you go in a Disney park, you hear the work of the Sherman Brothers.  It's no surprise they became Disney Legends in 1990.  Their work on Mary Poppins won them two Academy Awards in 1965 - for best score and best song (Chim-Chim-Cher-ee).  


In 2010, they were also honored with a window inscription in Disneyland's Main Street, U.S.A.  It reads:  
Two Brothers Tunemakers - Richard M. Sherman and Robert B. Sherman - “We’ll Write Your Tune For A Song!” 

Wednesday, January 23, 2019

Music Behind the Ride: Universal Live Shows


In this edition of Music Behind the Ride, I'm focusing on two different live shows with the music front and center at Universal Studios Hollywood. Besides the famous Studio Tour, live shows became the next addition in the 1960s with stunt shows following through the 70s and 80s. It wasn't until the 1990s when rides started appearing at the park.


After the run of the classic monster show Castle Dracula (1980-1983), Universal turned to Landmark Entertainment to create a live stunt show based on 1982's Conan the Barbarian. Opening in summer, 1993 The Adventures of Conan: A Sword and Sorcery Spectacular wowed audiences in the live stage production. Featuring state-of-the-art lasers and pyrotechnics, the 20 minute show also featured a 18-foot tall fire breathing dragon. Instead of following the film's plot, the show followed Conan and Red Sonja fighting an evil wizard and henchmen in a classic good-versus-evil story. As far as the music needed, Conan the Barbarian composer Basil Poledouris was brought in for the stage show. While it sounds like it fits in his Hyborean Age style, no themes from the film score were used. Like the film, the show is nearly scored wall-to-wall. Poledouris kept a lighthearted action/adventure tone, helping emphasize the sword and sorcery than the brutality of the film. Even in the short production, a new romance theme and new heroic Conan material were introduced. Usual collaborator Greig McRitchie orchestrated the score and was conducted by Poledouris with the London Studio Symphony Orchestra and choir. 

The Adventures of Conan continued at Universal Studios until 1994. The Castle Theatre continued live shows like Beetlejuice Graveyard Revue, Spider-Man Rocks! and most recently the Special Effects Stage show. In 2000, the recording of the Poledouris score was released on the Super Tracks label. The 24 minute album features a portion of the show complete with booming narration along with the music as recorded. The Sword and Sorcery Spectacular made it to disc yet again in 2011, this time paired along with the City of Prague Philharmonic Orchestra re-recording of Conan the Destroyer (1984).

Meanwhile, across the park, action stunt shows of The A-Team and Miami Vice ran through the 1980s and 90s. While filming was going on, the next stunt show became WaterWorld: A Live Sea War Spectacular. Opening in fall 1995 (after the summer film opening), the 16 minute show featured the gigantic pool, live stunts, large pyrotechnics, and jet-skis which soak the arena's front rows. The seaplane entrance is a highlight for sure. Taking place after the film, Helen returns after discovering Dryland and is pursued by Deacon and the evil Smokers until The Mariner shows up to save her. As soon as you walk into the 2,500 seat arena, the film's music is piped in. Instead of a newly composed score, tracks from the James Newton Howard soundtrack are used. 

During the preshow seating, you hear Deacons Speech looped. The Main Title is heard under the opening narration. The Atoll underscores Helen's entrance. With most of the large action set to Escaping the Smokers, it's easy to get that swashbuckling music stuck in your head as you leave.

The WaterWorld show at Universal Hollywood is still running, even if a majority of the audience hasn't seen the film it's based on. The attraction expanded to Universal Studios Japan in 2001 and Universal Studios Singapore in 2010.  The show was refined in 2014 and referbished in 2017 with slightly adjusted characters, plot and sound system.  As far as recordings, almost everything is looped from the original soundtrack, so no official show recording has been released.



Universal Hollywood and Universal Florida have some other strong film score connections. Let me know if there's ride or attraction you'd like featured in the next Music Behind the Ride!             

Monday, January 7, 2019

Quick Review: Mary Poppins Returns

Mary Poppins Returns
Music score composed by Marc Shaiman
Songs written by Marc Shaiman and Scott Wittman
Original Mary Poppins themes by Richard M. Sherman and Robert B. Sherman
Conducted and Supervised by Paul Gemignani
Dance and Additional Music Arrangements by David Krane
Orchestrated by Jeff Atmajian, Doug Besterman, Michael Starobin, Danny Troob, Brad Dechter, Larry Blank, Julian Kershaw, Jon Kull
Music score conducted by Gavin Greenaway
Music recorded at AIR Lyndhurst Studios, Abbey Road Studios
Soundtrack running time: 78 minutes
Available on Walt Disney Records

Mary Poppins Returns brings back the magic of the P.L. Travers characters and a sequel to the classic Disney film from 1964. Just as before, the songs and score are connected to the film itself. In 1964 there was the Sherman Brothers (Richard M. Sherman and Robert B. Sherman) writing the music and songs with Irwin Kostel adapting and conducting.

54 years later, new songs carry much of Mary Poppins Returns. This time, we get songs by Marc Shaiman and Scott Wittman. Score is also by Shaiman, a 5 time Oscar nominee and Tony Award winner. I love a new musical, and I also love a good song score. Melodies of the songs are woven into the score, and are sometimes introduced as semi-leitmotifs before the song proper. Since about half of the soundtrack album feature the songs (and deserve a review all to themselves), I want to just focus on the instrumental score.

The songs include:
Underneath the Lovely London Sky; A Conversation; Can You Imagine That?; The Royal Doulton Music Hall; A Cover is Not the Book; The Place Where Lost Things Go; Turning Turtle; Trip a Little Light Fantastic; Nowhere to Go But Up

As like most original Disney soundtracks, songs are featured in the first half of the album and you'll have to make your own playlist to put them in chronological order with the score.

After a brief introduction to Lin-Manuel Miranda's Jack, we get a full main title sequence with gorgeous painted backgrounds as we hear the Overture. Full of grand statements of themes - Can You Imagine That, Place Where Lost Things Go, Trip a Little Light Fantastic and Underneath the Lovely London Sky. The orchestra sounds fantastic through this Broadway-style medley, and there's a little hint of Spoonful of Sugar near the opening.

Theme from Mary Poppins Returns isn't in the film, but rather Shaiman's entry into his themes used both for the trailer and on set filming. It's used through the film as Mary's theme, which also becomes Can You Imagine That. Kite Takes Off uses the Lovely London Sky melody to represent Jack, as the orchestra whips up a bit of action and magic all while hinting at Mary's theme before a full sweeping thematic reveal.

Mary Poppins Arrives reveals a lighthearted version of Mary's theme full of orchestral frills and comedic beats. The Sherman Brothers melodies from Spoonful of Sugar and The Perfect Nanny also make short but sweet appearances. Magic Papers gives a little more motion to bits of Mary's theme among glissando harps and comedic styling. Older Michael is represented with a reprise of A Conversation on piano and later the brass present a snippet of Fidelity Fiduciary Bank. (Bet you forgot about that song!)

In the short cue Banks in the Bank, we hear more Fidelity Fiduciary Bank among sprightly woodwind writing. Into the Royal Doulton Bowl plays as we enter the animated world with the glitzy opening bits of Royal Doulton Music Hall mixed with Can You Imagine That. The melody on flute is jaunty, as it underscores their animated carriage taking them to the Music Hall.

After Mary and Jack's performance of A Cover is Not the Book, we get a serious action cue in Rescuing Georgie. Shaiman shows off his orchestral writing here, giving the strings plenty to do, with woodwind and harp flourishes aplenty mixed with heroic statements of the Royal Doulton Music Hall verse as their scary animated adventure comes to a close.

Off to Topsy's brightens back up as the group makes it to Topsy's upside down workshop. We hear a bouncier Mary's theme with a bit of The Perfect Nanny mixed in. A big band jazz sound first introduces the melody of Turning Turtle, before moving to the semi-Klezmer arrangement just like the song itself. Chase Through the Bank is a brief cue with a bit of suspense and action. Lost in a Fog is another shorter cue, setting the atmosphere with slow moving strings, choir and woodwinds.

Goodbye Old Friend brings back the Lovely London Sky on piano, Mary's theme on solo cello and oboe, both melodies with that tinge of sadness even when the whole orchestra joins in. Race to Big Ben is the big action segment of the film, with all leeries helping the group get to Big Ben. Melodies jump around the orchestra, sometimes appearing as fanfares - Can You Imagine That, Trip a Little Light Fantastic, Place Where Lost Things Go and even another spot of Spoonful of Sugar. The momentum rises and falls with choir and chimes, both adding to the texture. End Title Suite is another lovely reprise of themes, beginning with the cheerful Nowhere to Go But Up. As the arrangement grows, the choir joins in. Turning Turtle gets a big band-style arrangement, Trip a Little Light Fantastic gets a big reprise, becoming sweeter for The Place Where Lost Things Go, a grand statement of Can You Imagine That and blink of Supercalifragilisticexpialidocious.


I love how a song score can connect you to the material so much faster. For example, Mary Poppins' theme was written before filming was finished - and was even played on set. It was also used right away in the theatrical trailers, the opening of the film, becoming the very backbone of Can You Imagine That and various parts of underscore.

I can't think of a more joyful score from recent years. Tasked with following up to some of the most indelible music by the Sherman Brothers, Shaiman and Wittman came up with some delightful songs. Parallels can be drawn from the original songs by their place in the story and style, but they all work completely on their own. From there, Shaiman was able to utilize the orchestra in arranging the songs to weave throughout the score. Those bright brights and tender moments wouldn't be possible without the songwriting talents. The arrangements and orchestration team includes some Broadway veterans which give the orchestral pop that is just infectious to listen to. I like the use of some Sherman Brothers melodies - nothing too completely obvious, but just a wink for those that notice. The score tracks on the album are a great representation and really makes you want to hear it all.  Beyond animated films, scores like this don't come around very often. The score and delightful songs are filled to the brim with joy with a sound both fresh and nostalgic. Like Mary, this music is practically perfect, in every way.


Thursday, January 3, 2019

2019: Top Anticipated Scores

2019 has quite a pile of film scores to really look forward to.  In a world of sequels of remakes, there are plenty listed that I'm thrilled to seek out.  I also can't wait to be surprised by scores not even on my radar yet.  Here's my list:   

Music Behind the Screen's 
Top Anticipated Scores of 2019

1. Star Wars Episode IX (John Williams)
I mean, do I need to say anything?  This is the end - supposedly the last Star Wars episode scored by Williams.  His work on the last films have exceeded every expectation.     

2. How To Train Your Dragon: The Hidden World (John Powell)
This Dragon franchise has really let Powell shine, and this last installment hopefully continues that trend.  The rousing scores match the often stunning visuals, and his choir sequences from the last film were highlights. 

3. The Lion King (Hans Zimmer)
Having scored the original (and won the Oscar for it), Zimmer returns with this CG remake.  His style has changed a lot since 1994, so it should be interesting to see what he does with it all.  Since some of the songs are returning, I'd expect to hear some now-classic melodies as well.     
   
4. Captain Marvel (Pinar Toprak)
A rising female voice in film scoring, Toprak gets to show off in this Marvel superhero flick.  She's worked on everything in film, television and video games, and I've enjoyed work of hers in the past.       

5. Spider-Man: Far From Home (Michael Giacchino)
I love a sequel score that builds on the good aspects of the first film.  Giacchino set up some nice material for 'Homecoming' which should make for another fun Spidey score.    

6. Artemis Fowl (Patrick Doyle)
I can't say no to a Patrick Doyle fantasy adventure score.  It's a Disney adaptation based on the popular YA book series, plus Doyle brings his A-game when working with director Kenneth Branagh.     

OTHER SCORES TO HEAR IN 2019
Ad Astra (Max Richter)
Aladdin (Alan Menken)
Avengers: Endgame (Alan Silvestri)
Call of the Wild [composer TBA]
Chaos Walking [composer TBA]
Dark Phoenix (Hans Zimmer)
Dumbo (Danny Elfman)
Farmageddon: A Shaun the Sheep Movie (Tom Howe)
Ford v. Ferrari [composer TBA]
Frozen 2 (Christophe Beck)
Godzilla King of Monsters (Bear McCreary)
Hellboy (Benjamin Wallfisch)
The Lego Movie 2: The Second Part (Mark Mothersbaugh)
Little Women [composer TBA]
Missing Link (Carter Burwell)
Once Upon a Time in Hollywood (Tarantino soundtrack)
Pet Sematary (Christopher Young)
The Secret Life of Pets 2 (Alexandre Desplat)
Shazam! (Benjamin Wallfisch)
Toy Story 4 (Randy Newman)
The Woman in the Window (Trent Reznor/Atticus Ross)

Anything you're patiently (or impatiently) waiting for in 2019?

Wednesday, December 19, 2018

2018 Original Score Awards Roundup

Here's the annual 2018 Roundup of Original Score nominations and winners from various awards associations. Winners will be marked in red and updated regularly!

ACADEMY AWARD
BEST ORIGINAL SCORE

Black Panther (Ludwig Göransson)
BlacKkKlansman (Terence Blanchard)
If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexandre Desplat)
Mary Poppins Returns (Marc Shaiman)

GOLDEN GLOBE
BEST ORIGINAL SCORE 

Black Panther (Ludwig Göransson)
*First Man (Justin Hurwitz)
Isle of Dogs (Alexandre Desplat)
Mary Poppins Returns (Marc Shaiman)
A Quiet Place (Marco Beltrami)

BRITISH ACADEMY FILM AWARDS (BAFTA)
BlacKkKlansman (Terence Blanchard)
If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexandre Desplat)
Mary Poppins Returns (Marc Shaiman)
*A Star is Born (Bradley Cooper, Lady Gaga, Lukas Nelson)

ANNIE AWARDS
OUTSTANDING ACHIEVEMENT IN AN ANIMATED FEATURE PRODUCTION

Early Man (Harry Gregson-Williams & Tom Howe)
The Grinch (Danny Elfman, Tyler the Creator)
*Incredibles 2 (Michael Giacchino)
Ralph Breaks the Internet (Henry Jackman, Alan Menken, Dan Reynolds, Phil Johnston, Tom MacDougall)
Smallfoot (Heitor Pereira, Karey Kirkpatrick, Wayne Kirkpatrick)

SATELLITE AWARDS (INTERNATIONAL PRESS ACADEMY)
ORIGINAL SCORE

[winner announced 2/17)
BlacKkKlansman (Terence Blanchard)
Colette (Thomas Ades)
First Man (Justin Hurwitz)
If Beale Street Could Talk (Nicholas Britell)
The Sisters Brothers (Alexandre Desplat)
Widows (Hans Zimmer)

LOS ANGELES FILM CRITICS ASSOCIATION
BEST MUSIC SCORE

*If Beale Street Could Talk (Nicholas Britell)
Runner-Up: First Man (Justin Hurwitz)

LOS ANGELES ONLINE FILM CRITICS SOCIETY
BEST SCORE

BlackKklansman (Terence Blanchard)
Black Panther (Ludwig Göransson)
First Man (Justin Hurwitz)
*If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexandre Desplat)

SAN DIEGO FILM CRITICS SOCIETY
BEST USE OF MUSIC IN A FILM

*Bad Times at the El Royale
Blaze
Bohemian Rhapsody
Green Book
A Star is Born

SAN FRANCISCO FILM CRITICS CIRCLE
BEST ORIGINAL SCORE
*BlackKklansman (Terence Blanchard)
Black Panther (Ludwig Göransson)
First Man (Justin Hurwitz)
If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexandre Desplat)

SEATTLE FILM CRITICS SOCIETY
BEST ORIGINAL SCORE
*Mandy (Jóhann Jóhannsson)

WASHINGTON DC AREA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE
*If Beale Street Could Talk (Nicholas Britell)

BOSTON SOCIETY OF FILM CRITICS
BEST USE OF MUSIC IN A FILM

*If Beale Street Could Talk (Nicholas Britell)

CHICAGO FILM CRITICS AWARDS
BEST ORIGINAL SCORE

First Man (Justin Hurwitz)
*If Beale Street Could Talk (Nicholas Britell)
Mandy (Jóhann Jóhannsson)
Suspiria (Thom Yorke)
You Were Never Really Here (Jonny Greenwood)

DETROIT FILM CRITICS SOCIETY
BEST USE OF MUSIC
*A Star Is Born
Bohemian Rhapsody
Green Book
Mandy
Mary Poppins Returns

ST. LOUIS FILM CRITICS ASSOCIATION
BEST MUSIC SCORE

*BlackKklansman (Terence Blanchard)

AUSTIN FILM CRITICS ASSOCIATION
BEST SCORE
Annihilation (Ben Salisbury/Geoff Barrow)
First Man (Justin Hurwitz)
If Beale Street Could Talk (Nicholas Britell)
*Mandy (Jóhann Jóhannsson)
Suspiria (Thom Yorke)

DALLAS-FORT WORTH FILM CRITICS ASSOCIATION
BEST MUSICAL SCORE
*Isle of Dogs (Alexandre Desplat)
First Man (Justin Hurwitz)

HOUSTON FILM CRITICS SOCIETY
BEST ORIGINAL SCORE

Black Panther (Ludwig Göransson)
First Man (Justin Hurwitz)
*If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexandre Desplat)
Suspiria (Thom Yorke)

LAS VEGAS FILM CRITICS SOCIETY
BEST SCORE

*Suspiria (Thom Yorke)

FLORIDA FILM CRITICS CIRCLE

BEST SCORE
*First Man (Justin Hurwitz)
Runner-Up: If Beale Street Could Talk (Nicholas Britell)

GEORGIA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE
Annihilation (Ben Salisbury/Geoff Barrow)
BlacKkKlansman (Terence Blanchard)
Black Panther (Ludwig Göransson)
*First Man (Justin Hurwitz)
If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexandre Desplat)

LONDON CRITICS CIRCLE FILM AWARDS
TECHNICAL ACHIEVEMENT (FOR MUSIC)

If Beale Street Could Talk (Nicholas Britell)
Suspiria (Thom Yorke)

CRITICS CHOICE AWARDS
BEST SCORE

Black Panther (Ludwig Göransson)
*First Man (Justin Hurwitz)
Green Book (Kris Bowers)
If Beale Street Could Talk (Nicholas Britell)
Isle of Dogs (Alexandre Desplat)
Mary Poppins Returns (Marc Shaiman)

SATURN AWARDS
BEST MUSIC