Ramesh, If its not too much trouble, please increase the font size of what you write. Thanks
On Mon, Mar 16, 2009 at 3:39 AM, Ramesh R <triscod...@yahoo.com> wrote: > The latest edition of FilmScoreMonthly (FSM) points to a interview by > composer Craig Safan (The Last Starfighter) where he says that he thought > the SdM score was a "breath of fresh air" and that "the other scores... > were technically great but musically boring". He talks more about this in > comparison to other scores. Check out the interview at > http://www.scorenotes.com/interviews.html (around 11:51 onwards till > 15:46) > Or the direct link to the mp3 > http://www.scorenotes.com/interviews09/safan/craig_safan.mp3 > > In this month's FSM editorial there's the (expectedly) snarky comment from > the editor about the Oscar results- > > "Now on to A.R. (“Top”) Rahman winning for *Slumdog > Millionaire*<http://www.filmscoremonthly.com/fsmonline/mp3/V14N3/FEATURES/14.3.Jaiho.mp3>. > I should have been ready for it, but I really wasn’t. I mean, how many years > can this happen? I never learn. I should stop holding out hope that the best > film music is going to win. But how could I not hope for the best, when > there was such a wealth of great composers writing great scores this year: > Danny Elfman, James Newton Howard, Thomas Newman and Alexandre Desplat—quite > possibly the most impressive foursome of composers nominated in, I don’t > know, 20 years? Well, it’s over now, and I think I’ve truly learned my > lesson. I vow to begin the process of giving up hope for film music at the > Oscars. I trust you’ll all join me. Of course, no sooner do I write that, > than I remember that Dario Marianelli (who happens to be featured in this > issue) won a well-deserved Oscar in 2008 for *Atonement*. But that’s > become a rare exception, and one that doesn’t warrant me getting my hopes up > again. Or does it? Damn you Oscars! I guess I’ll see you next year after > all…" > > And in response to a question from a reader- > Q: How cool was the playing of excerpts from the various nominated scores, > especially the close-ups of various musicians, demonstrating conclusively > the monstrous miscarriage of justice in the award to Slumdog Millionaire > > *A: I remember commenting during that montage that it felt like a eulogy > for the first four scores, appropriately capped by a handful of banal bars > of *Slumdog* pop fodder. * > > >
