Dune 2021
The nominee everyone expects to win; Zimmer built new instruments to score it, discussed later in the episode.
The Big Picture · Discussion · Top Five · Interview
March 16, 2022/ 94 min/ Sean Fennessey · Jason Green
A bonus episode built around a category the Oscars cut from the broadcast. Sean and Pitchfork critic Jason Green work through the Best Original Score nominees and argue over which composers are changing film music, then trade top-five lists before Hans Zimmer explains the instruments he had to invent for Dune.
24 films across 5 segments.
AI-generated This episode was transcribed and analyzed with AI models. The matches aren't perfect — expect the occasional misheard title or a link to the wrong film.
This Year's Best Original Score Racewith Jason Green
The nominee everyone expects to win; Zimmer built new instruments to score it, discussed later in the episode.
Jonny Greenwood's score plays in counterpoint to the movie instead of alongside it.
Nicholas Britell's score gets more credit than the movie for landing its satire.
Alberto Iglesias's nomination for the Almodovar film was the category's biggest surprise.
Germaine Franco's score, overshadowed by Lin-Manuel Miranda's songs.
The Composers Changing Film MusicMica Levi, Trent Reznor and Atticus Ross, Michael Giacchino
Mica Levi's breakout score, built on strings written around a chord rather than in one.
Levi again, this time closer to a Twitter thread's rhythm than an orchestra.
Reznor and Ross's archetypal score, still Green's go-to writing music.
Reznor and Ross again, for the film's in-between space.
A love letter to the 1930s European emigre composers, built the same year as Soul.
Ben Salisbury and Geoff Barrow's score, indebted to Barrow's Portishead work.
Michael Giacchino's score turns Batman's wet boots into a rhythm section.
Giacchino's 1960s spy-show pastiche theme.
Giacchino's string theme for the film both hosts call devastating.
Jason Green's Top Five Film Scores
No. 1 - the Imperial March and the Han-and-Leia theme both debut here, not in the original Star Wars.
No. 2 - Vangelis on the Yamaha CS-80, a synth so expensive it was basically a car payment.
No. 3 - Bill Conti's theme convinces you, for one round, that the loser can win.
No. 4 - Michael Small's paranoid xylophone cue was later sampled directly into Homecoming.
No. 5 - Bernard Herrmann's last score, written in two days; he died before the Oscars.
Sean Fennessey's Top Five Film Scorescrossover pick: Klute, taken by Green above, was also on Sean's list
No. 1 - a street zither player scoring a film about societal rot, against every instinct of the genre.
No. 2 - Jonny Greenwood's Penderecki-indebted score, all impending doom.
No. 3 - John Carpenter wrote it on one synthesizer over a weekend because he didn't want to pay a composer.
No. 5 - Morricone's harmonica motif that only pays off at the final showdown.
In conversation
Zimmer turned down the David Lynch adaptation and the TV series to protect his own mental image of the book, then built the score around invented instruments and Loa Kotler's voice rather than character themes.
Also mentioned raised along the way
Herrmann's other Hitchcock work, cited in passing PsychoVertigoThe Day the Earth Stood StillCitizen KaneNorth by Northwest
More Morricone Once Upon a Time in AmericaThe Mission
More Jonny Greenwood The MasterPhantom ThreadSpencer
John Williams' 1975-81 run JawsStar WarsClose Encounters of the Third KindSupermanRaiders of the Lost ArkHarry Potter and the Philosopher's Stone
Elmer Bernstein and Jerry Goldsmith, cited in passing To Kill a MockingbirdAlienThe Omen
Lin-Manuel Miranda and Pixar, cited in passing VivoMoanaUp
More Mica Levi Jackie
More Michael Giacchino Spider-Man: No Way Home
Emil Mosseri MinariThe Last Black Man in San Francisco
In passing Altered States
Not films filtered out: TV, games, ads
TV Obi-Wan KenobiLostBeatles: Get BackHomecoming
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