Filmmaking has changed considerably since
the millennial year; and quite obviously in film music. 2000 marked a shift in how film music was written and perceived,
moving from a world divided as lo-fi electronica or evenly arranged orchestra
into a palette of sound breaking free of conventional boundaries – where
synthetic and orchestral sound intertwine and cinematic music birthed an exclusive
identity. In light of that, I’ve penned my top five post-millennium scores,
showcasing great music and soundtracks that have impacted on how films are scored
thereafter.
1. Cloud
Atlas (2012) (Tom Tykwer, Reinhold
Heil, Johnny Klimek)
Cloud Atlas Sextet for Orchestra
Snubbed at the Oscars somewhat: Cloud Atlas
is probably the best film of the last two years, let alone the best soundtrack.
It spans a huge stylistic variety, including lonely and moving piano
melodies, fully synthetic glimpses into the future and a breathtaking Schumann-Elgar-esque
tone poem – timeless and stirring. Those melodies are revisited in a dozen
musical styles that give the film the backbone it needs to link its numerous
stories together in a profound way. An
absolute must watch.
2. The Social Network (2010) (Trent Reznor & Atticus Ross)
Hand Covers Bruise
Totally deserving of the academy award for best soundtrack, Reznor and Ross’
score for The Social Network is a
portrait of internal struggle and geek-dom. The opening piano cue sits on a
fuzz of granular noise that imparts the vibe of the film instantaneously, and
the following nerdy electronic pieces give striking clarity to Zuckerberg’s
machinations while maintaining a production standard associated with
chart-topping tunes. A positive step forward
for film music.
3. Casino Royale (2006) (David Arnold)
Miami International
How do you compose something ‘new’ when the original music is as widely
appreciated as John Barry’s material? The key is in the ‘new’: Bond opens the
film without double-0 status and the music echoes with a new melody and hybrid take on the orchestral sound of Bond, adding techy percussion and
synthetic drive. The music gives Bond a serious motive during espionage and a
cold, calculated brain by swapping flair for a tension so well constructed that
you don’t realize the 12 minutes of continuous music underneath the quandary at
Miami International Airport. Probably
the best film cue ever recorded, here.
4. Norwegian Wood (2010) (Jonny Greenwood)
Mou sukoshi jibun no koto, kichinto shitai no
Most people will know Jonny Greenwood as
the guitarist from Radiohead and be
unaware that he’s one of the modern day’s jewels of concert and film composition.
His scores for The Master and There Will Be Blood are one-of-a-kind,
but the Japanese novel adaptation of Norwegian
Wood truly stands out as an unparalleled example of modern film music. It’s
as delicate and warming as it is mournful and painful – honestly, there is no
better musical description of pain. An eye-opening listen.
5. Gladiator (2000) (Hans Zimmer & Lisa Gerrard)
Elysium
The score to Gladiator had an unthinkably huge impact on how film music has
since been written and on what directors/producers wanted their films to sound
like. The music speaks for itself as an emotive and spicy counterpart to a
gritty Rome, comprising of Lisa Gerrard’s incredibly passionate vocals,
visceral orchestral battles, heroic salutes and dusty atmospheric concoctions
of flavourful synth pads and solo performances. Worth the listen by itself: a keystone of modern film music.
It’s a shame that a top five, or list of
any number for that matter, means that many other incredible and influential
scores won’t be touched upon. I found it particularly difficult not to include Harry Gregson-Williams and David Buckley’s score to The
Town (2010) and struggled not to mention another Oscar winner; Dario Marianelli’sAtonement (2007). Both
scores use music in interesting ways while cementing new ground for a
stylistic type of music unheard anywhere else except in film. The real shame,
though, is that The Matrix(Don Davis) was released in 1999, because it would
have taken undeniable pride of place at the top of this list as possibly the
greatest film score in the last fifty years…
Recently I’ve been thinking about
‘modern-classical’ music a lot. Spurred on by two small articles that seem to
have caused a little disturbance, as well as the BBC’s ‘The Sound and Fury’
programmes about contemporary music in the 20th century, I’ve
decided to pen my thoughts on it all; as an exploration as well as simply a
response. The two articles, which I shall leave links for below, are on
‘Considering Your Audience’ as a composer (James McCarthy for Gramophone) and a Telegraph review by Nigel Farndale of the BBC series mentioned
above.
I’ll start with this…
‘Admitting you find modern music, by
which it is meant mid 20th century orchestral music, unlistenably
random and jarring is not easy, because it is tantamount to acknowledging that
you are a thicko.’
Now, I’m sure there are many musical people out there that will be quick to
defend the simplicity, the processes and the merits of intelligence in music.
But for a moment consider the otherwise ‘non-musical’ audience of the music,
who must choose between being intimidated or ignorant to a whole world of
art.Do we ever ask ourselves why a
listener doesn’t enjoy this area of music or why it seems to be so
inaccessible? Have we reached a point of no return for contemporary classical
material, and if so, why?
In the early 20th century, orchestral music took a turn towards
becoming a cognitive art form. It
seemed that a deprivation of the sensory pleasures of music ensued and that
composers became scientific instead of spontaneous and intuitive. This came
about as the escape from tonality,
the move away from known harmony and melodic idioms that make up our world of
more familiar music. The result of an escape from the tonal world is the emancipation of dissonance, as put by Arnold
Schoenberg: without whom our world of music would surely be a different
creature altogether.
Consonance: a harmony, chord or interval that is
considered stable, perhaps comfortable.
Dissonance: an unstable tone combination; its tension demands a move towards a
stable chord – to resolve.
This inclusion of dissonance is one unlike
the kind found in music by Wagner, (a
type that the definition above categorises) of which we are nearly
subconsciously familiar with, in the same way as Beethoven.It is unrelated
to consonance entirely: atonal and explicit, the use is not intended to resolve
into a consonance. It all started with an eight-note chord in Richard Strauss’Salome, at the climax of the finale, and one that resolved quite
awkwardly still into a consonant coda. To think that such a simple augmentation
could get a work banned (which it was, akin to Beethoven’s ninth symphony) is
laughable now, but the sound was groundbreaking alongside a rather sordid
affair in the opera. It begs the question, if we now see such things as
primitive, to what end do we accept dissonance as listeners in the present
day?I like to think, especially as I
occupy most of my time with it, that film
music can at least help with the answer. Film soundtracks, as a guide, usually
stick to dealing with music that an audience is familiar with: reason being
that in order to convey an idea or emotion appropriately, you must utilise the
idioms that have been accepted and understood by the audience. It’s why Hollywood took to the orchestral sound
to begin with, and it’s evident in scores to films such as The Matrix, Gladiator and V for Vendetta.
If, for sake of argument, then, we say that film music, by way of assimilation,
represents the current state of audience-acceptance of dissonance, then we can
start to draw a line in the sand and find the point at which it all just
becomes too much. The point at which the intellectual input results in the
ear’s quest to make sense of the jumbled pieces before it; The point at which
we need to know the process in order to appreciate the music; The point after
which it’s all just noise…I draw that
line firmly at Schoenberg.
When Farndale writes ‘what I liked most about this new series was the
permission it gave us to dislike Schoenberg’, I can only hope he was keeping
the significance of the music in mind. He is correct in that modern music at
that point was ‘anti-music’. John Adams mused that the only way to be original
was to do the opposite of what is a ‘big deal’ at the time. In that, the
aversion to consonance becomes clear, but when Eric Whitacre says ‘Poor Schoenberg… He carries the great
weight of causing the terrible rot that happened in classical music’, he is
not attacking the composer. The context implies that as being the point-man on
the front lines of listenability, it is inevitably his shoulders that are stood
on by the generations after him. They adopt his ideals, and arguably still do,
but I think the reason we still cannot accept them in society is because they
now seem to lack any necessary or explainable reason.
When Schoenberg escaped tonality it was to not to evade, but to pursue a
different, a new way of describing emotions with music. The world at the time
was changing rapidly; there were wars, atrocities, new regimes and industrial
uprising. Debussy said that composers had a duty to evoke the progress of
modern days, and in this climate it seems more than appropriate that something
‘unlistenable’ might come out of it all. Were Schoenberg and his student successors
simply reflecting acts of the 20th-century? In this way it seems
easy to compare modernist art of the period with the surge of misunderstood
music that we’re referring to. When we want to conjure pictures of other
planets, should we not have non-gravitational music? While this all lends a
hand to Schoenberg’s defense, it does so because it all had such clear
rationale. When we think of ‘modern’ contemporary classical music, the kind
that is a couple of generations on from Schoenberg, I fear the reason for the
emancipation of dissonance subsides (give thought to the temperament of the
world we live in today compared to 1945…).
It seems that there has been growth from the great emancipation towards the
reasonless combination of knowingly uncommon sounding orchestral techniques, or
search for new sounds to make up a
piece of contemporary classical music. Where Stravinsky was cubism, modern music is like modern art, a constant search for the
unique or for originality. I find the current situation baffling given that the
futurist movement had essentially written the orchestra off as a way of
perpetuating a new sound in contemporary music, and that was over fifty years
ago. Composers still write pieces hitting instruments as Xenakis did nearly
thirty years ago when people moved away from the replication to the
augmentation of recorded sounds even earlier. Academia has left us with the
notion that art is not for all, and if
it is for all then it is not art.I’d say that if a work is so intellectual that it couldn’t be, or wasn’t
allowed to be enjoyed by a listener, or any audience for that matter, then who is left to judge it’s value?
This brings me in a roundabout way to the matter of considering your audience when you write music. Now, while I may
have an opinion of my own on the particular style of current contemporary
classical music of late, I must retain that it is only my opinion. I couldn’t say how it should be otherwise, nor how to
get there. In a rather contradictory way, all I can say is that whatever you do
as a composer, don’t think about it,
just do it. Don’t write music a certain way because you have to, or because
other people do. As an artist of any kind, the only way forward is to do
something that is wholly yours, which you believe in, and that you love, rather
than seeking out originality for the sake of it. The current state sees
composers writing music for peer-review in academia, for originality’s sake,
and failing to grasp that it doesn’t work as entertainment.James
McCarthy writes:
‘If the composer is writing music
as an academic pursuit then they should go into it fully aware that this is
what they are doing, and not be crushed when the world doesn’t want to storm
the concert hall demanding to hear their music. If they are writing music to say
something about themselves and the world we live in today, then they need to be
aware that what they say needs to be a least partly intelligible to the average
concert-goer.’
Although the article at times is too
attacking towards composers, meaning it is unlikely to be taken seriously by
those who it applies to most, I agree with the overall sentiment. If you write
in this particular, post-Schoenberg language, you should be aware that the
style exists to accommodate to and impress a very small group of individuals,
and they are not, surprise, surprise,
the group that buys concert tickets to hear music that, yes is altogether
usually more tonal, but more importantly it is more accessible. When Schoenberg set aside to free music from the rules
that had been built around it, he didn’t do so that you might use his methods
as guidelines once more. I think there’s some unrest in the community, and the
audience is certainly waiting: it seems apparent that the direction of
contemporary classical composition isn’t moving forward, and can’t while it
moves in the same circles as music of sixty years passed. Like Schoenberg
escaping tonality, it seems more than appropriate given the progress of modern days that we escape
from our purely dissonant world. Noise based music has integrated into other
more popular styles and is accepted by huge audiences; maybe there’s something
to learn from that?
Whatever such a shift may be or require, it’s about time composers did
something a little different.20th-century artists have moved
away from being popular, as if the popular
is less serious. When Gershwin asked
to study under Stravinsky, he was asked how much he earned. His reply was in
the millions, to which Stravinsky replied ‘then I should be studying with you’.
When he asked Schoenberg the same question he was denied again. The response: ‘Right now you are a great Gershwin, and
under me you would merely be a mediocre Schoenberg’.I think it’s about time contemporary music
was popular again. We might see some more diversity in the concert scene at the
very least.
Gershwin wrote some film music too, just sayin’…
Alex What do you think - Do you find that modern classical music can be unlistenable? Or are you on the other side of the fence?
The Sound and the Fury: A Century of Modern Music, BBC
Four, review.
Some of the best music
in the world is film music. It manages to take a life outside the film, whether
we hum James Bond to conjure a suave
take on gun-in-the-air infiltration, or whistle Indiana Jones while we flamboyantly throw spatulas like swords
whilst cooking our meals (just me…); it often exists as music independent of
it’s visuals. We quietly ‘ba-dum’ as
if we were a manifestation of mobile double bass-shark hybrid when we strafe
towards our friends, as if to evoke the same sense of fear that the audience
feels in Jaws. I think we all take
this music for granted, so I want you think about how many movies you can
actually hum to yourself right now. The incredible thing is that at least 90%
of what you come up with, when you put aside Pirates Of The Caribbean/Gladiator, Up, perhaps Toy Story and
of course James Bond, will have been
written by one man: John Williams.
If John Williams isn’t
a household name then it’s our responsibility to make him one. Superman, Indiana Jones, Jaws, Close
Encounters Of The Third Kind, Jurassic Park, Home Alone, Schindler’s List,
Harry Potter, Star Wars (all six),
E.T., and Saving Private Ryan – All by the same pen: The second most nominated man in history,
recipient of the Olympic Order – the
highest individual honour of the International Olympic Committee – Recipient of the National Medal Of Arts, the
highest U.S individual honour for arts, presented by the President. When you
Google him, the second entry as you type his name is ‘John Williams is the man’.
Yes, he is the man. He is my greatest inspiration as a composer and an
international treasure to anybody who’s ever watched a film. So I’ve decided to
make a ‘top ten’ list of John Williams’ best film scores. Here’s the thing
though, the Internet is full of them – so I figured I’d try something a bit
different with this…
I want to make a list that embodies the soundtracks that do the most for the
picture; the ones that have the greatest music underneath the brilliant
melodies, but above all, the music that has the greatest effect on the film and
how we perceive it when we walk away: when we close our eyes and fill our heads
with image and sound to remember what the film was like. You’ll see a lot of
lists on the internet that look remarkably similar to each other, here’s one I
came up with below.
Star Wars
IV: A New Hope
Jaws
Indiana
Jones
E.T. The
Extra Terrestrial
Jurassic
Park
Superman
Saving
Private Ryan
Schindler’s
List
Close
Encounters Of The Third Kind
Harry Potter
and The Philosophers Stone (Sorcerer’s to the U.S market that presumably
couldn’t understand what a philosopher was…)
A good list – it’s the
one I’d make if I were judging the score on how successful the film was.
That’s why it’s so prevalent among all the John Williams’ top-tens out there.
Some more inventive editions may include Hook
or Star Wars Episode VI, but they
really do look very similar nonetheless. My list might seem surprising at
first, but just press play on the music I put beneath each number and I’m sure
you’ll come round to my way of thinking – here are my favourite soundtracks by
my favourite composer. In descending order, of course.
10. Minority Report
This soundtrack is in
the minority (sorry) of Williams’ scores that I’ve seen that has received a bit
of bad press – not that I can think of any reason why. It’s a great example of
how John Williams can move into a more modern style of film-scoring quite
effortlessly. The theme is unlike any that he’s written before, not melodic,
but motivic. It’s short, snappy and repetitive, and it’s really what minority
report is all about; it’s judders and stutters and keeps on you the edge the
whole way through. To accomplish something so successfully with such a simple
fragment is a testament to Williams’ prolific understanding of film music that
can be easily overlooked in the sea of incredible melodies that cause people to
cast him in a singular, albeit distinguished, light.
9. Stepmom
I don’t think I’ve
ever seen this in a list, I would bet that many people haven’t seen the film
either, or just flicked channels when they came across it on TV as if it were
something wishy-washy and dull. Watch it if you haven’t, you’ll be surprised.
It’s heartbreaking and solemn, romantic and gripping, and without the music it
would be nothing. The music portrays grief and love simultaneously almost
throughout and is benevolent and emotional all by itself – but with the picture
it’ll have you in tears. That’s why it’s up here for me, it’s so seamless that
even watching at chance on a rainy day can catch you off guard an hour and a
half in and make you well up. Not much film music can so easily impact upon the
audience.
8. E.T. The Extra Terrestrial
This is my childhood
right here. And it’s one of the first films to really do it all: it’s childish,
scary, mysterious, sad, joyous, serious and playful all in one sitting, and the
same is true of the music. It still retains a cohesive identity from the scary
and otherworldly opening up until the moment that E.T lifts the bike into the
sky and we finally hear the melody that has been hinted at for the entire score
before it. It’s the ultimate release of music, and my word, is the
orchestration good! This is the auditory guide on how to do it if anybody is
interested, and it’s almost continuous music. There’s also that little hint at Yoda that I mentioned in one of my
earlier blogs… Genius.
7. Catch Me If You Can
People scorn Williams
for all those enormous action-epics that he’s so famous for, so he comes up
with something reminiscent of 40s jazz for Catch
Me If You Can. It’s here because I don’t think there is anybody else out
there who would have seen this music in this film – but it’s great. It’s
exciting, full of suspense and humour, and in a strange way has that kind of
office-fraud smirk to it all. The orchestration is always mocking and carefree,
and when you think of the film you can’t help but feel the same way. When
people ask what music does to a film you should ask them to watch this without
the score: then they’ll know.
6. Jurassic Park
Knock Knock, it’s
childhood here again. I was obsessed with dinosaurs because of this film: Until
I was 16, I was unswayed on my ambition to become a palaeontologist, and would
have been had it not been for the Music Technology A-level at my college and
Michael Kamen’s score to Robin Hood:
Prince Of Thieves. When Lord Richard Attenborough speaks ‘Welcome to Jurassic Park’ we literally
cannot continue imagining the picture without Williams’ iconic theme rushing in
like another line of dialogue. This is yet another one that we take for
granted, that lives an equally rich life outside of the film and carries with
it the unmistakable imagery of roaring Tyranosaurs
and gargantuan Brachiosaurs. We
all know the theme but I’d recommend getting the soundtrack and listening to ‘Hatching Baby Raptor’ as well; see if
you’re not transported back to that incredible moment.
5. Hook
This is one of the
most magical and manic scores ever written. I think it’s even easier to see
with this type of film how much the music adds, without ever going over the
top. The orchestration is again, incredible, but I really think in this case
that it may just be one of the best examples of orchestration among all music.
You may think a claim of that gravity doesn’t seem fitting for a kid’s film – but it’s this high on the
list for more than that: it’s the melody that’s really transcendental. One of
my all time favourites, it really is just magic to listen to and it serves the
action perfectly whilst maintaining a boyish perspective and not becoming too
epic or too serious.
4. Harry Potter
Anybody who’s grown up
in the last 20 years grew up with J.K Rowling’s books, their films and John
Williams’ themes. There are quite a few memorable melodies to pick from the
three films that William’s scored, but it’s Hedwig’s theme that we all hum when
we think of Harry Potter. I don’t specify a film here for a good reason,
although William’s only penned three of the eight chapters, his music endured
throughout them all. It is inescapably the image of Harry Potter and his world
of witchcraft and wizardry, so much so that it was engrained in the scores of
the 3 composers that took up the mantle afterwards. Even when they wanted to
steer away and alter the theme to make something unique, it remained. Music
that is that definitive to the
identity of a film is what every composer dreams of writing and is the
embodiment of what I spoke of earlier: music that has it’s own identity in
popular culture. It could easily be on a par with the following entries.
3. Star Wars IV: A New Hope
It had to be here
really, didn’t it? There’s no denying how great it is and how much it deserves
to sit so highly on this list and everybody else’s. I’m sure there still a few
of you out there yelling as to why it’s not right at the top – all I can say to
you is that it was a very hard decision. The opening fanfare to Star Wars is
one of the most famous and most appreciated pieces of film music of all time.
Where Harry Potter may be the music of my generation, this is the music of
another, and it has stood the test of time, engulfing everybody else’s hearts
as the years go by. Wall-to-wall music again, and worth mentioning because it
came at a time when film music was moving away from the giant and constant,
melody lead orchestral tour de force that we’re quite happy with now. Film
music had started in a similar, yet slightly more stratified way and had
probably become quite boring until Williams’ slammed this into the faces of the
audience, knocking something so prolific into them we haven’t been able to
forget it for 35 years. He couldn’t really write a bad note after could he?
2. Jaws
This is the reason why
Star Wars is third. It’s here for the
same reasons but on a bigger scale. Where Star Wars is engrained into our
society, Jaws is engrained into our psyche. ‘Da-num,
da-num’ is an everyday thought to people that haven’t even seen the film,
and where it makes an audience shudder in anticipatory fear in the cinema, it
becomes a comedic cliché on how to define a scary moment in our lives outside
of the darkened theatre. I don’t hear people saying ‘are you humming Dvořák’s 9th?’ when I sneak up behind them, and if I did
I might do to them what the shark in the films is famous for. The entire score
to Jaws is another brilliant example of Williams’ understanding of how to make
the most simple and convincing musical idea have the strongest possible impact
upon a film; turning spectators into participators and leaving a remarkable
mental and emotional image of a film that can be conjured with just two notes.
1. Memoirs Of A Geisha
I bet you’ve never
seen that at number 1 before. Before you manifest any physical rage, I’d best
tell you why it’s there for me. If you’ve read the book you may have an idea of
just how beautiful this film and story is: well, Williams’ music is perfect. I
don’t know how it could have been any better suited, any more emotional or better
crafted. Again, a simple idea blossoms into something infinitely more
compounding: Sayuri is the ‘Cello.
She’s also being played by Yo-Yo Ma,
who has to be, undisputed, the best cellist alive today. The soundtrack creates
something that holds within it the purest form of innocence, with a deep and
rapturous love that takes the audience far into third-person memoirs and pushes
them around like a geisha learning to dance. It has taken me well over an hour
to write this paragraph because I couldn’t play the soundtrack without being
completely absorbed for what must be the 100th time of listening.
It’s worldly, another example of why we should never think of John Williams as
‘the action guy’ when it comes to scoring films. It’s worldly but it’s not
cliché, it’s so well written for a delicate blend of western and eastern
timbres that it surpasses all of our preconceptions about what a foreign
culture sounds like; something Hollywood is all to well-known for accommodating.
It takes us to a place where we become immersed in the culture; we desire what
Sayuri desires and we feel what she feels. There’s a reason why, even against
the pathetic etiquette Hollywood seems to have developed for not awarding John Williams awards for
his nominations, that it won the Golden
Globe, BAFTA and Grammy awards
for best score in 2007. I don’t
think I’ve heard a melody that works as well in 7/8 as it does in 4/4 before,
let alone a melody as beautiful as the one that flows through this score. I
would recommend that you listen to my last offering from this soundtrack, one
of my favourite pieces of music, full stop. I hope it makes a convert out of
you.
Now I’d like to quickly mention a couple of scores that didn’t make it into
this top ten. John Williams has written so much great music that he’d make a
top twenty hard to write, and we’re obviously missing Indiana Jones and Saving
Private Ryan from this list, both incredible scores, particularly the
latter. The Witches Of Eastwick and Close Encounters Of The Third Kind
deserve special mentions as well for being scores that had huge impacts on the
way people listen to, write and perceive film music, not to mention the effort
on Star Wars Episode I, for bringing
something new to an old horse and capturing another generation with it. Munich for it’s opening, The Terminal for it’s ingenuity and Born On The Fourth Of July for it’s
sheer captivating and emotional movement.
Anything missing? ah, Schindler’s List.
There’s a reason for that though…
Now, Williams’ score
for Schindler’s List is amazing as a
soundtrack CD, the themes, the performances and the care taken with orchestral
balance are all breath-taking, but I have a bit of an issue with it when it
comes to the film, which is why it doesn’t make the cut for me when it usually
does quite well for others. Watching the film, I often feel that the music is
extremely independent to the picture. I even struggle to imagine how it was
conceived based on the image, on the action and on what seem like the evident
on-screen emotions. If this were not somehow glued together with whatever it is
that makes John Williams’ music incredible, I really don’t think it would work
at all for the film; I certainly don’t think anybody else could have
accomplished a score like it. That might be the only bad thing I ever say about
John Williams’ music, and it’s not exactly like it’s a chink in the armour,
it’s still great music. It just means that I don’t watch that film very often.
He did win one of his few academy awards for it though, so maybe I’m just wrong
about everything!
What do you think about Schindler’s List? And what’s the one
score that really has to make it into your top ten?
There are so many more films I could and should
list below just because they all have great music by Williams’ on them,
instead, however, I’d like to leave you with a way to find them yourselves. If
you don’t already own the CD, go and buy the 2-disc ‘John Williams – Greatest Hits 1969-1999’ album. It’s not expensive
and there’s a lot of music for the money, a lot of great music that you’ll
wonder how you ever did without. To finish off, I offer up this little trivial gem…
Another reason Stepmom gets into my top ten is because of the circumstances in
which it was written; Patrick Doyle was originally selected to score the film,
and did, but as is in Hollywood, the score (being the last thing that could be
changed) was rejected. Williams was brought in at very short notice to write an
entirely new score and bear the burden of fixing the film – he did more than
fix it, he made it. To this day, he has only won 5 of his 47 Oscar nominations from the Academy of Motion Picture Arts and Sciences: a travesty, don’t you
agree?
