PG Cooper: Music Awards (2012)

Posted: January 18, 2013 by Daniel Simpson (PG Cooper) in PGCMAs

PGCMA 2012

*The above image represents 2011’s PGCMA Best Picture winner; Drive.

Best Use of Source Music

“Ain’t No Sunshine” by Bill Withers, Flight– One of my favourite moments of Flight is this scene where Whip gets rid of all his alcohol. The use of Bill Withers song really makes the scene remorseful and has stuck with me from day one.

“James Bond Theme” by Monty Norman, Skyfall– It’s almost cheating to put the Bond theme, but given its use and how awesome the scene is, I couldn’t resist. Without saying too much (spoilers), this scene is a great trip through the past in more ways than one and really celebrates Bond.

“Le Temps de L’amour” by Francoise Hard, Moonrise Kingdom– One of the most memorable scenes in any film all year is the sight of two 12 year olds dancing on the beach together. The song is very romantic and there’s something about the song that suits Moonrise Kingdom so perfectly.

“The Man Comes Around” by Johnny Cash, Killing Them Softly– Brad Pitt walking around in a black leather coat and a slick beard looks cool enough, but when you slap Johnny Cash on top of that it becomes true badassery. Awesome moment.

“When the Levee Breaks” by Led Zeppelin, Argo– A brief but very satisfying moment where we see our characters on the eve of the storm while this Led Zeppelin classic gives the scene a cool but ominous vibe.

And The Winner Is…

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“When the Levee Breaks” by Led Zeppelin, Argo

argo-posterWhat pushed Argo into winning this award is just how much the scene benefits from its choice of music. Without music, it’s just a bunch of people sitting around the day before some dark things go down. But with some Zeppelin the scene becomes chilling and badass. An inspired musical choice which turned a pretty standard scene into one of the year’s most memorable.

Best Score

Alexandre Desplat, Moonrise Kingdom– Desplat did not compose a lot of music for Moonrise Kingdom, but this is a case of quality over quantity. Desplat’s music has a beautiful quality to it and I love all the different instruments used. There’s a sense of pure delight to Desplat’s music which fits the film it was crafted for perfectly.

Johnny Greenwood, The Master– Greenwood’s music can be very tense and unsettling, but what really gets me is the music’s lucid dream-like quality. The score for The Master could probably put me in a trance and the combination of Greenwood’s music and the film’s visuals create sensory poetry.

Thomas Newman, Skyfall– Newman’s score doesn’t re-invent the wheel, but it is a very exciting score which helps push the action forward while never distracting from the overall project.

Marc Streitenfeld, Prometheus– Streitenfeld’s music most impressed me in the way it captured the horror aspects of the film, but also the wonders of space travel and the creation of life.

Hans Zimmer, The Dark Knight Rises– Hans Zimmer is an epic composer who makes epic music. And while I feel Chris Nolan was unable to bring said epic to The Dark Knight Rises, Hans Zimmer certainly could. The film is full of powerful music which can be quite moving, but there’s also some subtler music pieces that I really liked.

And The Winner Is…

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Johnny Greenwood, The Master

the-master-poster1This came down to a close race between Greenwood and Zimmer. Ultimately though what sold me on The Master is that Zimmer’s work for The Dark Knight Rises is very similar to his work on other films and I don’t think he topped himself. Greenwood’s score, on the other hand, is very different from his work on There Will Be Blood. While that film’s score had sinister intent, The Master sounds more like an aimless dream. I also just loved seeing Greenwood’s music blend with the beautiful visuals.

Comments
  1. moviebuff801 says:

    Maybe it’s just because I’m a huge Zimmer fan, but I would’ve given Best Score to The Dark Knight Rises. I know people complained about the music being louder than some of the dialogue in theaters, but watching it on Blu Ray, the sound is more evened-out. Also, it’s the film score from 2012 that’s stuck with me the most, especially Bane’s theme, and that’s the main reason why I would choose it.

    Excellent choice with Argo, though.

    • pgcooper1939 says:

      I thought TDKR had a badass score, but it’s too similar to his other music while also not trumping it. I like that Greenwood’s score went a different direction.

  2. Hunter says:

    I love “When the Levee Breaks” and I freaked out when they it came on in Argo. Zeppelin’s my favorite band so I was also freaking out when they played “What Is and What Should Never Be” in Silver Linings Playbook. That made that fight scene like a bazillion times more trippy. Argo’s a great choice though since it really helped with the time period.
    You know, I had forgotten how good The Master’s music was, but now that you mention it it was really good. I especially remember the beginning (the beach) when I was still trying to get my bearings and the music was kind of jungley sounding… really emphasized how he’s so primitive in the early scenes. Beasts of the Southern Wild had really good music as well.

  3. Eric says:

    Loved Jonny’s score. Great pick.

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