×
You will be redirected back to your article in seconds

Scores From ‘Green Book,’ ‘Solo,’ Others Disqualified From Oscar Race (EXCLUSIVE)

First-round voting is underway for Oscar’s Original Song and Original Score categories, but Academy music-branch voters are discovering that four talked-about scores are missing from the eligibility list.

Music for “Solo: A Star Wars Story,” “Green Book,” “Mandy” and “The Other Side of the Wind” has been disqualified for various reasons, Variety has learned.

More than 150 scores are in the running, although only the approximately 300 music-branch members have access to the list when they log onto the Academy website to cast their ballots. This year, unlike previous years, the Academy chose not to release the complete rundowns of qualified scores and songs.

Solo: A Star Wars Story,” composed by John Powell with themes by John Williams, was nixed by the board as having been entered too late for the competition (deadline was Nov. 15).

Mandy,” the Nicolas Cage revenge thriller that featured the late Icelandic composer Johann Johannsson’s final score, was not disqualified by the music branch. The film itself ran afoul of Academy rules — it was released on VOD before it completed its qualifying run, a knowledgeable source said. Hence Johannsson’s score was never considered.

Kris Bowers’ original score for “Green Book” was disqualified because of the prominence of the source music in the movie — primarily the Don Shirley piano trio pieces played throughout the film (which Bowers himself transcribed and performed in addition to composing the score).

Veteran French composer (and three-time Oscar winner) Michel Legrand’s original score for the Orson Welles film “The Other Side of the Wind” was also disqualified, says another source, because of the considerable amount of source music he did not compose, mostly songs heard in the background during the film’s lengthy party sequence.

Legrand composed about two hours of music for the film but only about 40 minutes was actually used in the final cut, compared with nearly 60 minutes of licensed, pre-existing material heard throughout the film.

An estimated 70 songs also qualified this year, but none of the most talked-about tunes were lost during the vetting process, sources said.

Voting ends at 5 p.m. Pacific time on Tuesday, Dec. 11. Shortlists will be announced by the Academy on Dec. 17.

More Film

  • James Marsden attends the 2019 MOCA

    New Abortion Ban Laws Take Center Stage at MOCA Gala

    Forty years ago in Los Angeles, the decision to invest millions in a museum dedicated exclusively to contemporary art — not to mention its formerly desolate downtown location, where the vibe was more apocalyptic than artsy — was a risky proposition. But now that the city’s cultural heart has shifted south of Hollywood, it seems [...]

  • I Lost My Body

    'I Lost My Body' Director Jeremy Clapin On His Critics’ Week Breakout

    CANNES  — Jeremy Clapin’s feature debut “I Lost My Body” follows Naoufel, a young man who moves to France, falls in love and tries to create a new life.  Then in a parallel storyline, it follows Naoufel’s severed hand, which runs, jumps and rolls across Paris in an attempt to find the rest of its [...]

  • WGA Agents Contract Tug of War

    Writers Guild Expands Suit Against Agencies With New Fraud Allegations

    The Writers Guild of America has bulked up its lawsuit with additional fraud allegations against Hollywood’s four biggest talent agencies. The WGA amended its suit Monday in Los Angeles Superior Court with the claim that CAA, WME, UTA and ICM partners have engaged “constructive fraud” by allegedly placing their own interests ahead of their clients [...]

  • 'Heroes Don't Die' Review: A Peculiar,

    Cannes Film Review: 'Heroes Don't Die'

    Just when you think modern cinema has exploited the found-footage conceit from every conceivable angle, along comes a tragicomic mockumentary tracing Bosnia’s recent war-ravaged history via the travails of a young French film crew getting to the root of a reincarnated identity crisis. Aude Léa Rapin’s first narrative feature “Heroes Don’t Die” is nothing if [...]

  • Mediapro, Complutense, NFTS Team On Screenwriting

    The Mediapro Group Launches Master’s Program at Madrid’s Complutense University

    Madrid-based production hub The Mediapro Studio has announced finalized details of an arrangement with Madrid’s Complutense University (UCM) and the National Film and Television School of London (NFTS) on a new Master’s program designed to develop new screenwriting talent. Mediapro general director Juan Ruiz de Gauna, UCM dean of information sciences Jorge Clemente and Irene [...]

  • Argentina, A New Member of Co-Production

    Argentina Joins European Co-Production Fund Eurimages

    CANNES – Argentina will join the European Council’s co-production fund Eurimages as an associate member starting  on October 1 2019, it was officially announced Monday at the Cannes Film Market. The agreement was unveiled by Ralph Haiek, president of Argentine agency Incaa, Eurimages executive director Roberto Olla and the president of global producers assn. Fiapf, [...]

  • "Black Coal Thin Ice" in Berlin

    Chinese Director Diao Yinan Drills Down on 'The Wild Goose Lake'

    Diao Yinan is the only Chinese director with a film in the main competition this year at Cannes. He’s already a known entity on the arthouse circuit having won the Golden Bear in Berlin in 2014 for his hardscrabble coal-blackened detective thriller “Black Coal, Thin Ice.” Now he makes the leap to the Croisette with [...]

More From Our Brands

Access exclusive content