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The Best Movies About the American Dream
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Oscars 2021: Minari, Nomadland, and other Best Picture nominees with overlapping themes
A few of this year s Oscar contenders for Best Picture connect themselves in themes relating to America and its history, here s a look at them. Written By Oscars 2021: Minari, Nomadland, and other Best Picture nominees with overlapping themes
The past year has been a strange one given how the pandemic had brought everything to a standstill. The unbelievable situation left us dealing with some difficult times as a global community. Unlike every year, films weren t made in the massive numbers that they usually do. Film shoots were stopped, films were delayed and some cast and crew members even succumbed to Coronavirus. Despite all the doom and gloom though, films released via streaming, in theatres amid limited capacity and somehow managed to keep us entertained in a tough year. And now, it s time to celebrate them and the hard work that went behind making them with this ye
Every Movie Nominated for a 2021 Oscar, Ranked
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It feels like only yesterday that composer Emile Mosseri exploded onto the film music scene with his incredible score to 2019 s The Last Black Man in San Francisco, and since then his lush neo-classical style has been applied to projects on the big and small screen. His latest project, director Lee Isaac Chung s Minari, about Korean farmers trying to make a start in the American Midwest, is tipped for big things in the award season.
But how did a young composer/indie band musician go from late-night HBO comedy to possible Oscar glory? Simply, today s film music landscape is much more democratic than in previous eras and filmmakers are eager to work with composers that have come from a rock and pop background. The idea of composers emerging from such areas is much quainter than people might think; one only needs to go from jazz legend Miles Davis scoring Louis Malle s Elevator to the Gallows in 1958 to industrial metallers Trent Reznor and Atticus Ross 2010 success with Th
Mosseri was brought in by producer Christina Oh, the two having worked together on
The
Last Black Man in San Francisco. “It felt like being set up on a date,” he says of meeting Chung for the first time at
Last Black Man’s Los Angeles premiere. After reading the
Minari script, Mosseri immediately began to write music, months prior to the film’s production start in Oklahoma.
“We knew what we
didn’t want it to sound like, but we didn’t know what the sound would end up being,” remembers Mosseri of early conversations about the score. They didn’t want to have an Americana-inspired score with acoustic guitars and harmonicas. It needed to be, as Mosseri describes it, a glowing, beating heart, with some pain and struggle.
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