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It’s time again for Jon and Andy to strip away the phony tinsel of Hollywood and find the real tinsel underneath, as they consider this year’s Oscar nominees for Best Original Score. Is it possible that our hosts are feeling less cranky this year? What are some different ideas these movies have for using music to fill time? And, did you notice that this episode is still shorter than two of these five nominated films?
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Are you here for an affair? Ah yes, an episode of Settling the Score, very good sir - this one's about Simon and Garfunkel’s song score to Mike Nichol’s classic 1967 satire The Graduate. How was this movie pioneering in its use of music? Do these famous songs engender sympathy or skepticism for the…
Jon and Andy go straight down the line through Miklós Rózsa's score for the 1944 film noir classic Double Indemnity. Which elements of this music sound like noir, and which don’t? Why do we enjoy stories about bad people? And, where’s a good spot in L.A. to sneak into if you want to hear some Schub…
It’s back to the Oscars stage for Jon and Andy, to talk about this year’s nominees for Best Original Score, and it’s back to some age old questions: Do we want our music made out of notes or blobs? Does reading up about these scores get in the way of our curmudgeonly opinions? And, how much music s…
“I love this score.” “I know.” Jon and Andy search their feelings about John Williams’ score for the 1980 hit sci-fi fantasy sequel The Empire Strikes Back. How important has this score been to our hosts? How does its mastery show itself on different scales? And, what are the odds of successfully n…
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