Welcome back to Scoring for Films by Vito Lo Re and Fabrizio Campanelli. So today, Fabri, let's tell our friends, who are now like friends, a very particular dynamic. Who won the Oscar? Almost... Who didn't win it... but maybe deserved to win it!

Or maybe not! Who knows? No, they deserved it! Let's leave it up to them... So, we will take a look at many famous films, some which have deservedly won, but coincidentally in the same year, there was someone who might have... It happens that you create the music of your life, right?

It's the right film. Guys, guys, this is mine, this is mine. Guys, guys, this is mine, this is mine. And in the same year you find in monination four other amazing films. So, let's start with 1940, the Oscar was won by "The Wizard of Oz"; you could that it's deserved and the movie was very famous If we say "The Wizard of Oz"you immediately think about "Somewhere over the rainbow"; the point is the song has not been composed by the composer of the score That very year there was another movie.... There it is.

"Gone with the wind" by Max Steiner who did not win. 1965. The winner is "Mary Poppins" which you may say it's an important movie and a beautiful score This time both score and song were written by the Sherman Bros by the way, Sherman died recently. That year there was also a certain... the Pink Panther. Perhaps the most brilliant theme of the 20th century.

Well, that's how things went. Mary Poppins was a good score but perhaps the Pink Panther theme remained a bit more. Let's move to 1973. There's a film like "The Godfather".. who doesn't know the soundtrack? Did it win the Oscar?...

No, no, no, no, no, no, no. In fact, it was won by Charlie Chaplin with Rush and Russell for Limelight. The first and only case of a retroactive Oscar, due to the whole issue related to McCarthyism. And then there were a few... problems related to the rules. Basically, the music that everyone knows from "The Godfather" by Nino Rota...

But it wasn't written for that film? No, it was written fifteen years earlier, in 1958, for a film called Fortunella, directed by Eduardo De Filippo, and let's hear it. Nothing wrong with that: Rossini also used to self-cite and Rota did it, too. But this was against the Oscar rules. And besides, here the first notes also have the beginning of "La Dolce Vita". Moving forward to 1978, who do we find?

John Williams, who dominates. He dominates. 5 nominations, two of them are his. Just having one... but two in the same year!.. Listen Vito, how many nominations did you get this year?

Me? None. Me, two. And with... "Close Encounters of the Third Kind" and a certain... "Star Wars", I think I remember.

Yes, two films that didn't have much success... Of course, the Oscar went to Star Wars. But that year there was also Delerue. A great French composer who worked a lot in Hollywood with "Julia" Delerue, however, will have his revenge two years later with "A Little Romance". In the same year, Lalo Schifrin was also nominated with Amityville and Star Trek... Star Trek by Goldsmith.

which we should talk about one day... 1981, another important film like "Fame" with a leading song, with a beautiful soundtrack written by Gore. In the same year there was "The Empire Strikes Back" which wasn't that bad. No, no, no. In 1982, the winner was "Chariots of Fire" by Vangelis. Which was one of those cases in which the soundtrack far exceeds the fame and longevity of the film.

Who lost in that year against Vangelis? Could it be Johnny?... Johnny with "Raiders of the Lost Ark". Well... maybe Johnny here deserved the statuette. Probably yes, let's say he made up for it the following year.

"Okay, this year I let you have it, come on." Because in 1983, "E.T." won, deservedly absolutely, but it was another year in which there was strong competition. There was "Poltergeist" and there was... "An Officer and a Gentleman" which we all remember for the famous song. "Up Where We Belong" 1985, Williams again had to give way with the sequel to Indiana Jones, "A Passage to India" by Jarre won, but if we were to say today which of the two do you remember more? I remember Indiana Jones, but evidently Indiana Jones wasn't supposed to win that Oscar. And then we get to 1987 with the scandal of scandals.

The biggest scandal in Oscar history. Who was nominated? "Mission" by Ennio Morricone, which I think is among the three most beautiful soundtracks by Morricone and among the ten most beautiful ever written; of an incredible beauty, complexity, and imagination. And indeed who won? I whistle it in the morning while shaving. Which, by the way, was also an adaptation of standards, it wasn't even entirely original.

No, in fact, there were also controversies about that. And the Oscars had for years a huge moral debt towards Morricone. He would later win the Oscar for "The Hateful Eight" and before that the Lifetime Achievement Oscar. Absolutely deserved but let's admit: Morricone has done better things... However, it was a tribute that could not be ignored. And we come to 1993.

We recently talked about our beloved Jerry Goldsmith in Basic Instinct. He must have won! No, he didn't win. Who won? Aladdin by Menken, which is the film adapted from the musical, of course. It's a language that will bring several Oscars to Menken.

In the past, musicals were a separate category at the Oscars. Then it was unified. But also because in the '30s and '40s many more musicals were produced. So it made sense to have a separate category; today one is made every now and then. Then with the unification and merging of the award, there have been fewer and fewer musicals that have won, but another was in 1995, "The Lion King" A beautiful soundtrack and especially beautiful songs. but in that year...

there was "The Shawshank Redemption", an incredible masterpiece by our great composer idol: Thomas Newman. But beware, that year there was Alan Silvestri with Forrest Gump. For me, Forrest Gump is one of the soundtracks I am most fond of. But if 1995 might have been a small scandal for you, it's nothing compared to what happened in 2000. John Corigliano wins with... "The Red Violin", a great work.

What a shame that year there was "American Beauty" by Thomas Newman. Which we have analyzed a bit... But, guys, "American Beauty"... that's how it went. 2001, a truly epic film, with a truly famous music. I know this, I know this, "Gladiator" won.

"Gladiator" didn't win! No, I can't believe it. Better believe it, because it didn't win. The winner was "Crouching Tiger, Hidden Dragon" A good score, absolutely, but can we compare "Gladiator" and how it has stood the test of time? Let's move on to 2002. Another intense year.

One of those years where you think: "I've made it, this is the right year, I'll win!" No, no. Dear Johnny again brings two out of five this year, too. Two nominations with AI, and a certain "Harry Potter and the Philosopher's Stone." Then there's another beautiful soundtrack, objectively, by Horner, "A Beautiful Mind". But that year, not entirely undeserved... Who wins? "The Lord of the Rings: The Fellowship of the Ring" by Howard Shore.

And this is one of those years when the competition is really tough. So, if I had to pick one, I would choose Harry Potter. But objectively they are four masterpieces. It's a truly crazy year. Let's move on. About your friend Thomas Newman, do you remember we said that he's had a bunch of nominations, but he's never won.

This year, 2003, he's nominated again. This is his year, come on. "Road to Perdition", a masterpiece of a soundtrack. The theme is beautiful. And instead, it gets snatched from under his nose... What can we say?

I'm a Newman fan, so... you're not objective. Now, I know that out of Newman's 14 nominations, you would have given him all of them. Almost all, almost all. But actually, he doesn't win this time either. Try again, you'll be luckier Say it 13 times!

In my opinion, by now, when he gets the nomination, he goes out to a pizzeria with his family that evening. I'm not going to attend! I've got plans, it's my wife's birthday... And then 2005 isn't a year with super light soundtracks either. Yes, because Thomas Newman is to Fabrizio Campanelli what Newton Howard is to me. I would have made Newton Howard win them all.

And guys, here is "The Village" which... I have the CD over there, the CD I've listened to, I think, 250 times. Played by Hilary Hahn, guys, an amazing piece that Howard didn't win, who won? Beautiful, the film is beautiful. Nice, beautiful, pleasant. 2011, there are two...

two scores that are not bad... And one day we'll analyze it. Then a certain Desplat and "Inception", in my opinion, one of Zimmer's best scores. One of these three definitely won. No, this was really a scandal, in my opinion. It was won by Trent Reznor and Atticus Ross Guys, completely forgettable.

I really don't understand how it has been possible, in front of three masterpieces like those to award The Social Network. Maybe we are entering the era when the hype, the popularity of a film, the moment that everyone is talking about, probably starts to become a more determining factor than the quality of the content itself. As much as The Social Network is a nice, pretty, fitting score, you can't compare it at all with any of the other three. Not even - on an electronic level - does it have that spark that makes you say, ah, here they have changed the rules of the game. But what Desplat didn't win in 2011, he recovered in 2015 with... ..."The Grand Budapest Hotel", a year in which he also had "The Imitation Game".

That is, he also had 2 out of 5. Desplat starts to follow in the footsteps of Maestro Williams. And he wasn't the only one, by the way, to have two beautiful scores. There was also another beautiful score, "Interstellar" by Zimmer. Which isn't, in terms of notes, an amazing masterpiece, but in terms of sound conception, it is. There's a sound idea behind it.

It's how Zimmer has accustomed us over time to at least try to evolve from himself. Because Zimmer's issue is that he is always his own temp track. So he himself has to escape from himself, get out of this body! And so each time he has to evolve. "Interstellar" is an evolution in his approach. The treatment of the sound material is special.

In short, you can't deny that it's a very impactful soundtrack, which also deserved it. Definitely. At the end of this long list we've made, we'll tell you about a couple of situations in which the film, or rather, the soundtrack, not only didn't win, it wasn't even considered, it wasn't even nominated. Now, let's leave out 95% of Ennio Morricone's soundtracks, even the great masterpieces, because if you're outside the circle of American films, it's very difficult to win an Oscar. But here we have two quite interesting cases, right? So, for example, we find another soundtrack by John Williams, which to me is beautiful, another soundtrack with which I raised my daughter, by the way.

I'll leave the last one to you because I don't want to and can't take it from you, a soundtrack that is still very famous today from an epochal film that didn't even make it into the nominations. Blade Runner. Guys, not nominating Blade Runner, apart from it being my cult film... If you tell me: there's only one tape left (VHS!) you can go to Mars, and take one tape, I'll take Blade Runner. And Vangelis' soundtrack, that one really - unlike The Social Network - changed the rules of the game. Guys, when you hear it, in any era, it has something that takes it out of time, in that sense I would say Kubrickian, with that concept of the absolute that goes beyond, so the use of synthesizers, of electronic sounds, placed in an era where they were everywhere, there they don't have the same value, there they seem like something else compared to the same sounds used, in the soundtracks of the same period.

Guys, it didn't even make it into the nominations but we'll include it, in one of our analyses, soon. So, we've given you this nice overview, this long overview, all that's left is to invite you not to miss the next episode, and of course click "Subscribe" and the bell to always be updated, likes and comments from your good heart, but if you do leave them, it makes us happy. We will respond too. See you. Bye.