The Oppenheimer team has added another feather to their cap with Ludwig Goransson winning the Oscar for Best Original Score. Christopher Nolan’s epic biography has taken the Oscar stage by storm this year, winning almost in all major categories.
This year’s win was Ludwig Goransson’s second Oscar win after Black Panther and is his second collaboration with filmmaker Christopher Nolan after Tenet. Nolan joined Goransson after his regular collaborator Hans Zimmer could not work with him on Tenet due to his commitments to Dune. While the duo created magic together on screen, Goransson did one thing that Nolan could never do with Zimmer, i.e., win the Oscar for his film.
Ludwig Goransson Wins Oscar For Best Original Score Ludwig Goransson | Credits: Rolling Stone
Music composer Ludwig Goransson won his second Oscar this evening for composing for Christopher Nolan’s Oppenheimer. The composer is known for his...
This year’s win was Ludwig Goransson’s second Oscar win after Black Panther and is his second collaboration with filmmaker Christopher Nolan after Tenet. Nolan joined Goransson after his regular collaborator Hans Zimmer could not work with him on Tenet due to his commitments to Dune. While the duo created magic together on screen, Goransson did one thing that Nolan could never do with Zimmer, i.e., win the Oscar for his film.
Ludwig Goransson Wins Oscar For Best Original Score Ludwig Goransson | Credits: Rolling Stone
Music composer Ludwig Goransson won his second Oscar this evening for composing for Christopher Nolan’s Oppenheimer. The composer is known for his...
- 3/11/2024
- by Nishanth A
- FandomWire
Best Picture winner “Oppenheimer” and “Poor Things” were the big Oscar craft winners March 10, each winning three awards. Christopher Nolan’s historical thriller about the atomic bomb grabbed cinematography, editing, and original score, while Yargos Lanthimos’ surreal “Frankenstein” gender-bender snagged costume design, production design, and makeup and hairstyling.
The rest went to “Godzilla Minus One” (visual effects), “The Zone of Interest” (sound), and “Barbie”. The lone “Barbie” win was a major disappointment for Greta Gerwig’s billion-dollar blockbuster, which was expected to also take costume design and/or production design for the inventive Mattel-inspired fashion and world-building.
The wins for “Godzilla Minus One” and “The Zone of Interest” were both upsets: Takashi Yamazaki’s Kaiju actioner bested Gareth Edwards’ AI-themed “The Creator,” which won the Ves prize, and Jonathan Glazer’s Holocaust drama about the banality of evil (the international feature film Oscar winner) overtook “Oppenheimer,” which won the...
The rest went to “Godzilla Minus One” (visual effects), “The Zone of Interest” (sound), and “Barbie”. The lone “Barbie” win was a major disappointment for Greta Gerwig’s billion-dollar blockbuster, which was expected to also take costume design and/or production design for the inventive Mattel-inspired fashion and world-building.
The wins for “Godzilla Minus One” and “The Zone of Interest” were both upsets: Takashi Yamazaki’s Kaiju actioner bested Gareth Edwards’ AI-themed “The Creator,” which won the Ves prize, and Jonathan Glazer’s Holocaust drama about the banality of evil (the international feature film Oscar winner) overtook “Oppenheimer,” which won the...
- 3/11/2024
- by Bill Desowitz
- Indiewire
Updated with win for score. Ludwig Goransson won Oppenheimer‘s fourth Oscar of the night for Best Original Score.
The two-time Oscar winner (the first was for Black Panther) acknowledged director Christopher Nolan in his acceptance speech. “It was your idea to have a violin in the score,” he said. “That allowed me to work and collaborate with my wonderful wife and acclaimed violinist, Serena Goransson.” The two recorded at night, he recalled. “The result of that was amazing and it really set a nice tone for the project.”
Original Score was one category presumed to be one of Oppenheimer’s field-leading 13 nominations to end up in the win column, given that Goransson’s award season run had already been headlined by Grammy and BAFTA honors.
Previously:
Hoyte van Hoytema won Oppenheimer‘s third Oscar of the night, capturing the statuette for Cinematography.
“To all the aspiring filmmakers out there,...
The two-time Oscar winner (the first was for Black Panther) acknowledged director Christopher Nolan in his acceptance speech. “It was your idea to have a violin in the score,” he said. “That allowed me to work and collaborate with my wonderful wife and acclaimed violinist, Serena Goransson.” The two recorded at night, he recalled. “The result of that was amazing and it really set a nice tone for the project.”
Original Score was one category presumed to be one of Oppenheimer’s field-leading 13 nominations to end up in the win column, given that Goransson’s award season run had already been headlined by Grammy and BAFTA honors.
Previously:
Hoyte van Hoytema won Oppenheimer‘s third Oscar of the night, capturing the statuette for Cinematography.
“To all the aspiring filmmakers out there,...
- 3/11/2024
- by Dade Hayes
- Deadline Film + TV
Ludwig Göransson made good on an awards-season sweep by winning an Academy Award Sunday night for the music of “Oppenheimer,” his second career win for best original score.
The Oscar completes a run the 39-year-old Swedish composer has had picking up Grammy, Golden Globe, BAFTA, Critics Choice and Society of Composers & Lyricists awards for the score of Christopher Nolan’s film.
Read More: See all the 2024 Oscar winners here.
Göransson previously won the original score Oscar for 2018’s “Black Panther.” He also has two Emmys for the music of “The Mandalorian,” another Oscar nomination for a song in 2022’s “Black Panther: Wakanda Forever,” and three more Grammys for “Black Panther” and his songwriting-producing work with Childish Gambino.
Göransson’s was one of seven Oscars won by “Oppenheimer.” At the podium, he thanked director Nolan for his initial idea to use the violin as a central instrument in the score, which...
The Oscar completes a run the 39-year-old Swedish composer has had picking up Grammy, Golden Globe, BAFTA, Critics Choice and Society of Composers & Lyricists awards for the score of Christopher Nolan’s film.
Read More: See all the 2024 Oscar winners here.
Göransson previously won the original score Oscar for 2018’s “Black Panther.” He also has two Emmys for the music of “The Mandalorian,” another Oscar nomination for a song in 2022’s “Black Panther: Wakanda Forever,” and three more Grammys for “Black Panther” and his songwriting-producing work with Childish Gambino.
Göransson’s was one of seven Oscars won by “Oppenheimer.” At the podium, he thanked director Nolan for his initial idea to use the violin as a central instrument in the score, which...
- 3/11/2024
- by Jon Burlingame
- Variety Film + TV
As the American Federation of Musicians and the Alliance of Motion Picture and Television Producers resumed contract negotiations Wednesday, the AFM has released statistics that shed light on the changing nature of employment for industry musicians who play on many of the films and TV shows now being made.
When a film or TV show that features AFM musicians makes it to a secondary market — airing on broadcast or cable, released on home video, or even transitioning to a streaming service — that triggers a residual payment to actors, writers, directors and craftspeople, essentially sharing in the profits of a successful project.
But the studios have steadfastly resisted granting musicians a residual payment for original series, movies and other programs that are made specifically for streaming services. It’s a key demand, along with protections against the use of AI, that the AFM is making in this round of negotiations, which began Jan.
When a film or TV show that features AFM musicians makes it to a secondary market — airing on broadcast or cable, released on home video, or even transitioning to a streaming service — that triggers a residual payment to actors, writers, directors and craftspeople, essentially sharing in the profits of a successful project.
But the studios have steadfastly resisted granting musicians a residual payment for original series, movies and other programs that are made specifically for streaming services. It’s a key demand, along with protections against the use of AI, that the AFM is making in this round of negotiations, which began Jan.
- 2/21/2024
- by Jon Burlingame
- Variety Film + TV
The 10th annual Variety Artisans Awards at the Santa Barbara International Film Festival hosted its biggest crowd to date at this year’s event, with 2,000 attendees packing the Arlington Theater to hear artisans behind Oscar-nominated films discuss their projects.
After one-on-one conversations, honorees Stephane Ceretti, visual effects supervisor on “Guardians of the Galaxy Vol. 3,” Billie Eilish and Finneas, songwriters on “Barbie’s” “What Was I Made For,” Ludwig Göransson, composer on “Oppenheimer,” Sarah Greenwood and Katie Spencer, production designers on “Barbie,” Kazu Hiro, makeup artist on “Maestro,” Jennifer Lame, editor on “Oppenheimer,” Rodrigo Prieto, cinematographer on “Killers of the Flower Moon,” Michael Semanick, re-recording mixer on “Spider-Man: Across the Spider-Verse” and Holly Waddington, costume designer on “Poor Things,” gathered for a panel discussion.
Senior artisans editor Jazz Tangcay challenged the honorees to name their favorite rainy day movies.
“Amadeus,” came up a few times. Goransson mentioned he had two...
After one-on-one conversations, honorees Stephane Ceretti, visual effects supervisor on “Guardians of the Galaxy Vol. 3,” Billie Eilish and Finneas, songwriters on “Barbie’s” “What Was I Made For,” Ludwig Göransson, composer on “Oppenheimer,” Sarah Greenwood and Katie Spencer, production designers on “Barbie,” Kazu Hiro, makeup artist on “Maestro,” Jennifer Lame, editor on “Oppenheimer,” Rodrigo Prieto, cinematographer on “Killers of the Flower Moon,” Michael Semanick, re-recording mixer on “Spider-Man: Across the Spider-Verse” and Holly Waddington, costume designer on “Poor Things,” gathered for a panel discussion.
Senior artisans editor Jazz Tangcay challenged the honorees to name their favorite rainy day movies.
“Amadeus,” came up a few times. Goransson mentioned he had two...
- 2/12/2024
- by Jazz Tangcay
- Variety Film + TV
Last night at UCLA’s Royce Hall, nearly 1,000 lucky attendees got to hear the music that defined the cinematic event of 2023, Christopher Nolan’s Oppenheimer.
Following warm introductions from Cillian Murphy and Nolan, Oscar-winning composer Ludwig Göransson and his partner in life and music, Serena Göransson, produced a live-to-film experience of their Golden Globe-winning and Oscar-shortlisted score for the $955 million-grossing historical epic. The duo were joined by conductor Anthony Parnther, who led the evening’s 55-piece orchestra, featuring many of the same musicians he also conducted during the score’s original studio sessions.
Together with Universal Studios, Syncopy and the event-related services of Black Ink, Fine Line and Encompass, the Göranssons dedicated the entirety of the past two months to Oppenheimer: Live in Concert. They painstakingly rearranged their two-hour and 43-minute score, so that it could be played live in continuous fashion, with the exception of a musician-friendly intermission at the film’s two-hour mark.
Following warm introductions from Cillian Murphy and Nolan, Oscar-winning composer Ludwig Göransson and his partner in life and music, Serena Göransson, produced a live-to-film experience of their Golden Globe-winning and Oscar-shortlisted score for the $955 million-grossing historical epic. The duo were joined by conductor Anthony Parnther, who led the evening’s 55-piece orchestra, featuring many of the same musicians he also conducted during the score’s original studio sessions.
Together with Universal Studios, Syncopy and the event-related services of Black Ink, Fine Line and Encompass, the Göranssons dedicated the entirety of the past two months to Oppenheimer: Live in Concert. They painstakingly rearranged their two-hour and 43-minute score, so that it could be played live in continuous fashion, with the exception of a musician-friendly intermission at the film’s two-hour mark.
- 1/11/2024
- by Brian Davids
- The Hollywood Reporter - Movie News
In film composing, the rule of thumb is often that animated movies are wall-to-wall music in which the composer must do a lot of the heavy lifting, while live-action films are more sparing with the music. But you can throw that out the window when it comes to Christopher Nolan’s “Oppenheimer,” a three-hour movie with about two-and-a-half hours of bold and very prominent score from Ludwig Göransson.
The Swedish composer, who won an Oscar for “Black Panther,” two Emmys for “The Mandalorian” and Record of the Year and Song of the Year Grammys for his work with Childish Gambino, said he did something on “Oppenheimer” that he’d never done on a film before. “I’ve never worked on a project that is from one single man’s perspective,” he said. “You’re with him — you’re feeling his feelings, you’re seeing through his eyes throughout the whole film.
The Swedish composer, who won an Oscar for “Black Panther,” two Emmys for “The Mandalorian” and Record of the Year and Song of the Year Grammys for his work with Childish Gambino, said he did something on “Oppenheimer” that he’d never done on a film before. “I’ve never worked on a project that is from one single man’s perspective,” he said. “You’re with him — you’re feeling his feelings, you’re seeing through his eyes throughout the whole film.
- 11/29/2023
- by Steve Pond
- The Wrap
Yes, Christopher Nolan wants you to buy the Blu-ray of “Oppenheimer.”
But the event at the Academy’s Linwood G. Dunn Theatre Monday night promoting the November 21 home video launch of the $951 million global hit — which no one in Hollywood predicted — also screened “The Story of Our Time: The Making of Oppenheimer,” a Blu-ray special feature, and added a stellar crafts panel for the press, guild, and Academy voters on hand.
Universal knows that craft nominations could add up for “Oppenheimer,” as they have for other Nolan movies like “Dunkirk” and “Inception,” and that these craft maestros would showcase their expertise and star power. At the reception afterwards, Nolan told IndieWire that he was surprised at how strong the making-of movie was, because he actively avoided having the crew on the set, finding them an unwelcome distraction.
The message of the behind-the-scenes documentary couldn’t be clearer: Nolan wanted everything...
But the event at the Academy’s Linwood G. Dunn Theatre Monday night promoting the November 21 home video launch of the $951 million global hit — which no one in Hollywood predicted — also screened “The Story of Our Time: The Making of Oppenheimer,” a Blu-ray special feature, and added a stellar crafts panel for the press, guild, and Academy voters on hand.
Universal knows that craft nominations could add up for “Oppenheimer,” as they have for other Nolan movies like “Dunkirk” and “Inception,” and that these craft maestros would showcase their expertise and star power. At the reception afterwards, Nolan told IndieWire that he was surprised at how strong the making-of movie was, because he actively avoided having the crew on the set, finding them an unwelcome distraction.
The message of the behind-the-scenes documentary couldn’t be clearer: Nolan wanted everything...
- 11/16/2023
- by Anne Thompson
- Indiewire
Ludwig Göransson is fairly new to the music-for-screens game, but it surprised no one when his score for the billion-dollar “Black Panther” — a deft swirl of blockbuster orchestra, hip-hop and authentic Africana — prompted his first Oscar nomination (and three Grammys on Feb. 10). The Swedish composer spoke to Variety in the midst of scoring the Disney Plus “Star Wars” spinoff series “The Mandalorian.”
Did you have any sense of the cultural impact “Black Panther” would have?
After seeing a four-hour cut without any score — the first edit that [director] Ryan [Coogler] had done — I remember calling my fiancée [violinist Serena McKinney, whom he married soon after] and saying, “I think this is the ‘Star Wars’ of our generation.” It’s something I’d never experienced before. My mind was blown.
You’re Swedish and writing music based on African rhythms and instruments. How did you approach that?
After reading the script, I knew I...
Did you have any sense of the cultural impact “Black Panther” would have?
After seeing a four-hour cut without any score — the first edit that [director] Ryan [Coogler] had done — I remember calling my fiancée [violinist Serena McKinney, whom he married soon after] and saying, “I think this is the ‘Star Wars’ of our generation.” It’s something I’d never experienced before. My mind was blown.
You’re Swedish and writing music based on African rhythms and instruments. How did you approach that?
After reading the script, I knew I...
- 2/21/2019
- by Tim Greiving
- Variety Film + TV
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.