The Princess and the Frog

Post by **ELIOLI** » January 5th, 2010, 3:17 pm

Forgive me Ben, but is it really bothersome? I just type it the way it appears on screen is all. But if it's that much of a problem, I will refrain from using it. But I will go for what droosan said. I just like to type it that way. Is there something against capitals?I know it stands for that as well.Most fo the people should know that

As for the movie, everyone clapped at the end of it. Really cool. The last time I remember people doing that in our theater was for Over The Hedge.

Post by **Ben** » January 5th, 2010, 5:18 pm

I just irks me (don't know why) when people keep referring to companies that are not acronyms, or known in shorthand like AMPAS for instance.

And saying that you go by the way it appears on screen is nuts: I mean, you don't say "DREAMWORKS", do you?

But, if you want to go ahead and call it PIXFAWR...

The Spanish word thing didn't occur to anyone until later, apparently. It's not surprising that another language would have a word that was spelled differently that might be closer to "Pixar". And that it is "pixer" isn't such a big deal: just one latter changed from "pixel". The official story, going by what Lasseter says, is that it's "pixel" and "art" meshed, dropping the final t to sound unique (and trademarkable!).

Post by **ELIOLI** » January 5th, 2010, 6:16 pm

I don't do that to every company. But I will stop doing that just for you!

Post by **Whippet Angel** » January 5th, 2010, 6:23 pm

It's generally uncommon for the audience to applaud whenever I go to the movie theater (perhaps east coast audiences are a bit more reserved?).

I've seen Princess and the Frog twice, and there was an enthusiastic applause at the end both times.

Post by **Darkblade** » January 7th, 2010, 9:20 pm

Anyone know what John Musker and Ron Clements plan to do next? I heard they were doing a new 2D film...But I am hoping its not like the musical thing, not that I have anything against that. But I would like to see them try to tackle something different.

Post by **Josh** » January 12th, 2010, 3:16 pm

The score for The Princess and the Frog has been ruled ineligible for Oscar consideration, reports Nikki Finke.

Can someone please explain to me what the Academy of Motion Picture Arts and Sciences has against music? It seems that whenever the rules tighten, the move usually concerns a music category.

Post by **Vernadyn** » January 12th, 2010, 3:26 pm

Plus the Academy hasn't picked a great score since The Return of the King. Finding Neverland and Atonement weren't too shabby, but they weren't the best among the nominated, much less among great scores that weren't nominated. Slumdog Millionaire had great songs, but the score itself was merely functional, and even distracting at points. Then, of course, there were the two back-to-back unmentionables...

Post by **estefan** » January 12th, 2010, 5:08 pm

Shame, since I really like Newman's score for this (especially the "This Is Gonna Be Good" track). Oh, well. Hopefully, they're smart enough to nominate a couple of the songs.

To be honest, I'm not entirely surprised at this, since ever since the Mermaid-Beauty-Aladdin-Lion King-Pocahontas wins, the Academy's music branch is always trying at all costs to stop Disney from winning the Score category, for some reason.

Post by **PatrickvD** » January 12th, 2010, 6:04 pm

There is only one explanation. The Academy loves awful music. Why else would they award that awful music from Slumdog Millionaire and the likes of Eminem?

Let's hope a song from the film take home the award. Almost There deserves it in my opinion. Best song in the film.

Post by **droosan** » January 12th, 2010, 7:28 pm

Personally, I felt that The Princess and the Frog's score was a wee bit too generically 'Randy Newman' .. much of it sounds as though it could be underscore for Toy Story 3 or Cars 2.

Considering its southern 'jazz-age' setting, I felt the score could have been much improved if it had some Dixieland or Ragtime flair.

That's not to say that I feel PatF's score should be 'ineligible' for consideration, however .. that's just pure Academy shenanigans.

Post by **Josh** » January 12th, 2010, 9:16 pm

PatrickvD wrote:There is only one explanation. The Academy loves awful music. Why else would they award that awful music from Slumdog Millionaire and the likes of Eminem?

In my opinion, 'Jai Ho' and 'Lose Yourself' are masterpieces compared to 'Hard Out Here for a Pimp.' I'm still confused about that win.

PatrickvD wrote:Let's hope a song from the film take home the award. Almost There deserves it in my opinion. Best song in the film.

I predict T-Bone Burnett will win for 'The Weary Kind' from Crazy Heart.

Post by **PatrickvD** » January 13th, 2010, 12:55 pm

Josh wrote:In my opinion, 'Jai Ho' and 'Lose Yourself' are masterpieces compared to 'Hard Out Here for a Pimp.' I'm still confused about that win.

Oh right. I forgot about that...."song"..... The academy really dropped the ball here. All because Menken took home too many awards? At least, I was under the impression that was why they changed rules regarding song and score.

At least Menken was and still is making memorable movie music that actually adds to a film. What have ANY of the winners in recent years added to the film they belonged to? Most of them are interchangeable and pointless.

Post by **Dacey** » January 13th, 2010, 1:19 pm

The score from "Brokeback Mountain" was really good. "Babel" had a strong one as well, at least if memory serves.

Post by **Vernadyn** » January 13th, 2010, 2:12 pm

The best parts of the Babel score by far were the parts written by Ryuichi Sakamoto, especially the first and last pieces on the second CD of the soundtrack.

Post by **Ben** » January 14th, 2010, 4:15 pm

It's the Randy Newman effect.

Remember how long it took him to win an Oscar at all, after being nominated countless times. I mean, he didn't win for the simply immortal score he wrote for The Natural, but he won for a standard, run of the mill comedy song for Monsters Inc!?

Kind of like Scorsese winning for The Departed, a pale imitation remake of a much better film when he had been churning out his own, much more original, striking and influential stuff for decades.