The Academy of Motion Picture Arts and Sciences (AMPAS) music branch has once again come under scrutiny for its nomination choices. Despite the Golden Globe and Critics' Choice Award-winning score for Challengers by Atticus Ross and Trent Reznor, the duo was notably overlooked. This decision highlights a persistent trend within the branch to favor more traditional orchestral compositions over unconventional styles. However, broader voter sentiment seems increasingly open to diverse musical approaches, as evidenced by recent wins in categories that have favored innovative soundtracks. The discussion now centers on whether Daniel Blumberg’s eclectic work for The Brutalist can overcome established industry favorites.

Historically, the AMPAS music branch has shown a preference for classical and orchestral scores, often aligning with composers like John Williams. Last year, Williams received his 54th Oscar nomination, showcasing the enduring appeal of traditional film music among voters. In contrast, Ross and Reznor’s score for Challengers, characterized by its modern and rhythmic beats, failed to resonate with the academy. This outcome raises questions about the branch’s openness to contemporary and experimental sounds. While Ross and Reznor have previously won Oscars, their latest work did not meet the branch’s expectations, suggesting a resistance to change within this elite group.

Despite the branch’s conservative leanings, there are signs that the overall academy is becoming more receptive to unconventional scores. Recent victories for Steven Price’s , Ludwig Göransson’s Black Panther, and Hildur Guðnadóttir’s Joker demonstrate a growing willingness to embrace diversity in film music. These triumphs indicate a shift in voter preferences towards more daring and unique compositions. As a result, the stage is set for Daniel Blumberg’s distinctive and versatile score for The Brutalist to potentially stand out. Blumberg’s work eschews traditional grandeur in favor of a more adaptable and nuanced approach, which could appeal to an evolving audience of academy members.

In conclusion, while the AMPAS music branch may still exhibit a bias toward conventional film scores, the broader voting body appears to be moving in a different direction. With increasing support for innovative and non-traditional music, there is optimism that works like Blumberg’s The Brutalist will find recognition. The future of film scoring at the Oscars may well reflect a more inclusive and varied landscape, signaling a new era for cinematic soundscapes.