The movie awards season is already underway, as the various critics’ associations of several cities have already handed out their awards (Los Angeles, New York, Boston and the National Board of Review have already weighed in), and “The Social Network” is by far the golden child, having taken prizes for Best Picture from all of those organizations. In addition to winning the top prizes, “The Social Network” has also walked away with a bunch of awards for director David Fincher. The film is expected to get a bunch of attention when the Golden Globes are announced on Tuesday morning (December 14), which will undoubtedly lead to a load of recognition at the Oscars in February.
So far, there hasn’t been a whole lot of adoration bestowed upon Trent Reznor and Atticus Ross, the musicians responsible for the score for “The Social Network.” Though few people wrote about it, the score by the former Nine Inch Nails collaborators and current members of How to Destroy Angels is a moody, complicated construction that is remarkably great and exceptionally dark, and it absolutely adds to the film’s distinct tone. They’ll probably have to contend with the likes of Clint Mansell (“Black Swan”) and Michael Brook (“Country Strong”) for the Best Musical Score Oscar when the time comes.
With that in mind, it’s not impossible to think that Reznor could be halfway to an EGOT by the time the Oscar ceremony is over. The EGOT, popularized by Tracy Morgan’s character on “30 Rock,” stands for “Emmy, Grammy, Oscar, Tony,” the four major awards for performers in television, music, film and theater respectively. Reznor already has a Grammy (he has two, actually, both for Best Metal Performance for “Wish” in 1992 and “Happiness In Slavery” in 1995), and his Oscar could potentially be coming soon. That leaves an Emmy (somebody should really draft him to write the theme song for a sci-fi series — the fact that he doesn’t write music for “Fringe” is sort of criminal) and a Tony (maybe he’ll do a one man show or get involved in a musical, U2-style) left on the table. The Tony would probably be the most unlikely (Broadway is awfully low-fi for a forward-thinking guy like Reznor) and Reznor has never seemed that interested in winning awards in the first place, but it would be an accomplishment that would drive home Reznor’s wide range of talents and his knack for excelling in just about everything he does.