Academy Award Voter Kubilay Uner Talks Oscar-Nominated Film Scores

Campus Communications Staff / Feb 24, 2025

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Kubilay Uner, director of Columbia College Chicago’s top-rated Music Composition for the Screen program, reflects on his first year as voting member of the Academy of Motion Picture Arts and Sciences and shares his insights on this year’s five nominated original film scores.

As director of Columbia College Chicago’s top-rated Music Composition for the Screen program and a film composer, Associate Professor Kubilay Uner is a recognized expert in the world of film scoring. This year, he took a significant step in his career by becoming a voting member of the Academy of Motion Picture Arts and Sciences music branch. Here, he shares his insights on the voting process and the films nominated for best original motion picture score in 2025.  

Behind the Curtain 

Selecting the five nominated films is no easy task. Uner watched more than 40 films, including the five nominated films for best original music score, ensuring he didn’t miss any key contenders. He, like other voting members of the music branch of the academy, brought his unique experience and perspective into the process. "Every member is an artisan casting their vote for what they feel stands out," Uner explains. This emphasis on personal judgment ensures that the nominations reflect a wide range of artistic approaches to film scoring, Uner says.  

A Deep Dive Into the Nominees 

Below Uner evaluates the five nominated film scores, showcasing their distinct styles and the ways in which they complement their respective films. As a composer himself, Uner’s observations are grounded in his understanding of the technical and emotional power of music. 

"The Brutalist" – Composer: Daniel Blumberg 
Uner praises "The Brutalist" for its rich, chamber-like music score with a modern attitude. The use of prepared piano and percussive noise adds texture and complexity, while a recurring three-note motif ties the score together. "The film is an easy watch because the score keeps you engaged," Uner notes, highlighting how the music enhances the film’s exploration of post-WWII architecture. 

"Conclave" – Composer: Volker Bertelmann 

Uner notes the texture and grit of "Conclave’s" score, comparing it to "The Brutalist" in its use of small ensembles and advanced techniques. Bertelmann’s score blends acoustic instruments with a modular structure that complements the film’s themes of papal elections. Uner is particularly impressed by how both ”The Brutalist” and “Conclave” use sound to connect with the films’ formal settings, creating immersive environments for the audience. 

"Emilia Pérez" - Clément Ducol and Camille 

Uner highlights the modern, genre-blending score for "Emilia Pérez," which mixes post-urban influences and rap-inspired elements. He praises the composers for their innovative approach: "Whatever the two composers needed the music to do, they just made it do," he says. Uner points to the score’s seamless combination of electronic and acoustic sounds, which serves the film’s dynamic and free-spirited nature. 

"Wicked" - John Powell and Stephen Schwartz 

Adapting the beloved musical "Wicked" for film presented a unique challenge, and Uner credits the composers for expanding the musical’s orchestration. He emphasizes the seamless transition from the songs to the underscore, an essential task in film adaptation. "The arrangements are much, much bigger... movie-sized," Uner says, describing how the expanded score enhances the film’s grand scale. 

"The Wild Robot" - Kris Bowers 

Uner describes "The Wild Robot" as the most traditional of the nominees, praising its masterfully crafted, cinematic feel. He notes the influence of minimalist composers like Philip Glass and Steve Reich, with the score’s repetitive chords and percussive elements adding a modern edge. Uner also appreciates how the score’s beautiful melodies enhance the film’s action, such as in the soaring flying scenes. 

Award Shows: More Than Just Predicting a Winner 

Uner’s prediction for an Oscar winner this year? He prefers to focus on the thoughtful discussions generated by the nominations rather than competition. For him, the purpose of the Oscars is not to crown the best score, but to spark conversations about the innovation, tradition, and musical expression of the scores and what they bring to each film. “Besides, once we’re at the nominee level,” he says, “we've already left a lot of great ones behind.” 

Kubilay Uner: An Academic Working in the Industry

 
In addition to his work as an Academy voter and director of the Music Composition for the Screen program at Columbia, Uner has been busy with several projects this year. He just completed working on “In the Mouth,” a film that blends elements of David Lynch, Wes Anderson, and 1950s horror. The film just premiered at Slamdance in Los Angeles, and Uner considers it one of his favorite scores to date. He is also preparing to work on a short Western, currently in the editing stage, and is set to begin work on a feature documentary project this spring.  

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