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Will The Force Awakens be Williams' 50th best score nomination?


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John Williams at the 2016 Academy Awards  

62 members have voted

  1. 1. Will The Force Awakens be Williams' 50th best score nomination?

  2. 2. What would have happened if schedules allowed John to score both Episode 7 and Bridge of Spies

    • Both scores would have been nominated
    • Only Bridge of Spies would have been nominated
    • Only The Force Awakens would have been nominated
    • Neither would have been nominated
    • I don't know man - I just wanted to vote on the simple question above!


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Hm. Thinking about 2002, I'd say that was a good year with a hefty number of very finely crafted scores, from Williams or otherwise, some for good films, some for duds.

No, you're wrong. To even suggest that other composers could write scores as finely crafted as Williams' is an insult not only to the man, but to the film music community as a whole.

In other words, you're a shit-eating pig.

He often claims to have scientific and empirical evidence that Hans Zimmer has more knowledge, skill and creativity than John Williams, Jerry Goldsmith and Bernard Herrmann combined!

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I voted yes to the first. I'm not sure why, but I'm optimistic Williams will get a nomination (in spite of my previously saying it wouldn't)... not that it really matters, of course. ;) I think Bridge of Spies will get a nomination, too. No doubt it would have been nominated if Williams was on board.

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It's a poll now, but I still can't vote, because I have no idea how to answer the second question. Could be that Spies would have been nominated over TFA because it's the "serious" of the two films, but I think it also depends on how they're received. Not enough information at this point.

Anyway, what are the chance of Morricone beating Williams to the Oscar?

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Attack of the Clones is only a good score to morons and desperate JWFanners that will eat up anything Star Wars. I'm the latter. It really is a piece of crap, but at least I can admit that. Still, it's a guilty pleasure.

I think both AOTC and KOTCS are very fine film scores with their own merits. They're both the product of a composer very much in control of his own art and I find a lot to enjoy in both of them. The problem with fans is of course the natural attitude to compare them to what preceded them in terms of legacy. Maybe both scores aren't on the same peak level of TESB, Raiders or Temple of Doom, but there is a lot to appreciate.

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It's a poll now, but I still can't vote, because I have no idea how to answer the second question. Could be that Spies would have been nominated over TFA because it's the "serious" of the two films, but I think it also depends on how they're received. Not enough information at this point.

True...at the beginning of 2004, would most people have thought that he'd be nominated for Harry Potter 3 instead of The Terminal?

Anyway, what are the chance of Morricone beating Williams to the Oscar?

Probably the same chances that The Hateful Eight is more acclaimed than The Force Awakens....

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  • 1 month later...

Attack of the Clones is only a good score to morons and desperate JWFanners that will eat up anything Star Wars. I'm the latter. It really is a piece of crap, but at least I can admit that. Still, it's a guilty pleasure.

Whaaaat? "Confrontation with Dooku and Finale" is one of the greatest cues of Williams' career!

But without 2014, we wouldn't have Desplat's Godzilla - the king of 2014 film music.

Nope - Greenwood's Inherent Vice.

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Attack of the Clones is only a good score to morons and desperate JWFanners that will eat up anything Star Wars. I'm the latter. It really is a piece of crap, but at least I can admit that. Still, it's a guilty pleasure.

Whaaaat? "Confrontation with Dooku and Finale" is one of the greatest cues of Williams' career!

E.T doesn't like anything that was written after the year 1989...

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  • 2 months later...

So the eternally reliable* GoldDerby have their live predictions up for each category of the 2016 Oscars. Of their 21 experts and site editors, 12 have The Force Awakens as their pick for the Best Original Score Oscar. Of the remaining 9, 4 chose TFA as the runner up.

As for the other scores they fancied would take home the gold? Inside Out had 3 experts on board, followed by Carol & Hateful Eight with 2.

I think if JW truly knocks this one out of the park with something truly memorable, the long drought between scores may serve him well indeed. At this point the nomination seems a formality; could he actually be looking at his elusive 6th Oscar?

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The Hateful Eight deserves to win the Oscar. It's a much better score than The Force Awakens.

Ridiculous. BB8's seven note motif is more original than anything Morricone has ever written.

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He really should've left the didgeridoo as an exclusive feature of The Adventures of Finn.

Still, the bagpipe solo for Captain Phasma's iconic leitmotif proved genius.

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I thought they pushed back the eligibility period, just so TFA would be eligible for the awards? It serves the Academy's interests allowing the film to be eligible; they saw a ratings spike in the year following The Dark Knight because the general public actually gave a shit about their otherwise sycophantic awards ceremony. A bunch of overpaid millionaires awarding other overpaid millionaires meaningless awards... spare me!

....unless it's Johnny "Angel Baby" Williams getting recognized, in which case I hold the awards in high esteem.

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It serves the Academy's interests allowing the film to be eligible; they saw a ratings spike in the year following The Dark Knight because the general public actually gave a shit about their otherwise sycophantic awards ceremony. A bunch of overpaid millionaires awarding other overpaid millionaires meaningless awards... spare me!

Yeah, because Nolan isn't an overpaid millionaire!

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I thought TFA was ineligible for the 2016 Oscars since Disney wasn't going to screen the film early? Or has that changed or wasn't true at all?

That was about various critics' groups like New York, LA, Boston etc and things like the Screen Actors' Guild and I think maybe the Golden Globes too which have either their awards or nominations in early December. So a lot of times late releases will screen early either specifically for awards or at a film festival or they'll send out DVDs, but TFA isn't doing any of that. I think the article I read said major publications will probably get to see it sometime in the days between the premiere and the wide release so they can crank out a review in time, but that's it.

I thought they pushed back the eligibility period, just so TFA would be eligible for the awards?

That was the AFI, which was originally going to be up with the other critics' groups, but then changed their deadline for Star Wars.

The Oscars don't do their nominations until later in January so they'll have plenty of time to see it whenever.

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Attack of the Clones is only a good score to morons and desperate JWFanners that will eat up anything Star Wars. I'm the latter. It really is a piece of crap, but at least I can admit that. Still, it's a guilty pleasure.

I think both AOTC and KOTCS are very fine film scores with their own merits. They're both the product of a composer very much in control of his own art and I find a lot to enjoy in both of them. The problem with fans is of course the natural attitude to compare them to what preceded them in terms of legacy. Maybe both scores aren't on the same peak level of TESB, Raiders or Temple of Doom, but there is a lot to appreciate.

I owe you a beer for this post.

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It's just a rehash of the Droids motif from ESB!

Didn't the Driods have two motifs? The ESB motif heard when R2 is in the Dagobah swamp and in ROTJ while they're walking towards Jabba's palace right after that glorious Imperial March outro?

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I don't think anyone really considers the ROTJ one a theme, since its only used that one time.

The ESB one is used in a ton of cues


http://www.jwfan.com/forums/index.php?showtopic=25318&page=2#entry1124783

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I don't think anyone really considers the ROTJ one a theme, since its only used that one time.

The ESB one is used in a ton of cues

http://www.jwfan.com/forums/index.php?showtopic=25318&page=2#entry1124783

The ROTJ music sounds like a natural evolution of the ESB theme.... and it sounds like a theme...even if it's only used twice in the same cue. But is it not used in "the droids are captured"?

Also in ROTJ there is a small cameo of the ESB, which may be unintentional (but that while listening to the score i always asumed that it's for the droids, but just checking it, in the film there are only ewoks in scene)

It's "the battle of endor I" at 6:15. There is also Droid-ish music at 9:57 when r2 arrives to the computer socket. (which is part of the forest battle concert suite and alternate sail barge assault)

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I don't think anyone really considers the ROTJ one a theme, since its only used that one time.

The ESB one is used in a ton of cues

Sort of weird that he used it so extensively in ESB and then didn't use it at all later on. When I revisited the scores I completely forgot how much he incorporated it.

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I thought TFA was ineligible for the 2016 Oscars since Disney wasn't going to screen the film early? Or has that changed or wasn't true at all?

I thought they pushed back the eligibility period, just so TFA would be eligible for the awards? It serves the Academy's interests allowing the film to be eligible; they saw a ratings spike in the year following The Dark Knight because the general public actually gave a shit about their otherwise sycophantic awards ceremony. A bunch of overpaid millionaires awarding other overpaid millionaires meaningless awards... spare me!

....unless it's Johnny "Angel Baby" Williams getting recognized, in which case I hold the awards in high esteem.

Lol the eligibility period for the Oscars hasn't changed. Trust me that is never happening. A film has to meet the following criteria to be considered for the Oscars - release starting in the calendar year (that is from Jan 1 to Dec 31) commercially for atleast one week atleast in LA.

So basically any 2015 release qualifies as long as they submit the paperwork.

So yeah no strings being pulled for Star Wars, it is eligible normally just like everything else released this year.

I don't think the Oscars want to piss of the audience with this.

Oscars care jack shit about general audience. They mostly exclusively reward indies these days. No true blockbuster is ever heavily in contention save for some exceptions.

Like they nominated Nicole Kidman for a films whose total BO gross was like 600K or something.

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The quality of journalism these days. The article has no sources and no information to add. The writer just sat and wrote it might or might not be eligible, did not research, called up nobody, had nothing to add. And mad her paycheck.

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The quality of journalism these days. The article has no sources and no information to add. The writer just sat and wrote it might or might not be eligible, did not research, called up nobody, had nothing to add. And mad her paycheck.

What I get annoyed about is when reporters claim that the music in TFA TV spots/trailers is by Williams, even in the instances in which it is not.

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The quality of journalism these days. The article has no sources and no information to add. The writer just sat and wrote it might or might not be eligible, did not research, called up nobody, had nothing to add. And mad her paycheck.

It's more to do with page hits than anything else. "Star Wars" is probably the hottest traffic driving search query in the world right now.

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JW's score has just been deemed ineligible due to JJ's and Miranda's Cellar Song.

Precisely what I feared! You see what you did, J.J.??

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The score just made the short list, in other words: it is eligible for the Oscar! Here are the 112 scores that the academy can vote on:

“Adult Beginners,” Marcelo Zarvos, composer
“The Age of Adaline,” Rob Simonsen, composer
“Altered Minds,” Edmund Choi, composer
“Alvin and the Chipmunks: The Road Chip,” Mark Mothersbaugh, composer
“Anomalisa,” Carter Burwell, composer
“Ant-Man,” Christophe Beck, composer
“Beasts of No Nation,” Dan Romer, composer
“The Big Short,” Nicholas Britell, composer
“Black Mass,” Tom Holkenborg, composer
“Bridge of Spies,” Thomas Newman, composer
“Brooklyn,” Michael Brook, composer
“Burnt,” Rob Simonsen, composer
“By the Sea,” Gabriel Yared, composer
“Carol,” Carter Burwell, composer
“Cartel Land,” H. Scott Salinas and Jackson Greenberg, composers
“Chi-Raq,” Terence Blanchard, composer
“Cinderella,” Patrick Doyle, composer
“Coming Home,” Qigang Chen, composer
“Concussion,” James Newton Howard, composer
“Creed,” Ludwig Goransson, composer
“The Danish Girl,” Alexandre Desplat, composer
“The Divergent Series: Insurgent,” Joseph Trapanese, composer
“Dukhtar,” Peter Nashel, composer
“The End of the Tour,” Danny Elfman, composer
“Everest,” Dario Marianelli, composer
“Ex Machina,” Ben Salisbury and Geoff Barrow, composers
“Far from the Madding Crowd,” Craig Armstrong, composer
“Fifty Shades of Grey,” Danny Elfman, composer
“5 Flights Up,” David Newman, composer
“Frame by Frame,” Patrick Jonsson, composer
“Freedom,” James Lavino, composer
“Furious Seven,” Brian Tyler, composer
“The Good Dinosaur,” Mychael Danna and Jeff Danna, composers
“Goosebumps,” Danny Elfman, composer
“Grandma,” Joel P. West, composer
“The Hateful Eight,” Ennio Morricone, composer
“He Named Me Malala,” Thomas Newman, composer
“Hot Pursuit,” Christophe Beck, composer
“Hot Tub Time Machine 2,” Christophe Beck, composer
“The Hunger Games: Mockingjay – Part 2,” James Newton Howard, composer
“The Hunting Ground,” Miriam Cutler, composer
“I Smile Back,” Zack Ryan, composer
“I’ll See You in My Dreams,” Keegan DeWitt, composer
“In the Heart of the Sea,” Roque Baños, composer
“Inside Out,” Michael Giacchino, composer
“The Intern,” Theodore Shapiro, composer
“It Follows,” Disasterpeace, composer
“Jalam,” Ouesppachan, composer
“Jurassic World,” Michael Giacchino, composer
“Kahlil Gibran’s The Prophet,” Gabriel Yared, composer
“Kingsman: The Secret Service,” Henry Jackman and Matthew Margeson, composers
“Krampus,” Douglas Pipes, composer
“La Jaula de Oro,” Jacobo Lieberman and Leonardo Heiblum, composers
“The Lady in the Van,” George Fenton, composer
“The Last Witch Hunter,” Steve Jablonsky, composer
“Learning to Drive,” Dhani Harrison and Paul Hicks, composers
“Legend,” Carter Burwell, composer
“Little Accidents,” Marcelo Zarvos, composer
“The Longest Ride,” Mark Isham, composer
“Mad Max: Fury Road,” Tom Holkenborg, composer
“The Man from U.N.C.L.E.,” Daniel Pemberton, composer
“The Martian,” Harry Gregson-Williams, composer
“Max,” Trevor Rabin, composer
“Maze Runner: The Scorch Trials,” John Paesano, composer
“Meru,” J. Ralph, composer
“Minions,” Heitor Pereira, composer
“Mr. Holmes,” Carter Burwell, composer
“Mistress America,” Dean Wareham and Britta Phillips, composers
“My All American,” John Paesano, composer
“Nachom-ia Kumpasar,” Ronnie Monsorate, composer
“99 Homes,” Antony Partos and Matteo Zingales, composers
“Our Brand Is Crisis,” David Wingo, composer
“Pan,” John Powell, composer
“Paper Towns,” Son Lux, composer
“Paranoid Girls,” Javier del Santo, composer
“Pawn Sacrifice,” James Newton Howard, composer
“The Peanuts Movie,” Christophe Beck, composer
“Pixels,” Henry Jackman, composer
“Poached,” Mark Orton, composer
“Pod,” Giona Ostinelli, composer
“Poltergeist,” Marc Streitenfeld, composer
“Racing Extinction,” J. Ralph, composer
“Room,” Stephen Rennicks, composer
“Salt Bridge,” Marciano Telese, composer
“San Andreas,” Andrew Lockington, composer
“The Second Best Exotic Marigold Hotel,” Thomas Newman, composer
“Set Fire to the Stars,” Gruff Rhys, composer
“Shaun the Sheep Movie,” Ilan Eshkeri, composer
“Sicario,” Jóhann Jóhannsson, composer
“Southpaw,” James Horner, composer
“Spectre,” Thomas Newman, composer
“The SpongeBob Movie: Sponge out of Water,” John Debney, composer
“Spotlight,” Howard Shore, composer
“Spy,” Theodore Shapiro, composer
“Star Wars: The Force Awakens,” John Williams, composer
“Steve Jobs,” Daniel Pemberton, composer
“Steve McQueen: The Man & Le Mans,” Jim Copperthwaite, composer
“Stonewall,” Rob Simonsen, composer
“Suffragette,” Alexandre Desplat, composer
“Taken 3,” Nathaniel Mechaly, composer
“Ted 2,” Walter Murphy, composer
“Testament of Youth,” Max Richter, composer
“The 33,” James Horner, composer
“Tomorrowland,” Michael Giacchino, composer
“True Story,” Marco Beltrami, composer
“Trumbo,” Theodore Shapiro, composer
“Truth,” Brian Tyler, composer
“Victor Frankenstein,” Craig Armstrong, composer
“The Walk,” Alan Silvestri, composer
“The Water Diviner,” David Hirschfelder, composer
“Wolf Totem,” James Horner, composer
“Z for Zachariah,” Heather McIntosh, composer

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