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Not sure if this has been pointed out but -- John Williams is the first nonagenarian to ever be nominated for an Academy Award, and therefore the oldest person ever to be nominated. The first person to have been nominated for films released within seven consecutive decades (60s, 70s, 80s, 90s, 00s, 10s, 20s). Rise of Skywalker had previously gotten him nominations in seven consecutive decades for Oscar ceremony years (2020 for a 2019 release) And he has once again beaten his own record for the most Oscar nominations for a living person with 53. As ever, he is second behind Walt Disney with 59.

The film music expert introduced the genre's greatest at La Scala The film music expert introduced the genre's greatest at La Scala | lnu.se John Williams meets Emilio Audissino after the dress rehearsal at La Scala. Photo: John Norris John Williams is the Hollywood composer who has made the music for films such as Star Wars, Jurassic Park and Jaws. When Williams, aged 90, made his debut at La Scala in Milan, film scholar Emilio Audissino from Linnaeus University was engaged as lecturer and writer of the concert program. In December 2022, the american composer John Williams made his debut at the La Scala in Milan, Italy. In a unique concert, where the tickets were sold out in five minutes, he conducted the orchestra Filarmonica della Scala and played his famous film music from Indiana Jones, Star Wars, Schindler’s list, Harry Potter and many more. Engaged as an expert Before the concert, film scholar Emilio Audissino from Linnaeus University was engaged as an expert. Emilio is one of the foremost John Williams experts and has written several books about the Hollywood composer and his music. He was engaged to write the concert program, which was distributed to the audience, where he presented and explained all the pieces of music that the orchestra played. Emilio was also engaged to give a talk on the music of John Williams, in front of an audience of 2000 people at the La Scala. The lecture took place at the dress rehearsal, which was opened to the public due to the great interest in the concert. The rehearsal was only open to people under 30 years of age. “It was great to be able to talk about John Williams’ music in front of 2,000 young people at La Scala. Also, I got to attend that entire rehearsal from the backstage, meaning that Williams would walk past me when he entered and exited the stage. It was of course great to meet and talk with him. The event was something unique and truly historic for me", says Emilio. It was a hectic week for Emilio. A few days earlier he also gave the opening keynote speech at the very first international conference all on John Williams, at the University of Évry, France. The title was "More than a Master Film Composer. John Williams and the Legitimisation of Film Music as Music". “This was perhaps the most important week of my entire life", says Emilio. Linnaeus University, 20 JAN 2023

See also Vader’s saber at 2:51!

Even the Special Editions didn't correct in some places; check out 0:51 and 1:08 here:

The context is different. The pre-existing music is mainly used as source music - the characters on screen are hearing it too. Existing music is NOT being used to score the movie itself at length as was the case when JJ was disqualified by the Academy. In the scenes which need actual music underscoring, it is Williams providing the score, they aren't using pre-existing music for that. So he passes muster. As I have noted above a rule change likely saved Williams. I think the earlier requirement was 60% of ALL MUSIC (source or underscore) featured in a movie had to be original. Williams would have failed that test. This year it was dropped to 30% hence he qualifies.

‘The Last of Us’ Scores HBO’s Largest-Ever Viewership Growth for a Drama From Premiere to Episode 2 According to measurements by Nielsen combined with first-party data from Warner Bros. Discovery, Episode 2 brought in 5.7 million viewers across linear airings on HBO and streams on HBO Max. That marks a 22% increase from last week’s record-breaking 4.7 million, a number that Warner Bros. Discovery later reported had already jumped to 10 million after two days of availability. Per HBO, the jump from the initial premiere viewership to Episode 2’s debut audience is the “largest week 2 audience growth for an HBO Original drama series in the history of the network.”

Fun story is that I was sitting right behind him in the train from Paris to Milan. I had no idea who he was, but I knew he was going to the concert since I could hear him play the JW press interview on his phone .

His other symphony that I know, titled Second Symphony (I think there's a third one, too?) is also cool. I first encountered Kernis the very first time I got to hear film music in a concert setting, at an early 2000s concert by the RSO Vienna (who people here know from the Hollywood in Vienna concerts), conducted by Karen Kamensek. I bought a ticket so I could hear the Empire Strikes Back suite and was rewarded by also discovering Adams's Short Ride in a Fast Machine, Corigliano's Chaconne for a Red Violine, and Kernis's New Era Dance.

It's not about making scientific sense, it's a moment of thematic importance. It's like saying Romeo and Juliet sucked because Romeo should've made sure Juliet was dead before killing himself, it's missing the point of what the show's trying to tell us. Fair enough if you don't like how it was executed or even its inclusion, but personally I think it was a stunning and disturbing sequence. That sounds like a million other action movie scenes we've already watched, and adds no insights about Tess or the fungal virus.

It's the video equivalent of RCP/Trailer/EPIC!!!!!11!1!1!! Music. Somewhat fun, but low substance fluff.

A 40 minuted "documentary" I assembled using the videos published (or shared) on the IG account by La Filarmonica

I don't know if film music in general is better or worse than it was 30 years ago. But film music in Hollywood mainstream productions is much, much worse than it was 30 years ago and it's not even close, in my very humble opinion. And since it's the Hollywood mainstream productions that tend to dominate these categories, there's an inevitable drop-off in the average quality in the roster of best score nominees

It drops March 3rd https://music.apple.com/us/album/beyond-the-screen-film-works-on-piano/1649360878

Sequels are always categorized as "adapted" by the Oscars. They are based on the original film. So yes, this year Rian Johnson is nominated for "adapting" his own original character/concept that he wrote for the first Knives Out film. It makes zero sense.

The Last Of Us 1x02 Infected I really liked the Jakarta cold open! Since the game only told the story through what the small amount of characters that you control learns, it's neat that they are taking the opportunity to expand the storytelling for the show. This was an effectively done mini-sequence that nicely sets up how the infection spread. I like that it didn't specifically reveal precisely where it started - who "patient zero" is - and hope they never do; It doesn't matter! I also like how chilling the final moment was where an expert on this fungus knows that bombing the city is the only hope of maybe containing it, and then immediately wants to go be with her family. Great stuff. I loved the opening location, with Ellie sleeping bathed in beautiful sunlight, as Joel and Tess watch with guns trained on her. They're right to be cautious about her immunity of course. I wish the magazine Tess threw to her to use to wipe was instead a comic from the game! I was a little disappointed in Ellie that she immediately tells them the entirely of what Marlene told her, which makes it all the more strange they kept it from the audience last week, but at least she couched it by saying outside she can't believe she's revealing it. The hotel sequence was awesome, it really reminded me of a part from the game (but wasn't the big hotel scene in another city?). I loved when Ellie starts imitating a guest and receptionist - that was SOOo Game Ellie, it was great! I was a bit surprised they didn't spend too much time in this location since it looked so elaborate, but it was clever to touch on the swimming elements of the game When they looked out at the infected writing on the ground outside, I thought it was interesting, they looked more like blades of grass rolling in the breeze than former people, really cool touch. Also it looked they they were outside Faneuil Hall, which was neat. The museum sequence was really good. I liked how Tess had to go climb to come back around and open a door, awesome game vibes there too. The moment where Joel and Ellie just sit down and make some awkward small talk while she's doing that was really well done. The arrival of the clickers was awesome, the tension was so good! I loved how Joel had to silently explain to Ellie that they can't see, but can hear really well. I was a bit surprised that the show's first portrayal of clickers involved them fighting TWO of them; Most other shows would start with just 1 and still show it as a massive threat, to be able to ramp up future encounters by having more of them to increase the stakes and tension. Interesting choice! As for the clickers themselves, I am a bit torn on their portrayal. On the one hand yes, they did a fantastic job of replicating the game clickers, they looked JUST like them in design and movement. But on the other hand.... there was some kind of reverse uncanny valley going on where it was SO obvious that it was just a dude in a costume with prosthetics on his head. I don't know how to articulate exactly what I mean or why that took me out of the show a bit... because it's often the other way around, where characters that are all CGI take me out of something that practical effects does not. But here the opposite effect happened and I'm not sure why. Oh well. After that sequence, I loved the bit on the roof where Ellie was basically like "that was scary, this is wood" about the plank between buildings The statehouse sequence was interesting. There was nice tension building outside with the empty truck (BTW, is that not a working truck they can take and use!?), and finding everyone dead inside. I thought it was interesting that they introduced a mechanic where an active fungus in a human host can touch a tendril on the ground and have it VERY quickly send communication through that run of fungus and cause other infected humans touching it to move to their location. I don't know how deep into sci-fi nonsense that goes vs how much is plausible in real life, but it will be a good tension-builder for the show I think. I loved that Ellie realized Tess was infected before Joel did, that was interesting. And I loved that Tess tried to instill some hope in Joel before sacrificing herself. I don't know why people are complaining about "the kiss", it makes perfect sense to me. I viewed it as the infected humans are mostly fungus controlled but have some some semblances of humanity in them, so Tess is able to still flick the lighter even as she is succumbing to total fungus control, and the one that walked up to her has some memory of kissing as a way to form a connection, which is what the fungus wants to do to essential pro-create. Sure she was going to be fully infected anyway, but the tendrils going into her mouth would likely speed it up I suppose. I didn't think it was that out of place. After the explosion, I liked the silent departure of Joel to end the episode. But I liked that before that, Tess suggested he bring Ellie to Bill and Frank!

30 years ago, Oscar nominated scores: Aladdin Alan Menken Basic Instinct Jerry Goldsmith Chaplin John Barry Howards End Richard Robbins A River Runs Through It Mark Isham How times change. I loved 5 out of 5. Now, I hardly love one...

It's just low on battery.

The main theme is good enough for me to me to say "yeah that's fine" about the nomination

A bargain bin bumper batch

Another new episode! https://thelegacyofjohnwilliams.com/2023/01/23/eric-whitacre-podcast/

Yes it's a shame that the music category so often does not have anything to do with the music (social network in 2010 being another good example).

I have listened to it. If I remember correctly I think I kind of liked it. Anyway, I think the Oscar nominations for best score for once more, show that the movie you have scored should be nominated in other big categories too, for you to be nominated. (an exception for Babylon) When there are composers absent like Korzeniowski for Emily (and I'm sure others too), what can I say... By the way, I just voted. I think I've heard enough from Everything Everywhere All at Once.

The previews give away too much, and the best way to enjoy this show is to not watch them.

Wow, this is one of the worst Original Score nominations lists I’ve ever seen. And Franglen’s Avatar 2 definitely deserved a spot on there.

I've always assumed they do it so early to allow all the PR/marketing/hype machines the entire day to spin up and do stuff. And I suppose to make the morning news, too. .... Williams has made it! JWFan parties (I'll just sit in the corner quietly)

How ironic.

Ben Burtt's contribution to the films was huge. He got truly creative and was allowed to let the results shine. A lot like Williams. By comparison, SW sound design in the Disney era is functional, sensible, unobtrusive. A lot like a lot of modern film music. I'll also mostly agree on the lightsabers. There are some cruddy bits, but I'd also say the very first saber shot features the best-looking saber of the Lucas era, jumpy ignition aside. ESB never quite reaches that height but it's more consistently excellent with its saber effects. ROTJ has some issues. TPM—mostly not bad. AOTC and ROTS suck. Then the ST turned it around with those awesome light-up props. (If only Burtt had been providing their sound.) Anyway, as to the topic at hand … yeah, I remember when that video came out. It's an interesting experiment made by talented fans. It would be godawful in the actual film, particularly if you were watching the series for the first time in release order (as everyone should).

I didn’t expect it, but it works with the changes they’ve made within the show. I don’t think it’s that big of a deal.

I wondered why this was familiar. This is a section from Movie Magic, a nighttime show that is a tribute to Disney’s live action films. They started this show back in 2017, so the recording of Raiders March used there is not new. Indiana Jones starts at 5:45 of the video and ends at 6:30.

I'm SO glad he did, I love it by itself!

I've seen this video posted literally hundreds of times over the last several years, and I cringe every time. Looks like some generic action fighting from a crappy fan film.

Except that many people feel differently and have room for more than one recording of a great film score on their shelves. Yavar

Wow, that's a hot take I'd say Sam Fabelman is the only main character of the film, and everyone else is supporting or a cameo

They also deleted the dialogue where Obi-Wan is saying I'll beat you with a stick!

I'm not arguing one way or another (I'm happy to see him nominated), but the Bach adagio is absolutely used as underscore for the emotional turning point of the entire film. And very effectively I might add! I'm aware it's technically also diegetic, with the scene cutting between Mitzi playing the piece and Sammy editing. Truly a masterful scene for all involved. But nonetheless it's clearly being used as both diegetic and underscore.

At this point, even if I didn't enjoy the music I literally just don't give a shit about the quality of the scores, he's 90 and still on a freaking roll with nominations, keep going!! Go Johnny go go go! Even if I weren't a Williams fan it would be hilarious.

How wonderful for the buyer's vanity that would be.

Top Gun Maverick's Best Picture nomination gives Jerry Bruckheimer his first ever Oscar nomination. Oh wow, this is Jamie Lee Curtis's first nomination too!

Every Best Actor nominee is a first-time nominee for that category. The last time this happened was 7th Academy Awards (1935 ceremony for 1934 films)

I wouldn’t mind that but JNH and Newman deserve to win before he does.

He got it

The warehouse they were using closed down or something like that. They had to shut immediately. Whether it will ever be back, nobody knows. Karol

I suppose, but I still think it could've flowed a bit more - that goes for both the visuals and the music (which I'm sure you're right, is influenced by the visuals). It's just hard to get into the Main Title with the abrupt changes. I would've preferred if they had tried to work the guitar in throughout at least. Sure, it's not a phenomenal score from a certain standpoint. None of the movies really are if you compare them to things like Williams and what not, but I sure do love these. Even this one. I suppose they're kind of guilty pleasure-eqsue, but I don't even feel guilty about it at this point in my life. I think they're great. This motivated me to do a listen of some of my playlists for the first two and yep - I just love jamming out to these. They're so much fun! It's definitely a tough sell. I'd say it's getting better as it goes. My big hope is that this will get a true National Treasure 3 going.

That's exactly how I feel about it and if we're going with the "but Beethoven didn't record his music" then there are plenty of composers who lived into the recording era who did and have, perhaps most notably Igor Stravinsky who recorded most (all?) of his orchestral works but I don't know many classical/Stravinsky aficionados who lay claim to his recordings being the best or even necessarily definitive. They are certainly pretty fine (and the sound is good despite the age of some) but I don't think any count as a top choice or the last word on his music. The same should go for film music; yes many of our favourite composers who conduct are/were very fine conductors or hired fine conductors to conduct their music, but that doesn't mean there isn't room for other people to interpret their music. Is it good to hear the original? Of course, but there's plenty of room for interpretation and if there are multiple options, then even better. I think it's frustrating that so many people have the "original tracks versus re-recordings" mentality, it's so very "them and us" rather than the original recording simply being one of several recordings of a work. Sure, some subsequent recordings are perhaps not as good as they could have been (the Varese BTTF and Superman albums, for example, have a few ropey moments) but most offer fine to excellent interpretations of some classic music and should be enjoyed in that way.

But without sonic spikes and levelled volume, please.

I'll throw The Unsaid (2001) into the mix:

Wow, thank you for that! I can't believe it never occurred to me to use reverse phasing to get that clean. This overlay seems to have been initially written for The Ship Remembers and then added into those other 3 cues later. Speaking of The Capture, the children's choir was also recorded as an overlay, and it's interesting that between The Capture and The Capture (Alternate), it begins at slightly different points in the cue.

Honestly I think this might be even better