Hey John Williams, you’re really good at your job and you make Star Wars, like, really cool and stuff.
If you like Star Wars (you’re an idiot if you don’t) and its soundtracks (you’re an idiot if you don’t), you’d probably love John Williams.
The 85 year old is the mastermind behind the great sounds of the sci-fi franchise, having composed the score for each Star Wars movie to date.
Now, Master of Earth John Williams is no stranger to the odd Grammy.
Of his 75 films, 66 have been Grammy nominated. 60-muthufuckin’-6. That’s like, a lot (couldn’t think of a funny analogy). And it makes sense. If you think of a massive movie, he’s roughly 64.5 per cent likely to have composed the score. Jurassic Park? Check. Harry Potter? Check. Indiana Jones? Check. Jaws? Check. I’ll repeat that last one: JAWS. WITH THE DA DUM. DA DUM.
Of those 66 nominations, Williams has secured 23 wins.
Until yesterday, that included four Star Wars victories. Three of those were for the first Star Wars, and the other was for The Empire Strikes Back, which introduced the iconic ‘Imperial March’. I guess you could say he’s a Star with lots of (a)War(d)s. Holy shit I’m funny.
But this year’s Grammys was a truly exciting showdown.
Let me set the scene for you. Despite making a lauded return to the franchise in The Force Awakens, Williams lost out on the Oscar to The Hateful Eight composer and old friend, Ennio Morricone. Beef. Like (insert any high stakes sporting event), Williams would need to defeat the man who beat him at the Oscars to achieve Grammy gold.
Spoiler alert: He did. Williams’ Force Awakens score took home Best Score Soundtrack for Visual Media, defeating old pal Morricone, Thomas Newman for Bridge Of Spies, Alva Noto and Ryuichi Sakamoto for The Revenant, and Kyle Dixon and Michael Stein for Netflix’s Stranger Things. ‘Adda boy Johnny.
The score for Star Wars: The Force Awakens certainly recycled familiar themes from earlier Star Wars films.
But don’t you ever accuse my dear Johnny of being lazy. Williams incorporated loads of new material, such as the awesome themes for Rey and Snoke. The Snoke theme had a 24-voice male chorus, which Williams utilised to create a sinister backdrop to the character, because Williams is a boss and he can do what he wants. In fact, it is worth applauding Williams’ achievement in seamlessly weaving the irreplaceable bits of the old series with the new world of Star Wars.
Oh, and you may have heard that Williams wasn’t actually at the Grammys to collect the award. Why, you may ask? Well, he was in the studio working on the next Star Wars film, The Last Jedi. Umm, have my babies John?