John Williams attends 2017 'Star Wars' event

23-time GRAMMY winner John Williams

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The music of 'Star Wars': A GRAMMY history

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Learn about the GRAMMY legacy of the music from the most successful film franchise set a long time ago in a galaxy far, far away ...
Tim McPhate
GRAMMYs
May 15, 2017 - 2:36 am

Take a few seconds. What's your favorite scene from the Star Wars franchise?

Whatever scene you picked, just as sure as Luke Skywalker is strong enough to pull the ears off a gundark, it's likely they were impeccably complemented by the music of Jedi master composer John Williams.

Spanning 1977's Episode IV — A New Hope to 2015's Episode VII — The Force Awakens, Williams' music has punctuated seven Star Wars films as they hyperdrived from Tatooine, Yavin and Hoth to Endor, Naboo, Mustafar, and beyond.

Fittingly, when it comes to GRAMMYs, the force is strong with the music of Star Wars. From his iconic work on seven Star Wars films, Williams has earned 14 total nominations and six of his 23 GRAMMY wins. Each film, save for 2002's Episode II — Attack Of The Clones, has received a GRAMMY nomination. (The soundtrack for 2016's Rogue One, combining music by Michael Giacchino with legacy music from Williams, will be eligible for 60th GRAMMY Awards consideration.)

As we count the days (225) until Episode VIII — The Last Jedi, here is a look back at the "impressive, most impressive" GRAMMY history of Williams and Star Wars. May the 4th be with you.

Episode IV — A New Hope (1977)

From the iconic main title to the spacey jazz number played by the Cantina Band and the ominous three-note sequence accompanying Darth Vader's entrance scene, the music for the first Star Wars film is, to quote Han Solo, "one in a million." The soundtrack netted four GRAMMY nominations for 1977, winning three, including Best Original Score Written For A Motion Picture Or A Television Special and Best Instrumental Composition, which was awarded to the main title. The soundtrack was even up for the prestigious Album Of The Year award. Further cementing its legacy, the soundtrack was inducted into the GRAMMY Hall Of Fame in 2007, the lone Star Wars soundtrack so decorated.

Epic music cue: Williams' triumphant "The Throne Room" theme played as Princess Leia bestows medals upon Han and Luke Skywalker is enough to make even Grumpy Cat smile. 

Episode V — The Empire Strikes Back (1980)

The Empire Strikes Back is widely argued as the best film in the Star Wars canon. It beautifully balances multiple subplots, including Luke's Jedi training with Yoda on Dagobah, Han and Princess Leia's exploits to evade the Empire, and the unforgettable finale in Cloud City. And let's not forget one of the biggest reveals in film history. Matching the action scene for scene is Williams' brilliant music, which landed five nominations — the most for a Star Wars film — including two alone for the bouncy "Yoda's Theme" and one for the militaristic "Imperial March (Darth Vader's Theme)." The soundtrack ultimately fetched two GRAMMYs for Best Album Of Original Score Written For A Motion Picture Or A Television Special and Best Instrumental Composition. 

Epic music cue: As Luke enters Dagobah's Dark Side Cave and encounters the illusion of Darth Vader, the dark side of the force is omnipresent. Williams' piece, titled "The Magic Tree," is dim and unsettling, creating a tonal match for one of the film's most important scenes.

Episode VI — Return Of The Jedi (1983)

Williams' third Star Wars score helped the original trilogy finish with a bang. Han is freed from carbonite, Leia finds out that Luke is her brother, Luke has it out with his father, and resident cool dude Lando Calrissian leads the assault that results in the second Death Star being blown to smithereens. There are also speeder chases, the Sarlacc and the introduction of Jabba the Hut, Nien-Nunb and Mon Mothma. Williams' soundtrack was action-packed too, earning a GRAMMY nod for Best Album Of Original Score Written For A Motion Picture Or A Television Special.

Epic music cue: After the destruction of the second Death Star, the Rebels celebrate on Endor with their new furry pals, the Ewoks. Williams' accompanying celebratory theme music mixes giddy wind-based melody lines with tribal drums and percussion, complemented by a lyrical chant sung in the Ewoks' language, which was written by his son, Joseph Williams.

Episode I — The Phantom Menace (1999)

Huge anticipation surrounded the release of The Phantom Menace, the first Star Wars prequel. While the film ultimately divided fans — some couldn't get enough of new characters such as Qui-Gon Jinn and Darth Maul while others barely tolerated the likes of Jar-Jar Binks — Williams' music was lauded. The soundtrack, which was recorded at legendary Abbey Road Studios, received a GRAMMY nod for Best Instrumental Composition Written For A Motion Picture, Television Or Other Visual Media. 

Epic music cue: Qui-Gon and Obi-Wan Kenobi match wits with Darth Maul for one of the best Star Wars light saber duels. Williams creatively threads new music, including the swirling "Duel Of The Fates" theme, with the unforgettable "The Force Theme" from the original trilogy.

Episode III — Revenge Of The Sith (2005)

The prequel trilogy ends on a chilling note. The Jedi are pushed to extinction via Order 66. Meanwhile, Anakin Skywalker becomes seduced by Emperor Palpatine (Darth Sidious), who ultimately duels with Master Yoda. In the harrowing climax, Obi-Wan and Anakin finally face off … and, well, you know the rest. In turn, many of the music pieces for the film are dark and brooding, including "Anakin's Betrayal" (which earned a nod for Best Instrumental Composition), "Palpatine's Teachings" and "Enter Lord Vader." The soundtrack earned Williams an additional nomination for Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media.  

Epic music cue: "Anakin Vs. Obi-Wan" sets the perfect moody backdrop for the moment the entire film led up to: the first duel between master and apprentice.

Episode VII — The Force Awakens (2015)

As the sequel to the original trilogy, the barometer for The Force Awakens was set sky high. Helmed by director J.J. Abrams, the film was an undeniable blockbuster, proving the lasting appeal of Star Wars. The film adroitly introduced new characters to the story, such as Finn, Kylo Ren and Rey, while appeasing diehards with the reappearances of Han, Chewbacca, Leia, and, albeit briefly, Luke. Williams mixed new pieces ("Rey's Theme" and "March Of The Resistance") with familiar themes from the previous films, yielding majestic results. The soundtrack earned the first GRAMMY for the franchise in 35 years, taking Best Score Soundtrack For Visual Media.

Epic music cue: As a nod to the cantina scene in Episode IV, there is an oddball band jam in the Maz Kanata castle scene. Interestingly, Abrams and GRAMMY winner Lin-Manuel Miranda of "Hamilton" fame composed the reggae-inspired piece, "Jabba Flow," for this scene.

Cast your vote: Which is your favorite Star Wars film soundtrack?

The cover for The Graduate soundtrack
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'Mrs. Robinson,' 'The Graduate' Soundtrack: 3 GRAMMY facts

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With 'The Graduate' set to return to theaters this spring, take a quick class about the soundtrack and classic song that earned Simon & Garfunkel multiple GRAMMY honors
Tim McPhate
GRAMMYs
May 15, 2017 - 2:36 am

It's never too late to go back to school.

In conjunction with its 50th anniversary, The Graduate heads back to movie theaters beginning April 8 at Grauman's Chinese Theatre in Hollywood, Calif. Released in 1967, the classic comedic drama, which starred Dustin Hoffman and Anne Bancroft, is one of the highest grossing films of all time, according to Box Office Mojo. The chart-topping soundtrack written by Simon & Garfunkel and Dave Grusin is equally iconic, earning multiple awards for its slate of classics such as "Mrs. Robinson," "April Come She Will" and "The Sounds Of Silence."

With The Graduate set to hit more than 700 theaters nationwide on April 23, study up on these GRAMMY facts about the film's soundtrack:

In earning a GRAMMY for the soundtrack, Paul Simon joined film music royalty

The soundtrack for The Graduate earned the folk-rock singer/songwriter — working alongside jazz pianist Grusin — a GRAMMY for Best Original Score Written For A Motion Picture Or A Television Special. It marked Simon's first award outside of Simon & Garfunkel, and with that win he joined the company of film music luminaries such as Duke Ellington, Henry Mancini, Lalo Schifrin, and Julie Andrews, who each won the category previously.

"Mrs. Robinson" notched a historic Record Of The Year win

The smash song netted Simon & Garfunkel their first two career GRAMMYs for 1968 for Record Of The Year and Best Contemporary Pop Performance — Duo Or Group. It is also considered the first rock song to win Record Of The Year. Previous category winners included Bobby Darin, Tony Bennett, Mancini, and 5th Dimension. While "Mrs. Robinson" was first featured in The Graduate, it was later re-recorded for Simon & Garfunkel's 1968 album, Bookends.

GRAMMYs

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Simon & Garfunkel - Mrs. Robinson (Audio)

 

Two of the soundtrack's songs are in the GRAMMY Hall Of Fame

"Mrs. Robinson" — which has been covered by a host of GRAMMY winners, from Frank Sinatra to Eric Johnson — was inducted into the GRAMMY Hall Of Fame in 1999. In 2004 "The Sounds Of Silence" was also inducted. The song originally made the cut for The Graduate soundtrack despite topping the Billboard Hot 100 two years prior to the film's release.

More GRAMMY facts: Beauty And The Beast soundtrack

A movie poster of 1991's Beauty And The Beast
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'Beauty And The Beast': 3 GRAMMY facts

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The soundtrack to the 1991 film earned Celine Dion her first GRAMMY, a historic nomination for Album Of The Year and more
Tim McPhate
GRAMMYs
May 15, 2017 - 2:36 am

The new live-action remake of Beauty And The Beast is now in theaters nationwide. The reboot has big shoes to fill as the original 1991 Disney film was an undeniable blockbuster, earning more than $425 million at the box office worldwide. The original film's music, composed by 11-time GRAMMY winner Alan Menken, garnered acclaim and multiple accolades, including GRAMMY and Oscar recognition.

As a new generation is reintroduced to a Disney classic, here are three GRAMMY facts about the 1991 Beauty And The Beast soundtrack:

The Beauty And The Beast soundtrack won four GRAMMYs

The film's 15-song soundtrack garnered an impressive total of seven GRAMMY nominations at the 35th GRAMMY Awards for 1992. It ended up netting four awards: Best Album For Children, Best Pop Performance By A Duo Or Group With Vocal and Best Song Written Specifically For A Motion Picture Or For Television for Peabo Bryson and Celine Dion's "Beauty And The Beast" duet, and Best Instrumental Composition Written For A Motion Picture Or For Television for the instrumental version of "Beauty And The Beast."

Beauty And The Beast became the first animated film soundtrack to score an Album Of The Year nomination

While soundtracks to films such as Saturday Night Fever (1977), Flashdance (1983) and Purple Rain (1984), among others, had previously earned Album Of The Year GRAMMY nominations, the soundtrack for Beauty And The Beast marked the first time — and only time to date — an animated film soundtrack received a nomination in the category. Which album ended up winning the award for 1992? Eric Clapton's Unplugged.

Did you know? 10 facts about the Saturday Night Fever soundtrack

The soundtrack's title track earned Celine Dion her first GRAMMY win

Just two years following the release of her first album in English, Dion won her first GRAMMY for 1992 for Best Pop Performance By A Duo Or Group With Vocal for her ironically romantic duet of "Beauty And The Beast" with Bryson. "Perhaps the one duet that gave my career the biggest boost in the early days was singing 'Beauty And The Beast' with Peabo Bryson," said Dion. "While there was a definite contrast between our voices in our solo parts, when we sang together, our voices became one. This is the true magic that comes with singing duets." The golden-voiced Canadian has won five GRAMMYs to date, including Record Of The Year for another film song: "My Heart Will Go On" from 1997's Titanic.

Want more film music facts? Check our list of songs that have won a GRAMMY and an Oscar

John Carpenter photographed in 2014

John Carpenter

Photo: Paul Warner/WireImage.com

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John Carpenter To Play Creepy Movie Themes On Tour

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Filmmaker/composer's North American run promises chilling favorites such as themes to 'Halloween' and 'Escape From New York'
Tim McPhate
GRAMMYs
Aug 23, 2017 - 9:07 am

Halloween is set to get a little scarier this fall. 

Iconic filmmaker John Carpenter, who also composed the harrowing music for his films Halloween, Escape From New York and Assault On Precinct 13, among others, will hit the road for a brief North American tour. 

Launching Oct. 29 at The Joint at Hard Rock Hotel and Casino in Las Vegas, the tour is currently scheduled to run through the United States and Canada before wrapping Nov. 19 in Syracuse, N.Y. Los Angeles fans will get a special Halloween treat in the form of a Oct. 31 show at the Hollywood Palladium.

Carpenter's tour will support his upcoming Anthology: Movie Themes 1974 – 1998, a new 13-track collection culling works from his films. In addition to newly recorded classic themes from Halloween, In The Mouth Of Madness and Escape From New York, the set will also include music from lesser-known films such as 1974's Dark Star and 1998's Vampires, as well as a cover of Ennio Morricone's theme for Carpenter's 1982 film, The Thing.

The set, which will be released on CD and various vinyl formats, will drop Oct. 20.

More Fall Tours: T-Pain To Play Shows Sans Auto-Tune

 

Randy Newman piano performance

Composer Randy Newman performs at 2017 MusiCares Person of the Year

Photo: Lester Cohen/WireImage.com

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'Score': Soundtracks take us on an emotional ride

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How films are continuing to explore the reinvention of music and sounds that have the potential to lift and transport audiences
Philip Merrill
GRAMMYs
Jun 15, 2017 - 5:35 pm

"Music has tremendous driving power within the narrative of any film," says critic Leonard Maltin in Score: A Film Music Documentary, which opens in theaters June 16.

GRAMMY-winning scores by John Williams for Close Encounters Of The Third Kind or Thomas Newman for American Beauty, for example, have certainly lived up to Maltin's claim. From Williams' interplanetary motif to Newman's experimental soundscape, Billboard interviewed the filmmakers about some of the historic scores that "changed the way we hear movies."

Beyond the handful of classic scores featured in the article, the documentary's other interviewed composers — GRAMMY winners Danny Elfman, Quincy Jones, Trent Reznor, and Hans Zimmer, among others — explain how each score seeks to radically reinvent the role of music in film to take us on a unique emotional ride.

These aren't the only GRAMMY winners taking their musical talents to the big screen. Randy Newman, Thomas' cousin, won one of his six GRAMMYs for "Our Town," the theme from Cars. Tomorrow, his soundtrack for Cars 3 arrives in theaters.

While the soundtrack remains central to any film, there is more to the driving power of audio cinema than music playing our emotions. Cars voice actor Owen Wilson describes bringing the mechanical character Lightning McQueen to life for audiences: "What surprises me is how much you can care for these characters that are just cars," Wilson told IMDB. "But they feel very human."

Fellow voice star Armie Hammer explains tapping into emotions to create the personalities of their racing cars, describing how his villainous car Jackson Storm has an inner conflict between his immature social emotions and his advanced state-of-the-art technology.

Like the characters they sometimes represent, movie soundtracks have often pushed the envelope with technology. Sounds of machines and metal parts coming into contact rhythmically have a power of their own, whether subwoofer vibes or treble transients, each with unique powers to excite.

Sound vibrations play a unique role in our world and in our emotions. New methods of encoding and compression to bring higher resolution sounds with a greater sense of immersion and directionality are under development by audio engineers to improve what we hear in film houses, what we can install in home theaters, and hear on our headphones with expanded dimensions of sonic expressiveness.

As the GRAMMY winners featured in Score: A Film Music Documentary demonstrate, and as technologies necessary to construct the broadcast infrastructure necessary for hi-res audio continue to develop, we can all look forward to hearing what is ahead as the artists we let drive our feelings to new places use the evolving tech behind a soundtrack's driving power.

Randy Newman set to pay tribute to GRAMMY music legends in New York