In the beginning, Wayne Brady created the heavens and the earth. Well, actually, he just described the event captured in Genesis 1:1.

"Before sea or land, before even sky/Which contains all," the "Whose Line Is It Anyway?" actor booms along with the GRAMMY-nominated acting legend Glenn Close at the top of a unique and ambitious new album, quoting Tales From Ovid. "Nature wore only one mask/Since called Chaos." Never thought you'd hear the improv comic famous for "Scenes from a Hat" dramatically plumb The First Book of Moses? Thank Close and GRAMMY-winning big-band leader Ted Nash, who invited him into their latest multidisciplinary project, Transformation.

This isn't a pairing people generally think of. Fans of Close's performances in The Natural or Fatal Attraction may not be aware of the New York multi-reedist and composer's work, or vice versa. But when they get together, it's hand-in-glove. Why? Because, as it turns out, improvising a graceful saxophone solo and inhabiting a character fires up many of the same neurons. (Same with goofing off on "Whose Line," but that's another story.) All these talents—acting, playing jazz, cracking jokes—are more similar than people think.

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That's partly why Close and Nash named their new album Transformation: Personal Stories of Change, Acceptance and Evolution. Featuring everyone from Amy Irving to Wynton Marsalis to Nash's son, Eli, and underpinned by the Jazz at Lincoln Center Orchestra (JLCO), the album, which was recorded in two nights and arrives May, braids jazz with spoken-word segments, many of them derived from literary and poetic sources. And the themes, from spiritual light to the transgender experience, don't get headier—or heavier.

Transformation never gets ponderous or preachy, though. At its essence is the trust and rapport between Close and Nash; even over Zoom from her digs in Montana and his in New York, their mutual admiration radiates from the screen. GRAMMY.com caught up with the prestigious pair to discuss the making of Transformation and Close's personal account of how she got into jazz—which, if you're curious about the genre, is absolutely worth reading.

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This interview has been edited and condensed for clarity.​

How did you two arrive in each other's orbits?

Close: I think the first thing I ever did with you guys was a Christmas something. But the truth is, I was walking a street I lived on in the West Village and I heard this jazz music coming out of an open house. The door was open and I walked in and it was Wynton and Ashley Schiff raising money for Jazz at Lincoln Center. So, when was that? When was it founded?

Nash: It's been 30 years.

Close: So, it was 30 years ago because it didn't exist! They were raising music. I mean, raising money.

Nash: It's so interesting because Jazz at Lincoln Center started off as just a tribute to Duke Ellington. They did a series of concerts back in '89, and this woman named Alina Bloomgarden asked Wynton to be part of it. She said, "Hey, would you front the band and talk about Duke?" So, they did this series of concerts and it was so successful they started a whole thing called Jazz at Lincoln Center, which was at Lincoln Center. That's probably when you were there—when they started to raise money for it.

The thing that I remember, Glenn—and I have a couple of memories of our first [meetings]—the first was "Let Freedom Swing," or whatever it was.

Close: Yeah! Yeah, yeah, yeah!

Nash: You and Patricia Clarkson and Morgan Freeman. There were a few celebrity actors and people who came and read really beautiful pieces. We played the music. It was a very emotional experience for me at the time, I remember, just because of some of the thematic material. The idea of freedom. Having parents who were civil-rights activists. I remember we were backstage between the sets during the intermission and Wynton gave me a hug and started crying. It was so deep.

And you were there, and I remember walking up next to you backstage and I was so super-shy. I was like, "Um, hi!"

Close: You were!

Nash: I was starstruck because I just loved your work for years.

Close: I think I read that incredible Lyndon Johnson speech about civil rights. And, of course, the latest collaboration—I was invited by Ted to be on Presidential Suite.

Nash: Right. You read the Aung San Suu Kyi piece. And you had a party at your house up in Maine.

Close: That's true.

Nash: We hung out at your house and we had a jam session where you played bongos or congas or something.

Close: The presumption is breathtaking!

Nash: It was great! It was so much fun. I still have a video of that somewhere.

Glenn Close and Wayne Brady. Photo: Frank Stewart

Close: I always got the feeling from Wynton that if we ever came up with an idea that we wanted to build an evening around, that he was very open to it. We toyed with various things. I remember, for a while, I was thinking of women in war. And then we were in this incredibly traumatizing time in our country and I thought, "No, no, no, no."

We talked about it and we thought the best thing would be to try to articulate what transformation meant. Pre-COVID, it's kind of stunning that we actually did it, because this has all been about transformation—this whole last year. Do we transform to what's happening around us? But that's how it started. We found these pieces.

Nash: Yeah, we came up with the concept. And I agree with you. I think our first idea was very attractive because it was going to be dramatic, and maybe sort of cinematic. I was thinking about all the ways I could write, underscoring. We could invite either readers or actors to do something. I liked that idea, but as we started talking about it, we agreed that we needed to embrace something that would inspire people toward change. You always talk about how we need this—how people need this.

Close: The comfort. So that they walk out of the theater being surprised, which they certainly were. Hopefully inspired.

Nash: And challenged. Glenn curated this so beautifully. She chose pieces that involved prose or poetry or different concepts and created this beautiful art for the evening that embraced all sorts of different themes, from transgender to racial issues to religion. People trying to find themselves in different ways. The creation of the world—going to heaven. It was all in there.

It was a lofty and ambitious program, but the pieces you picked were, I thought, right on. Right on.

Close: You were on fire when you wrote it. I've been doing interviews, and I think people who are part of the trans community are so completely blown away.

Nash: I'm so happy to hear that.

Close: Totally blown away and so moved by what you and [your son] Eli did together.

Nash: For me, that is the most poignant and personal part of the evening. I almost didn't keep it together while I was playing. It was so personal. I remember Danny Gorman, our director—when Eli showed up and we did a soundcheck and Eli began to read some of his letter, Danny couldn't even work. He was so emotional. You were there.

And Eli was so cool. Eli's studying to be a doctor in medical school. And he came in and read that piece—he was not nervous.

Close: He had never performed like that before. That's what I loved about it. You don't know when you pass somebody in the street. You wouldn't know, if you passed Eli in the street, what his story is. Every day, I'm aware. Whenever I see somebody, I say, "What is their story?" To come together again, I think our only hope is to listen to other peoples' stories without judgment. I think that's the basis of what this evening is about.

[astonished] And how about Wayne? I'm embarrassed! I didn't know that Wayne was talking about his mother!

Nash: When I first read the piece, I read it a couple of times because I wanted to make sure that was what I was seeing. Talk about forgiveness. [exhales through pursed lips] You have to forgive yourself before you can forgive everybody else. That's what his piece is about. To forgive yourself for feeling the way you do about yourself, [so] that you can forgive people for giving you a hard time.

We're so quick to judge people. I think one of the beautiful things about getting older, for me, is that I start to realize that what's more important than money or success or fame or any of this kind of stuff—I've never had a tremendous amount of any of it—is connecting with people. And you hope that your art is inspiring. 

As a musician, when we're younger, we're always trying to impress people with our craft, and then we get to a certain point of realizing we want to move somebody emotionally with what we do. These stories—Judith Clark's, Matthew Stevenson's, Brade's, my son's—were so personal, and yet you can imagine, all over the world, that people are judging because they're anti-trans or racist or don't like Jews or whatever.

But look at the example that Matthew Stevenson gave us. Who could have more excuse not to like somebody than in [his] story [of] Derek Black, for being a white supremacist—almost a neo-Nazi, really. What does that teach us? You know?

Close: That we're capable of transforming.

Nash: We are.

Close: We're probably the only animal that can.

Nash: In a short amount of time.

Eli Nash. Photo: Frank Stewart

Where do you both feel this co-billing will go in the future?

Close: We'll do something! We'll have to think of something to do next! It's such a luxury. I used to be totally intimidated by jazz.

Really.

Close: I never listened to it. It's like [how] I was intimidated by poetry in college. There's always some smart kid who knows the meaning, you know? Jazz seemed the same way. It was kind of heady and cerebral. But I tell you, getting to know the Jazz at Lincoln Center guys, I now feel that jazz is probably the truest expression of the human condition. I honestly do.

Nash: I love that.

Close: I actually love it now. I can go into it. I get out of it what I get out of it. But when I think of the dissonance of what it means to be human—sometimes, we come together and play together, and then somebody will go out—it's just so f***ing human. Even the way you guys perform is inspiring because it's so organic. I mean, holy s***! How do you know who's going to come out next? And the way you support each other. If somebody makes a mistake, you wouldn't in a million years know it. It changed my life, in a way. It opened it up as far as what that kind of music is.

Nash: You touched on something about what jazz is, which I think is the same in acting at the high level: trust. You talk about a mistake, and yes, a mistake can be something where we have a written note and we play the wrong one. There are choices you make that might be incorrect or not appropriate for a time, but when we get to a higher level, we feel that thing. We're all listening. We're all trusting. We're responding in a way that feels organic. That's what I love about jazz: It is mostly improvised. And I think a lot of people don't even understand that. 

Close: We only did three performances, unfortunately, but I did notice that the orchestra started responding. Sometimes, just a single musician to a single word. They'd pull it out. I've had people say, "It would be great to do this again." It would be wonderful to do it again because we could get other people—whoever's free, you know?

Nash: I would love to do it again, certainly.

Glenn, you hit on something that is kind of the bane of my existence as a jazz writer. This music is for everybody. You don't need to read a manual. You don't need accreditation. Get into the swing, get into the bluesiness of it, and enjoy it. When that's lost in jazz journalism, it pushes people out, right when we need new blood in this community.

Close: Jazz is so deeply American. I always think of baseball when I think of jazz. And baseball is a sport that's full of names. You don't know how fabulous they are until you actually see them play. I think of jazz in the same way.

The names certainly roll off the tongue with a similar rhythm. "Al Cohn, Illinois Jacquet, Eddie 'Lockjaw' Davis…'"

Nash: A lot of newbies in the jazz listening world will be like, "I walk in a record store…" [scoffs] I'm dating myself. "I don't know what to look at! I don't know where to begin!" That's a question with a lot of people. "Where do I start? Where do I start?"

There are all these go-to records. "Well, start with Kind of Blue." We give a few examples of what some of the parts of jazz music are without being too heady or over-the-top. I think if people just gave it a chance … and one thing Jazz at Lincoln Center is doing a lot is showing people what this music is and allowing them to see it, stream it and all that.

Close: I love what Jon Batiste said when he won his Oscar: "We were given 12 notes."

Ted Nash. Photo: Frank Stewart

Is there anything else you'd like to express about the making of or intention behind Transformation?

Nash: I would. The process of working with Glenn was so revelatory to me. I don't know if you realize this, Glenn, but when I was small-talking with you about your process as an actor—because it's so deep, how you can have all these roles where you transform yourself so beautifully—I said, "What's your method? Are you a method actor? What's your technique?" and all this stuff.

And you just said, "You know? I don't really think about that. I just use my imagination. That's the most important thing." It was a very simple answer, but that was the deepest thing. Because I went home and I started thinking about imagination, and I realized that I do use my imagination when I compose. A lot of times, I'm still stuck in technical things like chords and scales, not just closing my eyes, sitting back and imagining where this piece could go.

Now, I talk about this a lot with students, but this piece, in particular, required a big imagination for me. Using what you said to me and applying that to that composition process, I found voices inside myself I had never found before.

Listen: Close Out Jazz Appreciation Month 2021 With GRAMMY.com's Playlist - 40 Tunes For The Rest Of The Year

Ever since Autumn Rowe won a GRAMMY in 2022, it's been her biggest motivation. That's why the musical multi-hyphenate keeps the award nestled in her writing room — to keep her creative juices flowing.

"It reminds me that anything is possible," she says in the latest episode of Where Do You Keep Your GRAMMY?

Rowe won her first-ever career GRAMMY in 2022 with an Album Of The Year award for Jon Batiste's We Are. "It was very stressful," she recalls with a laugh.

"Right before they announced Album Of The Year, the pressure started getting to me," Rowe explains. "Album Of The Year is the biggest possible award you can win. So, I'm like, 'We didn't win any of these [categories], how are we going to win the biggest award?"

The win also taught her one unforgettable, valuable lesson: "We matter. The music matters. Everything matters. We just have to create it. If there isn't space for it, we have to make space for it. Don't wait for something to open."

Rowe says she grew up "super dirt poor" and never even had the opportunity to watch the awards ceremony on television. "To be a GRAMMY winner means it is possible for everyone," she declares.

Press play on the video above to learn more about the backstory of Autumn Rowe's Album Of The Year award, and remember to check back to GRAMMY.com for more new episodes of Where Do You Keep Your GRAMMY?

Where Do You Keep Your GRAMMY?: Christopher "Tricky" Stewart Recalls Winning Song Of The Year For Beyoncé's "Single Ladies"

At the 2024 Oscars on March 10, five-time GRAMMY winner and 20-time nominee Jon Batiste took the stage for a scintillating version of his co-write with Dan Wilson, "It Never Went Away."

For said performance, the multimedia phenom kept the proceedings spare and probing, letting his iridescent piano and singular pipes do the heavy lifting. Watch it above.

"It never went away/Every time I see your face," Batiste sang, in a commensurately understated, off-white stage outfit and backdrop. "The feeling's just the same/ It's never goin' away."

"It Never Went Away" was featured in the acclaimed 2023 documentary American Symphony, about his and his wife author Suleika Jaouad's personal and creative development — under the spectre of cancer and an impending debut at Carnegie Hall, of the symphony of the same name.

"It was very complicated from a producing point of view to navigate the puzzle of Jon's insane life, and then trying to find our way into the hospital, and then back out again, and back in again," American Symphony director Matthew Heineman said last year at a live interview covered by GRAMMY.com.

In the same conversation Heineman aptly described the overall process as reflecting "the symphony of life that we witnessed over the past year."

Keep checking this space for more updates on the 2024 Oscars — including GRAMMY winners and nominees who are featured during the big night!

Inside American Symphony: 5 Revelations About The Jon Batiste Documentary

Tonight, the red carpet becomes a runway that blends the art of fashion with the magic of cinema and sound. 

The intersection of music and film has never been more luminous than at this year's Oscars, where numerous GRAMMY-winning artists including Billie Eilish, Jon Batiste, and Bradley Cooper are not just attending but are nominated for their contributions to the silver screen. 

From enchanting melodies that tugged at our heartstrings to groundbreaking scores that redefined movie moments, these artists have already left an indelible mark on the music industry. Tonight, they grace the Oscars red carpet, showcasing not only their unparalleled talent but also their unique fashion sensibilities. 

Take a closer look at these multifaceted talents and their journey from the GRAMMYs to the 2024 Oscars.

Billie Eilish

Nominated for: Best Original Song, "What Was I Made For?" from Barbie

Billie Eilish, the alt-pop sensation with nine GRAMMY wins, brings her unique style to the Oscars wearing a tweed schoolgirl look from Chanel. At this year's Academy Awards, Eilish is nominated for the hauntingly beautiful "What Was I Made For?" [From The Motion Picture *Barbie*], the same track that won two GRAMMYs, for Song Of The Year and Best Song Written For Visual Media, at the 2024 GRAMMYs.

*Photo: JC Olivera/Getty Images*

Finneas O'Connell

Nominated for: Best Original Song, "What Was I Made For?" with Billie Eilish

Finneas O'Connell, the mind behind many of sister Billie Eilish’s hits and a 10-time GRAMMY winner in his own right, appears tonight in an ensemble that's as sleek as his production style. Nominated for the poignant "What Was I Made For?," he exudes confidence and creativity, showcasing the depth of his artistic vision.

*Photo: JC Olivera/Getty Images*

Jon Batiste

Nominated for: Best Original Song, "It Never Went Away" from American Symphony

Jon Batiste, a vision of grace on the red carpet in a monochromatic burgundy suit, brings the same passion to his music that won him five GRAMMYs and 19 nominations, including his Album Of The Year win for 2021's We Are. 

Tonight, he's recognized for his soul-stirring "It Never Went Away", a testament to his versatility and depth as an artist. He won his first Oscar in 2021 for Best Original Score with Atticus Ross and Trent Reznor for their work together on Pixar's Soul.

*Photo:* Kevin Mazur/Getty Images

Mark Ronson

**Nominated for: Best Original Song, "I'm Just Ken" [From The Motion Picture Barbie]

Mark Ronson, the GRAMMY-winning producer known for hits like "Uptown Funk" and his work on Amy Winehouse's seminal Back to Black, brings well-suited sophistication to the red carpet. As an eight time GRAMMY winner, Ronson won his first Oscar award for Best Original Song in 2021 for "Shallow" for A Star is Born starring Lady Gaga and Bradley Cooper.

***Photo: Kevin Mazur/Getty Images***

Ludwig Göransson

Nominated for: Best Original Score, Oppenheimer

Ludwig Göransson, took home the Oscar for Best Original Score with a win for Oppenheimer. Known for his innovative soundscapes, Göransson's attire tonight — a satin-lapel tuxedo with wide pants and Cartier jewels — is a harmonious blend of classic and contemporary, much like his music.

*Photo: John Shearer/WireImage/Getty Images*

Bradley Cooper

Nominated for: Best Actor, Best Original Screenplay, Maestro

Bradley Cooper, presents a masterclass in red carpet fashion in a double-breasted tie-less tux with turquoise buttons and boot cut suit pants. A two-time GRAMMY winner for A Star Is Born in 2019, Cooper's transformation into Leonard Bernstein in Maestro is both a critical and stylistic triumph. Tonight, his attire is as meticulously curated as his performance, with a nod to the classical elegance befitting one of the most legendary conductors of all-time.

***Photo: Kevin Mazur/Getty Images***

Danielle Brooks

Nominated for: Best Supporting Actress, The Color Purple

Danielle Brooks dazzles in a black corseted gown with silver embellishments, a diamond necklace, and silver toned jewelry that speaks to her vibrant and powerful portrayal of Sofia in The Color Purple. A GRAMMY winner in 2017 for Best Musical Theater Album for her work in the Broadway revival, Brooks now shines on Oscars Sunday in an ensemble that is a tribute to Sofia's strength, resilience, and grace.

*Photo: Mike Coppola/Getty Images*

Diane Warren

Nominated for: Best Original Song, "The Fire Inside" from Flamin' Hot

Diane Warren, whose pen has graced many an iconic ballad, steps onto the red carpet in a "Flamin' Hot" look that echoes her lyrical genius. Nominated once again for her songwriting prowess, Warren's attire tonight is a nod to the fiery Becky G track she's nominated for tonight. 

Warren has received 15 GRAMMY nominations through her career and a win for "Because You Loved Me" (Celine Dion, from Up, Close and Personal) which took home Best Song Written Specifically for a Motion Picture or for Television in 1997. 

*Photo:* Rodin Eckenroth/Getty Images

Ariana Grande

Ariana Grande stepped onto the red carpet just days after the release of her album Eternal Sunshine in a custom Glinda-pink Giambattista Valli gown. Grande presented awards for Best Original Song and Best Original Score with Wicked co-star, Cynthia Erivo at the 2024 Oscars.

*Photo: Rodin Eckenroth/Getty Images* 

Cynthia Erivo

Cynthia Erivo graced the red carpet in an emerald green Louis Vuitton look with voluminous leather ruffles. Erivo presented awards for Best Original Song and Best Original Score with Wicked co-star, Ariana Grande at the 2024 Oscars. 

*Photo: Rodin Eckenroth/Getty Images*

Hailey Steinfeld

Nominated: Best Animated Feature, Spider-Man: Across the Spider-Verse

Hailey Steinfeld showed up to the 2024 Oscars ready to put on a show. The actress and singer wore a couture Elie Saab gown from the Spring/Summer 2024 collection in light blue with butterfly cape sleeves and a pleated skirt, accentuated by metallic appliqués adorning the bodice and wrists of the sleeves.

*Photo: Jeff Kravitz/FilmMagic/GettyImages *

Tia Carrere

Tia Carrere attends the 2024 Oscars red carpet. Carrere is a two-time GRAMMY winner for Best Hawaiian Music Album.

***Photo: Rodin Eckenroth/Getty Images***

Slash

Slash, the lead guitarist for Guns N' Roses assisted Ryan Gosling and Mark Ronson with a performance of 'I'm Just Ken' at the 2024 Oscars. 

*Photo by Jeff Kravitz/FilmMagic*

2024 Oscar Nominees Who Have Won A GRAMMY: Billie Eilish, Martin Scorsese & More

Music's Biggest Night and the film industry's biggest night are a little more intertwined than one might think.

The GRAMMYs have four Categories that tie in with the Hollywood machine, from Best Song Written For Visual Media to Best Music Film. And the Best Audio Book, Narration and Storytelling Recording award has offered thespians such as John Gielgud, Viola Davis, and Mike Nichols a route to EGOT glory.

The Academy Awards, meanwhile, gives both composers and songwriters their dues in the Best Original Score and Best Original Song categories, respectively. And the latter's nominees will often be performed to help break up all the drama at the podium, no matter how un-Oscar-like the track may be. Who can forget the fever dream that was The Lego Movie's "Everything Is Awesome," for example?

The 2024 Oscars bring both ceremonies even closer together, with 12 nominees walking in as previous GRAMMY winners. Half of them were even victorious at the 2024 GRAMMYs, including Billie Eilish, Finneas O'Connell, and Mark Ronson, who all took home golden gramophones for their Barbie contributions (and are all up for the same film at this year's Oscars).

Ahead of the March 10 ceremony, take a look at the GRAMMY stories of 2024 Oscar nominees — from celebrated composers to iconic directors to a few of this year's performers.

Jon Batiste

Jon Batiste has had quite the GRAMMY run as of late, picking up 19 nominations in just the last three years alone; he scored five wins for 2021's We Are in 2022, including the prestigious Album Of The Year. The jazz maestro, formerly the bandleader of The Late Show with Stephen Colbert, has also enjoyed Oscars glory in the same time frame.

Firstly, in 2021, he shared the Best Original Score Oscar with Atticus Ross and Trent Reznor for their work on Pixar animation Soul. And this year, he's nominated in the Best Original Song category for "It Never Went Away," a track featured in his own powerful documentary biopic, American Symphony.

Danielle Brooks 

Two years into her memorable run as prisoner Taystee in "Orange Is the New Black," Danielle Brooks proved her talents extended far beyond the walls of the Litchfield penitentiary with an acclaimed turn in the 2015 Broadway revival of The Color Purple. After the Juilliard graduate picked up a Tony Award nomination for Best Featured Actress in a Musical in 2016, she became a GRAMMY winner in 2017, when the cast won Best Musical Theater Album.

The all-singing, all-dancing film adaptation of the Alice Walker novel earned Brooks her first Academy Award nod, too. For she once again stole the show in its Hollywood transfer as the strong-minded Sofia, a character first played on the big screen by Oprah Winfrey.

Bradley Cooper  

Bradley Cooper spent six years practicing conducting just six minutes of music for his portrayal of legendary composer Leonard Bernstein in acclaimed biopic Maestro. And the multi-talent's admirable commitment paid off when he received Academy Award nods for Best Original Screenplay, Best Picture, and Best Actor.

Cooper was also nominated in the latter two categories, along with Best Adapted Screenplay, five years ago for another musical, A Star Is Born, and earned two GRAMMYs for the same project. In 2019, he shared Best Pop Duo/Group Performance with Lady Gaga for "Shallow," the spellbinding ballad which also picked up a Record Of The Year nod. A year later, the same film triumphed in Best Compilation Soundtrack for Visual Media.

Billie Eilish  

Like Batiste, Billie Eilish has made an impressive GRAMMYs run in a short span of time. The alt-pop phenomenon has already picked up nine awards from 25 nominations (and she's only just turned 22!). And at her first GRAMMYs just four years ago, Eilish already cemented herself in GRAMMY history: not only did she become just the second artist to claim Best New Artist and Record, Song, and Album Of the Year, but she became the youngest artist to do so at 18 years old.

Eilish added to her GRAMMY legacy with two more wins at the 2024 ceremony, for "What Was I Made For?" [From The Motion Picture *Barbie*], which won the star her second golden gramophones for Song Of The Year and Best Song Written For Visual Media; her James Bond theme, "No Time To Die," won the latter in 2021.

"What Was I Made For?" —  played during the poignant scene where Margot Robbie's titular character meets her creator — has also enamored Oscar voters. In fact, it's the predicted favorite to clinch Best Original Song, which "No Time to Die" helped Eilish claim in 2022.

Ludwig Göransson

Ludwig Göransson is predicted to win his second Best Original Score Oscar this year thanks to his suitably intense arrangements for Oppenheimer; his first win came in 2019 for Black Panther. The Swedish composer has already won Best Score Soundtrack for Visual Media for the same projects at the GRAMMYs.

But it's in the realm of socially conscious hip-hop where Göransson has been a GRAMMYs awards trailblazer. Childish Gambino's "This Is America," a powerful state of the nation address which he co-produced, picked up both Song and Record Of The Year at the 2019 ceremony — marking the first time a rap track had won either accolade. Göransson's fruitful partnership with Gambino has also seen him receive nods for Album Of The Year and Best R&B Song.

Finneas O'Connell 

Finneas O'Connell might have eight fewer GRAMMY nominations than his sister (Billie Eilish), but he does have one more win under his belt. Indeed, having masterminded Eilish's blockbuster breakthrough, 2019's When We All Fall Asleep, Where Do We Go?, and hit the studio with artists such as Tate McRae, Camila Cabello, and Selena Gomez, the Californian picked up Producer Of The Year, Non-Classical at the 2020 ceremony. (Alongside the nine golden gramophones he's shared with his younger sibling — and primary collaborator — that takes his overall tally up to 10.)

As a co-writer on Eilish's James Bond theme "No Time to Die," Finneas and his sis will have two Oscars a piece should their co-written song, "What Was I Made For?" [From The Motion Picture Barbie], win Best Original Song as predicted.

Mark Ronson 

Mark Ronson first caught GRAMMYs attention for his behind-the-scenes efforts, winning Best Pop Vocal Album, Record Of The Year, and Producer Of The Year, Non-Classical in 2008 for his work on Amy Winehouse's seminal Back to Black. But eight years later, he scooped two GRAMMYs for his very own throwback, the Bruno Mars-featuring "Uptown Funk," and in 2019, picked up Best Dance Recording as part of the supergroup Silk City alongside Diplo and Dua Lipa.

Ronson and Lipa were once again nominated together at the 2024 GRAMMYs for their global chart-topper, "Dance the Night" [From The Motion Picture Barbie], which didn't receive a Best Original Song Academy Award nod. The DJ-turned-hitmaker still notched an Oscar nomination, though, thanks to a different Barbie number he co-wrote: the Ryan Gosling-sung "I'm Just Ken."

Martin Scorsese 

Here's a staggering fact: Martin Scorsese, widely regarded as one of the finest filmmakers in Hollywood history, has as many GRAMMYs to his celebrated name as he does Oscars: one.

The auteur received his GRAMMY in 2006, when his Bob Dylan documentary, No Direction Home, won in the Best Long Form Music Video Category. (He had been nominated the previous two years, in the same Category in 2005 for his PBS series Martin Scorsese Presents the Blues: A Musical Journey, and in the Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media Category in 2004 for Gangs Of New York.)

His sole Best Director victory at the Academy Awards came not for Taxi Driver, Raging Bull, or Goodfellas, but for his 2006 remake of The Departed in what many interpreted as a career win. He earned his tenth nomination in the coveted category at the 2024 Oscars, for Killers of the Flower Moon.

Diane Warren 

Diane Warren is responsible for some of the all-time great movie power ballads: see the late '90s holy trinity of Celine Dion's "Because You Loved Me," LeAnn Rimes' "How Do I Live," and Aerosmith's "I Don't Want to Miss A Thing." However, the prolific songwriter has never won an Oscar outright (she was awarded an honorary one in 2022). She has another shot at the 2024 Oscars thanks to Becky G's "The Fire Inside" from the Cheetos-inspired Flamin' Hot, which earned Warren her 15th Best Original Song nomination.

The songwriting dynamo has received the same number of nods at the GRAMMYs, and celebrated a win in 1997, when "Because You Loved Me" (from 1996's Up, Close and Personal) took home Best Song Written Specifically for a Motion Picture or for Television.

John Williams 

Where to start with John Williams? The veteran composer received his 54th Academy Award nod this year, with his work on Indiana Jones and the Dial of Destiny recognized in Best Original Score. He remains second only to Walt Disney for the most Oscar nominations ever, he's the only individual to be recognized across seven decades in a row (his first came back in 1968 for Valley of the Dolls), and he became the oldest nominee ever in 2023 — a record which he topped again this year at 91.

And Williams has been even more successful at the GRAMMYS, picking up a remarkable 26 golden gramophones from 76 nominations. His latest came only last month when "Helena's Theme," the piece of music composed for Phoebe Waller-Bridge's character in Dial of Destiny, was crowned Best Instrumental Composition.

Dan Wilson 

Dan Wilson picked up the first of his six GRAMMY nominations with his own band Semisonic's anthemic "Closing Time." But following the alt-rock trio's initial split in 2001, all of his other nods have been for his work as an in-demand songwriter. Wilson has won two of the General Field GRAMMYs, first for Song Of The Year for Dixie Chicks' "Not Ready to Make Nice" in 2006 and Album Of The Year for his work on Adele's 21 in 2012.

And he added a third GRAMMY to his trophy haul this year, as his co-written Chris Stapleton track "White Horse" won Best Country Song. Thanks to his contribution to the aforementioned Batiste ballad, the hitmaker can also now call himself an Oscar nominee, too.

Andrew Wyatt 

Ronson co-produced and co-wrote "I'm Just Ken" [From The Motion Picture Barbie] with longtime collaborator Andrew Wyatt. The pair won the 2019 Best Original Song Oscar for their co-write on A Star Is Born cut "Shallow," and also picked up Best Song Written for Visual Media with the same tearjerker (alongside Cooper) at the GRAMMYs.

Wyatt, who first found fame as one-third of electronic trio Miike Snow before launching a solo career, has also enjoyed a taste of GRAMMY recognition elsewhere. The New Yorker's first nod came in 2012 when Bruno Mars' "Grenade," the emotive heartbreak anthem that counted him as one of six songwriters, was nominated for Song Of The Year.

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