Like a bird simply being a bird or a tree being a tree, Diane Warren has an unshakeable understanding of herself—both what she is and isn't. She's not a singer. She doesn't perform live. Rather, Warren writes songs—some of the most successful songs of all time, for artists like Lady Gaga, Aerosmith, and Cher. She harbors no illusions about doing anything else. Nor does she play up the persona of the arteest, getting precious in interviews about "the craft."

That said, what prompted this non-performer to release her first-ever studio album, The Cave Sessions, Vol. 1, with a litany of famous collaborators—ranging from Carlos Santana to John Legend to Ty Dolla $ign? While considering the pantheon of DJs in the music world, the GRAMMY winner and 15-time nominee had a lightbulb moment. "I thought, 'You know what? I'll be DJ Diane and I'll do the songwriter version of that,'" Warren tells GRAMMY.com. As such, she took a crack at a "curated body of work" of self-written songs.

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DJ Diane's gambit paid off on the first volume of The Cave Sessions, which was released August 27. (In fact, she's already pondering a Vol. 2.) The wildly diverse and genre-shifting album gets sultry ("She's Fire," with Santana and G-Eazy), ebullient ("Seaside," with Rita Ora, Sofia Reyes, and Reik), and cathartic ("Where Is Your Heart," with John Legend) in equal measure. What ties it all together is Warren's unmistakable songwriting voice—economical, universal, leading with emotion.

As for Santana, it was no problem jumping on "She's Fire" on short notice—despite not previously knowing Warren, not to mention the unconventionality of working with a rapper. To explain this, he evokes the landscapers on riding mowers in his Maui neighborhood. "Behind them, there are 12 to 20 white storks, and they look like angels following them," he tells GRAMMY.com. "I feel like that. I feel like I can mow anybody's lawn—or be in anybody's song—and just show up, and the angels will show up with me."

Ultimately, that's what The Cave Sessions, Vol. 1 sounds like: A master stepping out from behind the curtain with earned confidence—and a battalion of powerful guardians cheering her on. Read on for an in-depth interview with Diane Warren about The Cave Sessions, looking back on her decades-long career, and the one thing she'd change about the music industry.

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This interview has been lightly edited for clarity.

Can you lay out the foundation of how The Cave Sessions came to be?

The Cave is my writing room, and it's really disgusting. I haven't cleaned it in quite a long time. The idea of doing this record was that I saw so many DJs—Mark Ronson, DJ Khaled, David Guetta—all these guys that do that. I thought, "You know what? I'll be DJ Diane and I'll do the songwriter version of that." 

Most songwriters are in one genre; I'm all over the place—I wanted my album to reflect that. I'm still going to do the same thing I normally do where the artist does all the work, but it's a curated body of work. That's what's different.

You've never recorded an album under your name before. Why is that?

I'm a behind-the-scenes person, basically. I'm cool just writing songs for people. That's still what I'm doing on this record. The artists and producers are doing all the work; I happened to write the songs. I just thought it was a cool thing to do to show the diversity in styles in what I do and tie it all together—hopefully with great songs.

It was almost like a microcosm of my career in the various styles I work in—whether it's Latin, whether it's country, whether it's rock, whether it's hip-hop or R&B. I'm everywhere, so I wanted my record to be like that.

What was it about your early development that made you want to remain behind the curtain?

I always just wanted to be a songwriter. I wasn't one of those people where it didn't work out being an artist, or being in a band. I never was an artist, and I never was in a band.

There was no question about what you wanted to do, then.

Yeah, it was never a question of what I wanted to do. I knew from when I was a kid that this is what I aspired to be and wanted to do. I've known it for a while. It's what I do.

Tell me about your collaborators on The Cave Sessions. How did they arrive in your orbit?

We'll start with John Legend and "Where Is Your Heart." I just kept getting frustrated that he kept not using the song. It was such a great song and performance. I kept giving it to other artists and he wanted it back and then wouldn't use it and I'd get it back from him.

Truth be told, nobody sounded as great as John Legend on that song. A couple of other people worked it up, but I was like, "This song needs to get heard. I'm not giving up on it." Anybody who knows me knows that's how I am. I'm a pain in the ass until something's a hit, and then they're like, [Gushing voice] "We love your passion!" But this song, I just felt determined to get it heard.

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What do you appreciate about John Legend's musicality at its core?

He's a real artist. He's a great musician. He's a great singer. I had a meeting with him seven or eight years ago. I played him a couple of things that he wasn't that into, and I went, "I wrote this song, and I don't know if it's right for you." That was "Where Is Your Heart," and he literally recorded it the next day. I remember being in the room and being like, "F***, man. This is one of the best things I've ever heard." It was just him and a piano.

That's the thing: When a song's great, you don't need a lot more. It's just his emotion and what he put into that song. So it was frustrating when he kept not using it, but you know what? Now the world gets to hear it.

How did The Cave Sessions continue to grow from there?

When I was thinking about doing this project, I was like, "That song has to be on this!" And then there were a couple of other ones, and it went on and on, and it kept changing. I'm always writing new songs, so I was frustrating my team because I was like, "No, I want this one! But wait, that one's great! We'll do a Vol. II!". I kept doing songs when the album was almost turned in.

That's why I did the last song, "Sweet," with Jon Batiste and Pentatonix. The album was done, but I loved the song and thought it was an important song for the album. I loved the message of it, as the world was starting to open up. It's such a positive message, so I put that on the album.

Read More: Jon Batiste Talks New Album 'We Are,' His Brain-Breaking Itinerary & Achieving "Freedom" From Genre

A lot of these artists I didn't know. Like, I didn't know Santana, but I knew I wanted him on "She's Fire." I came up with that guitar riff—I usually don't write a guitar riff in a song—but I wrote that little thing at the end of the chorus. I kept hearing Carlos Santana in my head, playing it. I didn't know him, but I sent him the song and he loved it.

And then it was like, "Oh, well, someone's got to sing it!" A friend of mine said, "You've got to work with G-Eazy. He'd be so f***ing perfect for this song. He's known as a rapper, but I bet he could sing this. I bet he'd put some swag on it." You don't have to be a virtuoso singer to sing it; you just have to be vibey. It turned out great. He loved the song. He kind of said "yes" before he even heard it, and then when he heard it, he was really excited.

What's your background with Santana's music? To me, his guitar is a sound you hear very early on as a music fan.

Yeah! I mean, I grew up being a huge Santana fan. All his records were so great. I'm from L.A. and we love Santana here. But, again, I didn't know him. I actually reached out to Narada Michael Walden, who's a friend of mine. He gave me Carlos' manager's number, and I reached out and sent the song to Carlos. He sent me a giant thing of flowers. It was really nice.

I still haven't met him! We've only met on Zoom and text and talking on the phone. It's so funny because, with the pandemic, when everything was under lockdown, my friend Peter Stengaard—who co-produced "She's Fire" with Ish Cano—actually had a place next door to Carlos on Kauai. When I was trying to get him involved with the production, Peter goes "He's my next-door neighbor." Oh my god. How perfect is that? So he literally went next door and did the guitar part.

And then with G-Eazy, these are two totally different artists. And the fun, for me, was putting these two worlds together—that you wouldn't think would be together—and they create a different world. Like this magical combination, you know? I love the two of them on there.

Songs aside, what are your favorite moments on The Cave Sessions?

I have a lot of favorites. I'll tell you one that just blows me away every time I hear it: "Not Prepared For You" by Lauren Jauregui. That performance is spectacular. Something my songs do for people over the years is take them to the next level.

Lauren's from Fifth Harmony, where Camila Cabello and Normani are from. And Ally Brooke, who's also great. With "Not Prepared For You," I wanted it for Lauren. I was in the studio when she did that and I was like, "F***. She's so f***ing good on this song. This song will take her to the next level."

I love everything on the record, or it wouldn't be on the record, to be honest. With each song, there's a moment.

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Tell me about the information embedded in these tunes—what you were trying to say that you haven't said in songs in the past.

Well, it wasn't like I was trying to say anything in particular, to be honest. I just wanted to put together an album of great songs with great artists, like Celine [Dion]. I gave Celine something so different than normally I would give her. It wasn't the big ballad. [It was] something more soulful.

And for me, it was a chance to work with someone like Ty Dolla $ign. I worked with Luis Fonsi a long time ago, and it was great to work with him again. I've worked with Rita Ora before. I was nominated for an Oscar with a song called "Grateful" I did for her. But we hadn't done anything since then, and it was kind of fun putting together Rita, Sofia [Reyes], and Reik, who's a Latin group.

I appreciate your intense focus on what you wish to accomplish in life and art. What about your early life made you you, demeanor-wise?

I have no idea. I've just been doing this forever. I love writing songs. It's my life. It's been my life since I was about 11, and I'm older than that now. Now I'm 29—I'm just kidding. This is just what I love and what I do. I'm happy that what I do is what I love.

Every time I write a song, I'm learning something. I just wrote a song that I finished yesterday, actually, in a style I've never written in before. So, that was really fun. I'm always learning.

From your perspective, how has the music industry landscape changed in the decades you've been in this business?

I mean, I'll tell you what's consistent: It's all about the song. I think there are a lot more writers on songs now. The writing-by-committee thing—I'm so not a committee person. I think it's always the power of one person that changes the world. I don't know what 10 people do on a song, to be honest. I know what one person does on my songs, you know?

It's changed a bit, with streaming and all that. But what it all comes down to—it doesn't matter what it is—is either the song's compelling and people want it, or it's not.

Are the pressures different for you today versus when the industry was in a different place?

No. I still put myself under a lot of pressure. I can only speak from my point of view, really. The only pressure for me is pressure to better myself.

What about on the licensing and publishing side? What have you learned over the years that you can share?

I mean, I own my own publishing, which is great. If you can do that, that's always good to do it. Not everybody can, and it takes time to get to that place.

To build up your autonomy?

Yeah. It just worked for me because I'm a self-starter and a go-getter. It's not like I've ever needed a publisher to do what I do. I can't give big life lessons about that. I just know what works for me.

Diane Warren. Photo: Mekael Dawson

When you look back on your entire songbook, what stands out in your mind? Are there any tunes you're particularly proud of?

You know, I'm proud of a lot of them. "'Til It Happens For You," the song I wrote for Gaga. I'm proud of "Because You Loved Me," the one Celine did. I'm proud of all my songs. I'm proud of songs you haven't heard yet. I'm proud of "I Was Here," the song I did with Beyoncé. They're all deep songs.

But then, I love "Seaside," from my album. I'm proud of that. It's like a shot of positivity right now.

It seems like you're not jaded about the process at all.

No! But I don't let it f*** with my process at all because this is what I do and this is what I love.

What are you jaded about?

Well, I'll tell you one thing: Everything's so data-driven. That's frustrating. Because, to me, the data that matters is: Does it make your heart stop? Does it make the hairs on your arms stand up? Does it make you say, "What the f*** was that?" Does it make you sit there and say, [Breathless voice] "What?" That's the data that matters to me. But what are you going to do? That's the world that we live in.

Do you mean streaming numbers, specifically?

I'll give you an example: There's an unnamed artist and his manager works for a major record company. He did an independent release, right? I said, "Why? Your manager works for that major label." He said, "My TikTok numbers aren't high enough." That... just… f***. Because this guy's really talented and his records are really good. Yeah, that kind of s*** is frustrating.

If the Beatles or Prince came out and their TikTok numbers weren't high enough—you know what I mean? It's a strange world with all that. I don't understand that, to be honest. My brain isn't a data brain. I just try to write songs that make you feel something.

Well, you're plucking something from the ether that's spiritual and immaterial. It seems unfair to assign a cold numerical value to it.

I mean, it is a business. I get it. It's the music business.

If you could change one thing about the mechanisms of the music industry, what would it be?

I would make it less about that stuff and more about playing something because you love it. Not putting something on the radio because it has enough TikTok numbers, but because it's a great song and a great artist.

Annika Wells On Writing For BTS, Her Advice For Singer/Songwriters & The Secret Value Of Making People Mad

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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