As always on Oscar-nominations-announcement day, I have written a kind of “instant analysis” of the song and score categories — who was nominated, who was not, and a bit about the background of the nominees. The lead of my story — the fact that two major pop names, Diane Warren and Jonny Greenwood — remained intact even though editors chose to highlight a “Taylor Swift snub” in the headline (something I have nothing to do with). But that’s about attracting readers to the story. The story itself is solid and filled with data about John Williams’ 51 nominations, Greenwood’s past history with the Academy, Warren’s failure to win despite eight previous nods, and whose recent wins may be a factor in whether they win again. It’s on Variety‘s website today; I will be writing new stories on the topic for print over the next two weeks.
While I was preparing my John Williams piece for Variety, I had the good fortune to connect with actor Mark Hamill, who of course plays Luke Skywalker in the Star Wars films. He was so enthusiastic in his praise for the maestro, and waxed eloquent in his appreciation for film music generally, that I didn’t want to use simply one or two quotes in the Williams piece. Variety editors agreed, so here is the sidebar story in which Hamill talks about his history with classic film music, and Williams in particular.
It’s always a treat to interview the legendary John Williams. A few weeks ago he talked with me about scoring The Post for longtime colleague Steven Spielberg; about his eighth Star Wars movie, The Last Jedi; and about his plans for 2018, which include a theme for Solo and a new concert work celebrating the centennial of Leonard Bernstein. I also interviewed Last Jedi director Rian Johnson, actor (and fan) Mark Hamill, and fellow composers David Newman and William Ross, about the iconic composer’s place in movie and music history. The story is in this week’s issue of Variety, including a collection of Oscar trivia related to the composer. In a separate story, I explore the maestro’s first animated short subject (which itself is also Oscar-eligible this year), Dear Basketball, based on the Kobe Bryant poem.
I interviewed composer John Williams recently and happened to ask him about the stand-alone Star Wars movie titled Solo (about the adventures of a pre-Episode IV Han Solo). He confirmed that he would be writing the theme for the film and that John Powell (who had already been announced as the film’s composer) would probably be incorporating it into his overall score for the film. Variety editors thought this scoop was too important to wait for our feature story, still several days away, so we broke the news early Saturday morning. It was repeated and linked-to so often, in so many other contexts around the world, that I’ve begun to wonder if it’s my most-read news story ever. Update: Williams recorded his Solo theme with a Los Angeles orchestra on Wednesday, Jan. 3, according to a musician’s social-media post that included photos from the Sony scoring stage.
One of my favorite end-of-year assignments involves choosing the top 20 albums of “classic film music” released during the previous 12 months. This year’s task seemed harder than ever, because several labels gave us truly remarkable discs — some of them expanded classics, some previously unreleased scores, some of them reissues of very rare LPs. I enjoyed all of these, from the music of John Williams and Jerry Goldsmith to that of Aaron Copland and Vince Guaraldi and many more. The list spilled well over the 20 slots, so I added an “honorable mention” paragraph to sneak in a few more titles.
With the opening of The Post, Steven Spielberg’s new newspaper drama with its score by the legendary John Williams, I thought it might be a good time to look back at past movies with a newspaper setting and the music that accompanied them (and added a bit of information and commentary for each). So for this week’s online Variety, I found YouTube videos of music from Citizen Kane, Sweet Smell of Success, The Front Page, All the President’s Men, The Paper and Spotlight. Comments from composers Elmer Bernstein, David Shire and Howard Shore are included.
On Sunday, the American Youth Symphony — widely considered the finest young, pre-professional orchestra in the country — played John Williams’ complete score for E.T., the Extra-Terrestrial, live to picture at UCLA’s Royce Hall. It was only the third time ever in Los Angeles (Williams himself conducted it at the Shrine Auditorium in 2002, David Newman conducted the L.A. Philharmonic at the Hollywood Bowl in 2015). Prior to the concert, I conducted a fun Q&A with two musicians who actually played on the original 1982 recording sessions: David Newman, then a violinist on his way to becoming an Oscar-nominated composer and one of the world’s finest conductors of film music in the concert hall; and Ralph Grierson, a top studio pianist who performed the difficult but beautiful end-title solo. Joining us was Katie Kirkpatrick, whose mentor Dorothy Remsen played the magical harp solos in the original; who played that part for Newman at the Bowl in 2015; and who inherited Remsen’s harp, named it “Dottie” and still plays it today. Here is a rundown of the concert and the honorees dinner that followed.
The annual John Williams concerts at the Hollywood Bowl are always cause for celebration, and they remain as popular as ever, generally selling out three consecutive nights on a late-summer weekend. But this year offered a surprise: Williams conducted, live-to-picture, his score for the animated short Dear Basketball, based on Los Angeles Lakers legend Kobe Bryant’s farewell poem to his beloved sport, narrated in person by Bryant himself. I contributed the program notes, as I often do for this concert (co-conducted by David Newman), but this year I also had the opportunity to preview the Dear Basketball premiere (including a new interview with director-animator Glen Keane), and I wrote about the concerts afterward.
It isn’t often that I go after a “scoop” — what we print journalists used to call getting to a hot story first. But when I heard that John Williams would not be scoring both of the Steven Spielberg films currently in production (The Papers and Ready Player One), I thought it was worth the effort. So we at Variety were the first to report that Williams will score The Papers, the Pentagon Papers story, and that Alan Silvestri (perhaps best known for such classics as Back to the Future and Forrest Gump) will be doing the sci-fi film Ready Player One. Silvestri is well known to Spielberg, who has produced a number of Robert Zemeckis films that he has scored over the years.
The Wallis Annenberg Center for the Performing Arts is a relatively new theater in the heart of Beverly Hills. The family of the late, Oscar-winning composer Henry Mancini assembled an incredible lineup of talent as a fundraiser for the nonprofit organization on Saturday, April 1, and we were thrilled to be invited to cover it for Variety. The event, which featured Julie Andrews, John Williams, Quincy Jones, Kristin Chenoweth and many other stars, was a memorable concert of Mancini’s greatest hits, from Peter Gunn to The Pink Panther, “Moon River” to “Days of Wine and Roses” and more. Here is my story for Variety‘s online news page.