John Williams Receives 7 Nominations from the International Film Music Critics
2011 Film Categories
FILM SCORE OF THE YEAR
• THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN, music by John Williams
• THE ARTIST, music by Ludovic Bource
• THE GREATEST MIRACLE, music by Mark McKenzie
• HUGO, music by Howard Shore
• WAR HORSE, music by John Williams
FILM COMPOSER OF THE YEAR
• LUDOVIC BOURCE
• ALEXANDRE DESPLAT
• MICHAEL GIACCHINO
• ALBERTO IGLESIAS
• JOHN WILLIAMS
BREAKOUT COMPOSER OF THE YEAR
• LUDOVIC BOURCE
• BRIAN BYRNE
• THE CHEMICAL BROTHERS
• MICHAEL RICHARD PLOWMAN
• LUCAS VIDAL
BEST ORIGINAL SCORE FOR A DRAMA FILM
• THE ARTIST, music by Ludovic Bource
• JANE EYRE, music by Dario Marianelli
• SOUL SURFER, music by Marco Beltrami
• W.E., music by Abel Korzeniowski
• WAR HORSE, music by John Williams
BEST ORIGINAL SCORE FOR A COMEDY FILM
• PAUL, music by David Arnold
• THE RUM DIARY, music by Christopher Young
• TORRENTE 4: LETHAL CRISIS, music by Roque Baños
• A VERY HAROLD AND KUMAR 3D CHRISTMAS, music by William Ross
• YOUR HIGHNESS, music by Steve Jablonsky
BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM
• CAPTAIN AMERICA: THE FIRST AVENGER, music by Alan Silvestri
• DRIVE, music by Cliff Martinez
• MISSION IMPOSSIBLE – GHOST PROTOCOL, music by Michael Giacchino
• REAL STEEL, music by Danny Elfman
• RISE OF THE PLANET OF THE APES, music by Patrick Doyle
BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
• DON’T BE AFRAID OF THE DARK, music by Marco Beltrami and Buck Sanders
• HARRY POTTER AND THE DEATHLY HALLOWS PART 2, music by Alexandre Desplat
• HUGO, music by Howard Shore
• PRIEST, music by Christopher Young
• SUPER 8, music by Michael Giacchino
BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE
• THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN, music by John Williams
• THE GREATEST MIRACLE, music by Mark McKenzie
• KUNG FU PANDA 2, music by John Powell and Hans Zimmer
• PUSS IN BOOTS, music by Henry Jackman
• RANGO, music by Hans Zimmer
BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE
• FROZEN PLANET, music by George Fenton
• HOLD AT ALL COSTS: THE STORY OF THE BATTLE OF OUTPOST HARRY, music by Larry Groupé
• JIG, music by Patrick Doyle
• RUSSLAND – IM REICH DER TIGER, BÄREN UND VULKANE, music by Kolja Erdmann
• THE WIND GODS, music by Pinar Toprak
FILM MUSIC COMPOSITION OF THE YEAR
• “The Adventure Continues” from THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN, music by John Williams
• “George Valentin” from THE ARTIST, music by Ludovic Bource
• “Captain America March” from CAPTAIN AMERICA: THE FIRST AVENGER, music by Alan Silvestri
• “Final Round” from REAL STEEL, music by Danny Elfman
• “The Homecoming” from WAR HORSE, music by John Williams
Other 2011 Categories
BEST ORIGINAL SCORE FOR A TELEVISION SERIES
• DOCTOR WHO, music by Murray Gold
• DOWNTON ABBEY, music by John Lunn
• ERMESSENDA, music by Arnau Bataller
• GAME OF THRONES, music by Ramin Djawadi
• SHERLOCK, music by David Arnold and Michael Price
BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
• CALL OF DUTY: MODERN WARFARE 3, music by Brian Tyler
• THE ELDER SCROLLS V: SKYRIM, music by Jeremy Soule
• L.A. NOIRE, music by Andrew Hale and Simon Hale
• NI NO KUNI: WRATH OF THE WHITE WITCH, music by Joe Hisaishi
• SOCOM 4: U.S. NAVY SEALS, music by Bear McCreary
BEST ARCHIVAL RELEASE OF AN EXISTING SCORE
• THE BLACK HOLE, music by John Barry; album produced by Randy Thornton and Douglass Fake, liner notes by Jeff Bond; album art direction by Steve Sterling (Disney / Intrada)
• THE DANNY ELFMAN & TIM BURTON 25TH ANNIVERSARY MUSIC BOX, music by Danny Elfman; album produced by Danny Elfman and Tim Burton; liner notes by Jeff Bond and Danny Elfman; album art direction by Matt Taylor (Warner Bros)
• DAYS OF HEAVEN, music by Ennio Morricone; album produced by Lukas Kendall and Craig Spaulding; liner notes by Lukas Kendall and Jeff Bond; album art direction by Joe Sikoryak (Film Score Monthly)
• GREMLINS, music by Jerry Goldsmith; album produced by Mike Matessino and Bruce Botnick; liner notes by Jeff Bond and Mike Matessino; album art direction by Joe Sikoryak (Film Score Monthly)
• MASADA, music by Jerry Goldsmith and Morton Stevens; album produced by Douglass Fake and Roger Feigelson; liner notes by Jon Burlingame; album art direction by Joe Sikoryak (Intrada)
BEST ARCHIVAL RE-RECORDING OF AN EXISTING SCORE
• THE BATTLE OF NERETVA/THE NAKED AND THE DEAD, music by Bernard Herrmann; conducted by William Stromberg; album produced by William Stromberg, John Morgan and Anna Bonn; liner notes by Jim Doherty and Kevin Scott; album art direction by Jim Titus (Tribute Film Classics)
• CONAN THE DESTROYER, music by Basil Poledouris; conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. DeWald; album art direction by GINKO DIGI (Prometheus)
• THE FALL OF THE ROMAN EMPIRE, music by Dimitri Tiomkin; conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. DeWald; album art direction by James Fitzpatrick, Damien Doherty and GINKO DIGI (Tadlow Music)
• THE LORD OF THE RINGS SYMPHONY, music by Howard Shore; conducted by Ludwig Wicki; album produced by Jonathan Schultz and Howard Shore; liner notes by Howard Shore and Ludwig Wicki; album art direction by Alan Frey (HOWE Records)
• TARAS BULBA, music by Franz Waxman; conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. DeWald; album art direction by Damien Doherty (Tadlow Music)
FILM MUSIC RECORD LABEL OF THE YEAR
• FILM SCORE MONTHLY
• INTRADA
• LA-LA LAND
• MOVIESCORE MEDIA
• VARÈSE SARABANDE
The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing about original film and television music.
The IFMCA was originally formed in the late 1990s as the now-defunct “Film Music Critics Jury” by editor and journalist Mikael Carlsson, a former contributor to filmmusicradio.com and filmmusicmag.com, and currently the owner of the Swedish independent film music label MovieScore Media.
Since its inception, the IFMCA has grown to comprise over 50 members from countries as diverse as Belgium, Canada, Cyprus, France, Germany, Greece, Ireland, Italy, the Netherlands, Poland, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.
Previous IFMCA Score of the Year Awards have been awarded to John Powell’s HOW TO TRAIN YOUR DRAGON in 2010, Michael Giacchino’s UP in 2009, Alexandre Desplat’s THE CURIOUS CASE OF BENJAMIN BUTTON in 2008, Dario Marianelli’s ATONEMENT in 2007, James Newton Howard’s LADY IN THE WATER in 2006, John Williams’ MEMOIRS OF A GEISHA in 2005 and Michael Giacchino’s THE INCREDIBLES in 2004.
For more information about the International Film Music Critics Association, its members and the list of past awards, please visit http://www.filmmusiccritics.org or contact press@filmmusiccritics.org.
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Finally, a mention for Captain America! That was one of the best film scores of the year, really propelled the film.
Meanwhile, John Williams accidentally passes gas and gets nominated for an award.
Hugo miscategorized yet again in “Fantasy/SciFi” category.
Wow. Great choices once again from the IFMCA. I’m glad they recognized the score from “The Greatest Miracle” with a nomination. That score is quite popular with hardcore soundtrack enthusiasts. I saw the trailer for that film on Youtube, and it looked like it was made in The Sims. It was absolutely horrible, but the score was magnificent. The fact that they nominated that score shows that they truly recognize good music regardless of the quality or popularity of the films they accompany.
I’m also very happy with the double nominations for John Williams. He probably won’t win this year because of the twin nominations, but I suspect he’ll rightfully get the Composer of the Year award.
I just have two complaints. I wish “Letting Go” from Super 8 was nominated for Film Music Composition, and that Desplat’s HP8 was nominated instead of The Artist for Film Score of the Year, but The Artist is a decent score, so it’s fine. I do think, however, that it is a score that is receiving more praise than it actually deserves.
And no nomination for Trent Reznor and Atticus Ross.
Even if it’s fits the film so well, it seems that it wasn’t an achievement.
The skill of composing a full orchestra, cannot be compared to the composing of simple percussions.
Maybe I missed one, but contrary to what the headline states, I only counted 7 nominations for John Williams, not 8.
Paul, looks like you’re right. Thanks.
(I must’ve done a word search for ‘Williams’ and accidentally counted his name an extra time among past winners.)
Lol, I haven’t even heard of The Greatest Miracle. (I thought they meant Big Miracle until I looked it up on IMDB!) Nice to see a little film get some notice.
No Reznor/Ross again, though? Madness.
Howdy – for those of you who wonder (are baffled as to) why Reznor/Ross are seemingly being snubbed by the IFMCA, may I suggest you read the following three reviews (two TGWTDT, one TSN) by some of the most prominent IFMCA members to understand why “we” are not too thrilled with the scores for these two films:
http://moviemusicuk.us/2011/12/27/the-girl-with-the-dragon-tattoo-trent-reznor-and-atticus-ross/
http://www.filmtracks.com/titles/girl_dragon.html?page=print
http://tracksounds.com/reviews/the_social_network_trent_reznor_atticus_ross.htm
Thanks, CK
If anyone was wondering what the hell The Greatest Miracle is, and why we nominated it for Score of the Year, take a listen to this:
http://youtu.be/Z_y1_CHBi90
The film itself, as others have said, its pretty terrible, but we’re all about the music and ONLY the music, so…
@IFMCA Member
So the film and how the music was used in the film has no bearing on the award, which is primarily for the standalone composition? Just curious.
NIce to see Silvestri and Chemical Bros. in there, but no Reznor/Ross?
I guess The Muppets and Transformers: Dark of the Moon are too 99% for these 1 percenters…yeah, elitists.
@steve50: It’s taken into consideration, of course, but it’s not the primary factor. With the sheer amount of films released each year, it’s impossible to expect every member to see every film for which they own the soundtrack, so a couple of years ago the group was asked to shift slightly the focus of how it votes, in favor the music as an individual element rather than purely how the score works in the film.
The members of the group all have the capacity to make a judgment on the score’s quality simplt from listening to it, in terms of score’s originality, the structure of the score, technical elements such as writing and performance techniques, the quality and variety of the orchestrations, things like that.
However, if we also see the film which accompanies the score in question, we take this into consideration if we can. Seeing the film and hearing the music in context clearly enhances the appreciation of the score and can often make the intent of the composer clearer. So, if we have also seen the film, we consider whether the score reinforces the drama, provides the correct emotional framework for the film, and brings out the intended responses in the viewer, that sort of thing.
Hope that helps!
And, no, no Reznor/Ross. Not enough votes.
@PaulH: Elitist? Really? We gave nominations to Your Highness, Harold & Kumar Christmas, and Priest. I’m pretty sure that makes us about as anti-elitist as it’s possible to be!
I see that ‘IFMCA Member’ has matters well in hand, so I’m clocking out for the night.
I’m curious on why there is a separate category for Animated film. It makes sense to segregate films by genre when talking about scores, as a Drama score will necessarily sound different than an action film. But animation is not a genre and really shouldn’t be treated as such. Is there a reason for this practice?
(p.s. I’m listening to that link to The Greatest Miracle Soundtrack right now. Absolutely beautiful. This guy needs to score a good movie ASAP.)
I find it odd that Hanna didn’t actually score a nomination for anything yet sounds AMAZING. Frankly that score is the only reason to sit through the movie at all. (I know, The Chemical Brothers got a nod… but not for a specific film.)
Also odd that the Muppets didn’t get a thing.
“Captain America March” is quite terrible…it reminds you of the better John Williams of the last 70′- early 80′s…
tclaw – the reason why animation has it’s own category is in part I feel due to the longer scoring process the films often have and oftentimes a certain style that is employed by these scores. In some ways, music is often more prominent in animated films.
To further continue (comment was posted before I was finished) I agree that animation is not a genre, but in this case, the separation makes sense. Of course, it is not segregation – Tintin is up for Score of the Year, and last year’s Overall Score of the Year winner was How To Train Your Dragon. That was not the first an animated film score took the top award, and almost every year has had an animated score nominated in the top category.
No Reznor/Ross for Dragon Tattoo????
What the hell is going on with this award season?
It’s just too weird for me!
John Williams: Best Ever. Hope he wins next year for Lincoln.
I can honestly say that Williams’ score for War Horse is one of the most grating, in-your-face, manipulative and derivative scores I’ve ever heard, and single-handledly ruins the film for me (yes, even worse than Spielberg’s cloying direction). Come to NYC and see the play at Lincoln Center, it is infinitely better, and so is the music.
Awesome!
I would have liked to have seen some love for Cliff Martinez’ wonderful work for “Drive”. Great score. Was only recognized by the Chicago Film Critics this year. At least they have good taste.
“Drive” is there – under BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM
So true, Bette. John Williams score for ‘War Horse’ was a hi-lighter, a bold-face and an black underline framed in a neon sign. The instruction to Williams was, “You know that thing you do? Can you do it big and shameless?”
I saw “The Greatest Miracle” eight times. . . . I guess we all have different definitions of ‘horrible’. Below is a link to the opening score “Far Away” from Libera. It takes my breath away every time.
http://www.youtube.com/watch?v=gvFlGr6ZLIg