John Williams wins 5 IFMCA awards
2011 Film Categories
FILM SCORE OF THE YEAR
• WAR HORSE, music by John Williams
• WAR HORSE, music by John Williams
FILM COMPOSER OF THE YEAR
• JOHN WILLIAMS
• JOHN WILLIAMS
BREAKOUT COMPOSER OF THE YEAR
• LUDOVIC BOURCE
• LUDOVIC BOURCE
BEST ORIGINAL SCORE FOR A DRAMA FILM
• WAR HORSE, music by John Williams
• WAR HORSE, music by John Williams
BEST ORIGINAL SCORE FOR A COMEDY FILM
• THE RUM DIARY, music by Christopher Young
• THE RUM DIARY, music by Christopher Young
BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM
• DRIVE, music by Cliff Martinez
• DRIVE, music by Cliff Martinez
BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
• SUPER 8, music by Michael Giacchino
• 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 ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN, music by John Williams
BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE
• THE WIND GODS, music by Pinar Toprak
• THE WIND GODS, music by Pinar Toprak
FILM MUSIC COMPOSITION OF THE YEAR
• WAR HORSE – “The Homecoming” (John Williams)
• WAR HORSE – “The Homecoming” (John Williams)
2011 Non-Film Categories
BEST ORIGINAL SCORE FOR TELEVISION
• ERMESSENDA, music by Arnau Bataller
• ERMESSENDA, music by Arnau Bataller
BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
• NI NO KUNI: WRATH OF THE WHITE WITCH, music by Joe Hisaishi
• NI NO KUNI: WRATH OF THE WHITE WITCH, music by Joe Hisaishi
BEST ARCHIVAL RELEASE OF AN EXISTING SCORE
• 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 Records)
• 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 Records)
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)
• 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)
FILM MUSIC RECORD LABEL OF THE YEAR
• LA-LA LAND RECORDS
• LA-LA LAND RECORDS
SPECIAL AWARD
• A SYMPHONY OF HOPE: THE HAITI PROJECT
• A SYMPHONY OF HOPE: THE HAITI PROJECT
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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 Australia, 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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I realized I haven’t commented this entire Oscar season. I’m just not excited about any of the films this year. However, I’m happy to see John Williams getting recognized for this score. Sure, War Horse is an extremely flawed and generally uninteresting film, but his score is old school Williams. And I think it would’ve had a chance if The Artist wasn’t around. It’s hard to compete with a movie where basically the only thing you hear is the score.
I wish Reznor and Ross were on here…
I think it would’ve had a chance if The Artist wasn’t around.
The tombstone of Oscar 2012 reads:
___________ Would Have Had a Chance If The Artist Wasn’t Around.
fill in the blank with a dozen other movies and filmmakers being robbed this year.
@ Ryan Adams
I wouldn’t go as far as robbed… let’s just say I don’t know misjudged perhaps ?
anyway I’m happy for Williams
Well, this is one award I think The Artist deserves to win (ignoring the whole Bernard Herrmann controversy).
micab,
I’ll accept ‘misjudged’
feeling ‘robbed’ indicates a level of emotion pretty far beyond the numb sensation I’m actually feeling.
Ooh, The Rum Diary’s score got something! Yay!!
It broke my heart to see so many criticisms of William’s score saying it was “too intrusive, too old fashioned”. In a world that’s increasingly being taken over by electronics, as well as minimalist scores, “War Horse” is musical score at its very best, and one of William’s best in many years. This is one award I don’t mind seeing The Artist win, but I’d prefer it go to War Horse.
It’s nice to know that John Williams is not just revered by fan boys, but has critical backing. Not to say I don’t think Williams is great, but I feel like he has become more of a pop culture figure than respected composer. Its nice to know he can be both.
At last John Williams wins something this year!! His War Horse score was very good by his standards (a dream come true for many composers) but his score for Tintin is truly magnificent, rich in motives and themes and WAY more deserving than the one (and probable winner) from THE ARTIST.
My goodness! Ich glaub, mich tritt ein Pferd! But I actually never agree with other people’s perception of film music. So, the heck with it!
“Ich glaub, mich tritt ein Pferd” – höhö, sehr lustig! ^^
Well, but I liked The Artist better than War Horse and Williams’ Tintin better than The Artist. Somehow I don’t really like the Theme in War Horse… somehow…
@Matt-are you joking?
I think no composer alive has the critical acclaim that Williams has. Take a poll of all the current soundtrack reviewers of the greatest composer living and Williams would well nigh sweep the board.
These Hollywood awards skew our perspective of what good scores are. You would think that since Williams hasn’t won anything his score does not have critical acclaim. Its the opposite, often nominated scores like Dragon Tattoo were torn apart by film soundtrack reviewers and War Horse was very acclaimed. Tintin was even more acclaimed.
I think this group is the single occasion every year where we actually get the opinion of people who know about film music.
IFMCA = tone deaf.
Sorry, but the score is supposed to enhance the film, not stomp all over it. As usual, Williams and Spielberg impose on the viewer with their condescendingly heavy-handed work, and the score single-handedly ruined the film for me within the first 15 minutes (for the record I thought the Broadway play was magnificent, with stunning, appropriate music).
Perhaps the music itself would be nice in a vacuum, but when it overpowers the words and visuals the way this does, I’m turned way way off.
Drive or The Artist would have been far better choices.
The score for Tin Tin is much better, among Williams best work. He is a brilliant composer but way past his prime of Jaws and Star Wars. The greatest living film composer, in my opinion, by far, is Ennio Morricone, who of course never won an Oscar. Screw the honorary, its not the same; The Mission losing to ‘Round Midnight (or frankly, anything, its the score of scores). Cinema Paradiso and the spaghetti westerns not even nominated??? The Oscars rot.
“Sure, War Horse is an extremely flawed and generally uninteresting film” says ryan with the lower “r” as if it was a given. wtf? it was a lovely piece of film. spielberg’s best since MUNICH. the score graced the engrossing, emotional story in, yes, an old-fashioned manner that was like icing on the cake. there is room in the world of film and art for lush symphonic scores as there is for minimalist, barely detectable, heavy-on-electronic noise scores that add little and barely support the drama. lush, symphonic scores are heavy-handed? sometimes. but Williams is a master. his is a sure hand. i hope he wins the Oscar.
Masterful score, for a MASTERPIECE.
Will be revered as one their best in a few years
I love when people say John Williams was ‘robbed’ of some honor in the same way people say Meryl Streep was ‘robbed’ of something. They are two of the most honored artists on the planet Earth.
‘War Horse’ was sugary schlock. Williams merely provided the whipped cream score.