The Weinstein Company
That John Williams is nominated this year presumably for re-interpolating his striking themes from the original Star Wars franchise, and not so much whatever new material he brought to the table, only stresses the extent to which respect for longstanding reputations is running through the minds of the music branch. (Oh please, fanboys. If you can correctly identify and hum from memory one single leitmotif that doesn’t belong to Han Solo, Princess Leia, or Chewy, we’ll willingly clear our throats on Adam Driver’s lightsaber.) In fact, the only score that doesn’t fit within this year’s pattern of rewarding longevity is young buck Jóhann Jóhannsson’s work on Sicario, a brutal and audacious series of industrial horror cues that couldn’t be further from the lilting delicacies of his The Theory of Everything score, and the nomination for which in part excuses the Academy’s predictable cold shoulder toward Disasterpiece’s monstrously effective compositions for It Follows.