Tag: John Williams

  • John Williams Turns 92 A Film Music Legend

    John Williams Turns 92 A Film Music Legend

    It’s 92 candles on the cake for John Williams – a suitable tribute for the brightest light among living film composers.

    Williams’ career has spanned some 70 years. I know it’s trite to say, but the man is living history. No, really.

    Well before he became a household name in the 1970s, with blockbusters like “Jaws” and “Star Wars,” he worked as an orchestrator and session pianist on such films as “Sweet Smell of Success,” “Bell, Book and Candle, “God’s Little Acre,” “The Big Country,” “Some Like It Hot,” “The Magnificent Seven,” “Studs Lonigan,” “The Apartment,” “Hemingway’s Adventures of a Young Man,” “To Kill a Mockingbird,” “The Guns of Navarone,” “Breakfast at Tiffany’s,” “Charade,” “The Pink Panther,” “The Great Race,” “West Side Story,” and any number of other screen musicals.

    He collaborated or apprenticed with many of the greatest film composers who ever lived, including Elmer Bernstein, Jerry Goldsmith, Bernard Herrmann, Henry Mancini, Jerome Moross, Alfred Newman, Dimitri Tiomkin, and Franz Waxman.

    Of course, he was also composing his own original scores. His first A-list movie assignment was “How to Steal a Million” in 1966. Prior to that, he’d scored some goofy comedies and did TV work. Eddie Cantor once quipped, it takes 20 years to become an overnight success. By the time the wider public began to sit up and take notice of John Williams, with “Jaws” in 1975, that’s about right. By then, he’d already quietly amassed a string of hits and even landed his first Oscar (for adapting “Fiddler on the Roof” in 1971).

    Curious to hear Williams’ first film score? While serving in the U.S. Air Force, Williams was assigned to the Northeast Air Command Band and stationed at Fort Pepperell in St. John’s, Newfoundland, Canada. There, he was approached by a local production company, Atlantic Films, to score a tourism short in 1952, titled “You Are Welcome.” His contribution consists largely of arrangements of local folk tunes, so don’t go into it expecting the unmistakable “Williams sound” he honed in Hollywood. But it will give you a real sense of history.

    https://www.cbc.ca/news/canada/newfoundland-labrador/star-wars-composer-john-williams-first-score-a-1952-newfoundland-film-1.3241603

    Mighty oaks from little acorns grow. You’ve come a long way, baby! Happy birthday, John Williams!


    PHOTOS: Williams today (top), and recording “You Are Welcome” in 1952

  • John Williams Wins Grammy for Helena’s Theme

    John Williams Wins Grammy for Helena’s Theme

    John Williams adds another Grammy to his buckling mantle, in the category of Best Instrumental Composition, for “Helena’s Theme,” the only good thing to come out of the execrable “Indiana Jones and the Dial of Destiny.”

    Williams was also nominated twice in the category of Score Soundtrack for Visual Media, for both “Indiana Jones” and “The Fabelmans.” This brings the composer’s career Grammy tally to 26 wins and 76 nominations.

    Ludwig Göransson won the Score Soundtrack award for his overbearing music for “Oppenheimer.” It’s not been a great year for film music, folks.

    In truth, I could care less about the Grammys – as apparently the Grammys could care less about classical music – but if they can sell a few more records or bestow a little more prestige on classical artists, then good for the artists.

    Feel free to Google the rest of the results.


    Grammy Award-winning “Helena’s Theme,” arranged for Anne-Sophie Mutter

    I prefer it in its original guise for orchestra (as if I could get any grumpier)

    Congratulations, John Williams.

  • John Williams’ 54th Oscar Nomination

    John Williams’ 54th Oscar Nomination

    This year’s Academy Awards nominees were announced this morning, and sure enough, John Williams has earned yet another nod, for his score to “Indiana Jones and the Dial of Destiny.” Going into today, Williams was the most-nominated person alive. Now he’s even MORE the most-nominated (with the tally at 54). He also happens to be the second most-nominated person in Oscar history, after only Walt Disney (at 59).

    The other nominees in the category of Best Original Score are Laura Karpman (“American Fiction”), Robbie Robertson (“Killers of the Flower Man”), Ludwig Göransson (“Oppenheimer”), and Jerskin Fenrix (“Poor Things”).

    There’s a good possibility that whatever wins will do so for more than purely musical considerations. But that seems to be how it’s been for many years. The score for “Oppenheimer” is ludicrously overbearing.

    In any case, it’s nice to see Williams handed another feather for his nest, even though his latest Indiana Jones music will not win. Or at least I hope it won’t. The film itself was godawful, and Disney has done all it can to be sure that your average consumer can’t get a hold of a physical copy of the soundtrack. A limited edition CD was made available for pre-order months in advance of the film’s release. If you didn’t know about it, you were welcome to spend hundreds of dollars for it on the collector’s market.

    Merciful Disney has since decided to give everyone a second chance and make it available again as part of an expensive box set of all the Indiana Jones scores, duplicating the content of the previously-released soundtracks for all the other films. Thanks for nothing.

    Williams should have automatically won for just about every year from at least 1975 to 1982. Nevertheless, he has been the recipient of five Oscars, for “Fiddler on the Roof” (adaptation of the stage musical by Jerry Bock & Sheldon Harnick), “Jaws,” “Star Wars,” “E.T. The Extra-Terrestrial,” and “Schindler’s List.” The last bestowed was in 1994.

    It would be nice for him to get an honorary Oscar at some point – he’ll be 92 next month – but it wouldn’t be televised anyway, and Williams is doing just fine. Oscar needs John Williams more than John Williams needs him.

  • Alex North Remembered Williams Interview

    Alex North Remembered Williams Interview

    I posted earlier about film composer Alex North (“A Streetcar Named Desire,” “Death of a Salesman,” “Spartacus,” “Cleopatra,” “Who’s Afraid of Virginia Woolf?”) on his birthday. Now here’s a two-part interview about North with John Williams!

    Part 1 https://www.youtube.com/watch?v=iKq1c-wpVe4

    Part 2 https://www.youtube.com/watch?v=rYSmemYleEE

  • John Williams’ Grammy Noms & Disney’s Soundtrack Fail

    John Williams’ Grammy Noms & Disney’s Soundtrack Fail

    I’m probably the last person on the internet to congratulate John Williams for his latest Grammy nominations. It was announced on Friday that Williams received three nominations for the excellence of his work over the past year – in the categories of Best Score Soundtrack for “The Fabelmans” and Best Score Soundtrack and Best Instrumental Composition (“Helena’s Theme”) for “Indiana Jones and the Dial of Destiny.” Too bad the idiots at Disney only pressed something like three copies of the “Indiana Jones” CD (and that the movie was terrible).

    This brings Williams’ career total to 76 nominations. He’s won 25 times. Williams’ first Grammy nomination was for “Checkmate,” 61 years ago. He is the fifth most-nominated Grammy artist. But who would be interested in owning a new John Williams’ “Indiana Jones” soundtrack, right? Nice going, Disney.

    The Grammys ceremony will be held on February 4. Congratulations, John Williams!


    “Helena’s Theme”

    “The Fabelmans”

    “Checkmate”


    PHOTO: Williams at the 60th Grammy Awards, at which he was honored for “Escapades” for alto saxophone and orchestra (a concertino of sorts arranged from his score to “Catch Me If You Can) and a Trustees Award, for “individuals who, during their careers in music, have made significant contributions, other than performance, to the field of recording”

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