![]() How one man changed the landscape of film music ![]() He was asking us to think more deeply about what we were seeing and hearing. In looking to the music of the past, Williams was not having a lend of us. This is how the most popular culture of the 20th century gained its meaning: through evocation, reworking and memory. One might as well complain about how Star Wars borrows Flash Gordon’s opening crawl, or the plot of Kurosawa’s Hidden Fortress or that scene from John Ford’s The Searchers with the burning homestead. Williams was writing music for films that were also deliberate throwbacks. “Any fool can see that,” Brahms is meant to have said when asked about the similarities between his second symphony and Beethoven. The Extra Terrestrial – an abundant run by any standard.īut these “gotcha” comparisons are superficial, dull, and miss the point. ![]() This prolific era saw Williams write music for Jaws, Star Wars, Indiana Jones, Close Encounters of the Third Kind, Superman and E.T. If you were going to the movies between 19, every second year would have had a number one box office hit with music by Williams. On the numbers alone, Williams has had a career like no other. ![]() “John Williams has been the single most significant contributor to my success as a filmmaker,” said Spielberg in 2012. With his music for their movies, Williams revived the romantic orchestral sound of Hollywood’s Golden Age – the sound pioneered by composers Erich Wolfgang Korngold and Max Steiner at the dawn of the talkies – and reinvented it for a new era. John Williams, the man who changed the way we hear the movies, turns 90 today.Īs the key Hollywood composer during the blockbuster era of the 1970s and 1980s, Williams had an astronomical career alongside the likes of filmmakers Steven Spielberg and George Lucas. ![]()
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