John Williams

Me too.

I think the script asked for five notes, I believe. And my first sort of attempts at that, I kept saying to Stephen, it's much easier to do seven. But seven, five is like a doorbell. It's like a signal.

I think the script asked for five notes, I believe. And my first sort of attempts at that, I kept saying to Stephen, it's much easier to do seven. But seven, five is like a doorbell. It's like a signal.

I think the script asked for five notes, I believe. And my first sort of attempts at that, I kept saying to Stephen, it's much easier to do seven. But seven, five is like a doorbell. It's like a signal.

Where seven notes, you just get over that thump, and now you've got, when you wish upon a star, if you like, I don't know how many notes that is in the phrase, but it becomes a melody rather than a signal.

Where seven notes, you just get over that thump, and now you've got, when you wish upon a star, if you like, I don't know how many notes that is in the phrase, but it becomes a melody rather than a signal.

Where seven notes, you just get over that thump, and now you've got, when you wish upon a star, if you like, I don't know how many notes that is in the phrase, but it becomes a melody rather than a signal.

That was the response, yeah. Oh, that was such a language. So then... Then I took some paper, I still have the papers, and I think I wrote about, I don't know, a hundred or more five-note motifs in any intervallic relationship up-down, so to speak, and no consideration of length of the notes. It isn't... It doesn't do that. And I kept playing them for Stephen.

That was the response, yeah. Oh, that was such a language. So then... Then I took some paper, I still have the papers, and I think I wrote about, I don't know, a hundred or more five-note motifs in any intervallic relationship up-down, so to speak, and no consideration of length of the notes. It isn't... It doesn't do that. And I kept playing them for Stephen.

That was the response, yeah. Oh, that was such a language. So then... Then I took some paper, I still have the papers, and I think I wrote about, I don't know, a hundred or more five-note motifs in any intervallic relationship up-down, so to speak, and no consideration of length of the notes. It isn't... It doesn't do that. And I kept playing them for Stephen.

He'd come over to my piano and we'd go through these things. And we both kept circling this one without deciding. And finally one day in frustration, we weren't getting anywhere, and he said or I said, let's just use this one. It seems fine. Yeah, fine.

He'd come over to my piano and we'd go through these things. And we both kept circling this one without deciding. And finally one day in frustration, we weren't getting anywhere, and he said or I said, let's just use this one. It seems fine. Yeah, fine.

He'd come over to my piano and we'd go through these things. And we both kept circling this one without deciding. And finally one day in frustration, we weren't getting anywhere, and he said or I said, let's just use this one. It seems fine. Yeah, fine.

That's right. Wow. That's true. Well, there's a lot of the conversation that we now know back and forth between this computer, Truffaut and his group, and the ship's answers was much more elaborate with color and lights. Stephen eventually correctly cut it down a little bit so it was more manageable. But it's a wonderful idea.

That's right. Wow. That's true. Well, there's a lot of the conversation that we now know back and forth between this computer, Truffaut and his group, and the ship's answers was much more elaborate with color and lights. Stephen eventually correctly cut it down a little bit so it was more manageable. But it's a wonderful idea.

That's right. Wow. That's true. Well, there's a lot of the conversation that we now know back and forth between this computer, Truffaut and his group, and the ship's answers was much more elaborate with color and lights. Stephen eventually correctly cut it down a little bit so it was more manageable. But it's a wonderful idea.

I mean, there are... Like Kodály was a Hungarian composer with this idea of hand signals that's almost like deaf people would hear notes. And Scriabin, a Russian composer, who was obsessed with the idea of color and red is a certain kind of note or a certain texture and so on. So a lot of work had been done. And, you know, not really very scientific work at all, but...

I mean, there are... Like Kodály was a Hungarian composer with this idea of hand signals that's almost like deaf people would hear notes. And Scriabin, a Russian composer, who was obsessed with the idea of color and red is a certain kind of note or a certain texture and so on. So a lot of work had been done. And, you know, not really very scientific work at all, but...

I mean, there are... Like Kodály was a Hungarian composer with this idea of hand signals that's almost like deaf people would hear notes. And Scriabin, a Russian composer, who was obsessed with the idea of color and red is a certain kind of note or a certain texture and so on. So a lot of work had been done. And, you know, not really very scientific work at all, but...

It's just incredible. It was all written out. I have a saw and then put into a computer to produce it.