John Williams

So I think technology has affected the performance aspect of film, making it very easy to sort of mock up something that is beyond most people's ability to do.

So I think technology has affected the performance aspect of film, making it very easy to sort of mock up something that is beyond most people's ability to do.

Yeah, is there a temp? It's good if possible not to even read a script or see anything until the thing has been edited when we can form first impressions that will lead us in our work more effectively than almost anything else. You read a book, you cast it, you develop the... the atmospheres and so on, and you can be very disappointed if you see a director's impression of what that would be.

Yeah, is there a temp? It's good if possible not to even read a script or see anything until the thing has been edited when we can form first impressions that will lead us in our work more effectively than almost anything else. You read a book, you cast it, you develop the... the atmospheres and so on, and you can be very disappointed if you see a director's impression of what that would be.

Yeah, is there a temp? It's good if possible not to even read a script or see anything until the thing has been edited when we can form first impressions that will lead us in our work more effectively than almost anything else. You read a book, you cast it, you develop the... the atmospheres and so on, and you can be very disappointed if you see a director's impression of what that would be.

Or delighted and surprised also. It's not always possible. We have to discuss certain things with the directors maybe before it's been finished. Your second question about, maybe I can call it thematic inspiration, if you like. That is not something I just pick up immediately when I see the film.

Or delighted and surprised also. It's not always possible. We have to discuss certain things with the directors maybe before it's been finished. Your second question about, maybe I can call it thematic inspiration, if you like. That is not something I just pick up immediately when I see the film.

Or delighted and surprised also. It's not always possible. We have to discuss certain things with the directors maybe before it's been finished. Your second question about, maybe I can call it thematic inspiration, if you like. That is not something I just pick up immediately when I see the film.

In my case, it's going back to the piano, working a theme or two or three, manipulating them into something that seems inevitable, like it's been there always.

In my case, it's going back to the piano, working a theme or two or three, manipulating them into something that seems inevitable, like it's been there always.

In my case, it's going back to the piano, working a theme or two or three, manipulating them into something that seems inevitable, like it's been there always.

And that's the hardest part, I think, of the work, The simplest thing is the hardest thing, you know?

And that's the hardest part, I think, of the work, The simplest thing is the hardest thing, you know?

And that's the hardest part, I think, of the work, The simplest thing is the hardest thing, you know?

Well, it is true. I wondered what to do about the shark. But he came in and I played boom, boom, boom, boom, boom, boom, boom, boom. It was a D, the third note, if you remember. Oh, right, bum, bum, bum, bum, bum, bum, right. Yeah, yeah. Right. And he looked at me and said, really? You think that could work? I thought maybe I had lost my mind.

Well, it is true. I wondered what to do about the shark. But he came in and I played boom, boom, boom, boom, boom, boom, boom, boom. It was a D, the third note, if you remember. Oh, right, bum, bum, bum, bum, bum, bum, right. Yeah, yeah. Right. And he looked at me and said, really? You think that could work? I thought maybe I had lost my mind.

Well, it is true. I wondered what to do about the shark. But he came in and I played boom, boom, boom, boom, boom, boom, boom, boom. It was a D, the third note, if you remember. Oh, right, bum, bum, bum, bum, bum, bum, right. Yeah, yeah. Right. And he looked at me and said, really? You think that could work? I thought maybe I had lost my mind.

And I don't really remember the conversation, but it must have been something like, well, Stephen, I think when the cellos and basses and the orchestra would do it, it could be very ominous. And what is good about it is that it can be very slow. It can speed up as the shark is approaching or the red herring is approaching. Right, right. And the orchestra can join.

And I don't really remember the conversation, but it must have been something like, well, Stephen, I think when the cellos and basses and the orchestra would do it, it could be very ominous. And what is good about it is that it can be very slow. It can speed up as the shark is approaching or the red herring is approaching. Right, right. And the orchestra can join.

And I don't really remember the conversation, but it must have been something like, well, Stephen, I think when the cellos and basses and the orchestra would do it, it could be very ominous. And what is good about it is that it can be very slow. It can speed up as the shark is approaching or the red herring is approaching. Right, right. And the orchestra can join.