John Williams

Yeah, and sophisticated. And sophisticated, yeah. It's a tough one because there's so much variation in the training of these directors and the taste that they develop or don't develop. And their educations are all at a different level and from different angles and so on. If you talk about a Bartok violin concerto or something, most of them will not know what that is. Right.

Yeah, and sophisticated. And sophisticated, yeah. It's a tough one because there's so much variation in the training of these directors and the taste that they develop or don't develop. And their educations are all at a different level and from different angles and so on. If you talk about a Bartok violin concerto or something, most of them will not know what that is. Right.

Yeah, and sophisticated. And sophisticated, yeah. It's a tough one because there's so much variation in the training of these directors and the taste that they develop or don't develop. And their educations are all at a different level and from different angles and so on. If you talk about a Bartok violin concerto or something, most of them will not know what that is. Right.

Most film directors will know, have some familiarity with film music. They will know Bernard Herrmann and they will know Miklas Roja and so on and so forth. But they won't know Ligeti or even less esoteric things than that.

Most film directors will know, have some familiarity with film music. They will know Bernard Herrmann and they will know Miklas Roja and so on and so forth. But they won't know Ligeti or even less esoteric things than that.

Most film directors will know, have some familiarity with film music. They will know Bernard Herrmann and they will know Miklas Roja and so on and so forth. But they won't know Ligeti or even less esoteric things than that.

I don't know if you all remember Martin Ritt, a director who was a theater director in New York, came out here like Kazan and did some wonderful films, was very suspicious of music in his film. He'd come from Broadway where we didn't have background music or rarely had it, and he wanted people to believe music. what they were seeing and what they were hearing was real.

I don't know if you all remember Martin Ritt, a director who was a theater director in New York, came out here like Kazan and did some wonderful films, was very suspicious of music in his film. He'd come from Broadway where we didn't have background music or rarely had it, and he wanted people to believe music. what they were seeing and what they were hearing was real.

I don't know if you all remember Martin Ritt, a director who was a theater director in New York, came out here like Kazan and did some wonderful films, was very suspicious of music in his film. He'd come from Broadway where we didn't have background music or rarely had it, and he wanted people to believe music. what they were seeing and what they were hearing was real.

And so you have put a symphony orchestra behind this dialogue scene and they say, a man like Martin who says, I can't believe that. I don't need to have that. I've created the scene. My actors have done the job. You don't need to help them. And that's the opposite of Stephen who can't seem to quite get enough music in his film. So different, good for me, by the way. Yeah, right, right, right.

And so you have put a symphony orchestra behind this dialogue scene and they say, a man like Martin who says, I can't believe that. I don't need to have that. I've created the scene. My actors have done the job. You don't need to help them. And that's the opposite of Stephen who can't seem to quite get enough music in his film. So different, good for me, by the way. Yeah, right, right, right.

And so you have put a symphony orchestra behind this dialogue scene and they say, a man like Martin who says, I can't believe that. I don't need to have that. I've created the scene. My actors have done the job. You don't need to help them. And that's the opposite of Stephen who can't seem to quite get enough music in his film. So different, good for me, by the way. Yeah, right, right, right.

He's a good partner for me.

He's a good partner for me.

He's a good partner for me.

No, there's such variation there. But I think what people truly recognize is that it's true what Bernard Harmon said. There's no such thing as a silent film. We go back when the silence – we had the silence. We had organ or we had an orchestra in the pit. We had somebody playing a violin, something. It would animate and – Music seems an inseparable part of filmmaking.

No, there's such variation there. But I think what people truly recognize is that it's true what Bernard Harmon said. There's no such thing as a silent film. We go back when the silence – we had the silence. We had organ or we had an orchestra in the pit. We had somebody playing a violin, something. It would animate and – Music seems an inseparable part of filmmaking.

No, there's such variation there. But I think what people truly recognize is that it's true what Bernard Harmon said. There's no such thing as a silent film. We go back when the silence – we had the silence. We had organ or we had an orchestra in the pit. We had somebody playing a violin, something. It would animate and – Music seems an inseparable part of filmmaking.

And whether it's contemporary electronic music or classical romantic music, we recognize the need of it. Actors will be sometimes very unhappy when you play too much music for them.

And whether it's contemporary electronic music or classical romantic music, we recognize the need of it. Actors will be sometimes very unhappy when you play too much music for them.