Music was a central part of the plot of 1977’s Close Encounters of the Third Kind, with its five-note signature tune - arrived at after 100 permutations were considered - representing a means of communication between humans and aliens. I thought you were pulling my leg.” But Williams had hit on something: “You could play it very softly or very quickly, or soft or loud, so you could kind of manipulate an audience,” he explained. Of Williams’ simple but haunting score for that thriller, Spielberg admitted to Williams, “I was scared when you first played it for me on the piano. They began on that film in 1972 - it was released in 1974, and then a year later came Jaws, the first of their truly immortal collaborations.
When they first sat down together, Spielberg - a student of film history and film music whose late mother, Leah, was a classical pianist - “seemed to know more about film music than I did,” Williams realized, so Williams agreed to work with him on Sugarland Express. Spielberg was aware of Williams’ work before they met, having worn out his copy of the vinyl soundtrack for The Reivers, a 1969 film that Williams had scored. It’s mainly intuitive.” Spielberg paid tribute Williams’ contributions by stating, “I tell a story, and then John retells the story musically.” It’s unknowable.” As for how he determines if a film scene does or does not require musical accompaniment? “In the end, the film tells us, if we pay attention enough. “It is a very important thing in all of us - when we’re grieving, when we’re happy. “Music is probably older than language,” Williams asserted. Spielberg, who was visibly taken aback at Williams’ change of plans, cracked, “I’d better get to work to find out what the hell I’m doing next!”īetween carefully curated clips from some of the 29 films they have teamed up for, Spielberg and Williams discussed how they met (a Universal executive suggested that Spielberg, a young director in need of a composer, and Williams, an up-and-coming composer, meet for lunch), how they work together (Williams rarely accepts Spielberg’s offer to read a script prior to production, opting instead to wait until it’s done, at which point, Spielberg says, “John sees the movie, then we sit down the next day, and we just start discussing where there should or should not be music”) and they spoke about the role that music plays in the movies, generally, and in their movies, specifically. Tony Nominations: Oscar Isaac, Danielle Brooks, 'Ain't No Mo,' '1776' Among Snubs and Surprises
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