I still use a pencil and paper I don’t
have a computer always goes hey Oh like
I’ve been so busy fortunately ya do that
I haven’t been able to go back and
retool if I was stuttering losing the
ordinal computer Isis well life is a
great gift life itself it’s just that
we’re here we think and we could share
things joins the most important weather
and I were available better already
he’s an American composer conductor and
pianist with a career spanning over six
decades he’s composed some of the most
recognized and popular film scores in
cinematic history with 50 Academy Award
nominations he’s the second most
nominated person to Walt Disney he’s
John Williams and here’s my take on his
top ten rule success rule number ten is
my personal favorite and I’m curious to
figure out which one you guys like the
best and as always guys as you’re
watching the videos if you hear
something that really resonates with you
please leave it down the comments below
and put quotes around it so other people
can be inspired as well also as you are
writing something down it’s much more
likely to stick in your head to enjoy
[Music]
our first work that I did in the
Hollywood film studios was as a pianist
I Columbia Studios where they had a
contract orchestra there was an opening
position for piano which I auditioned
for and I was hired by the then music
director mara still while she was young
people not remember so that meant it
every day Monday through Friday four or
five days a week I sat in the orchestra
Columbia studios playing under mr. Louis
direction and watching in underscore
films that about westerns or
love stories or scary films or comedies
or whatever and had a first-hand view as
an orchestra member of how this process
of creating and fitting music to film
went and two or three years into my time
at the orchestra they are the same
gentleman I said would you would you
prepare the music for one theme for next
week’s recording so I did one theme for
next week’s recording and apparently
worked up well enough that he said we
will give you two scenes for us a little
short this week maybe three months later
so it was a very good series of steps or
increments if you like to say I
progressed from the piano bench of
sitting in the orchestra playing the
piano two young men sitting not far from
the music library writing the music for
next Tuesday’s recording and literally
our for many of us in this room and
watching movie wise you are the
soundtrack of our lives so much of your
stuff is obviously well known to your
point some stuff maybe not as well known
but how do you know is there something
inside of you how do you know when you
get it right what’s that do you know
when you get it right very very rarely
you hope that you’ve gotten 90% of it as
closely as you can but at least with me
and I think with most writers of any
kind usually don’t say Eureka is it yes
it’s working this come back the next
week and reshape it and do it like a
Scott you know keep people owning away
at it I’m not so brilliant that I can
sit down and write a melody or theme or
a whole scene or old work I suppose that
might have done we’re told you know –
get off like a letter and the grammar is
perfect
it’s writing there’s at least what is
always very very hard working for
Orchestra particularly because it’s so
it’s a labor-intensive thing I have to
be in a room alone all the time because
that’s the way that’s the life it is and
hard working is lonely work it’s hard
work it’s lonely work it’s
labor-intensive I still use a pencil and
paper I don’t have a computer in all
schools Oh
like I’ve been so busy fortunately yeah
you know that I haven’t been able to go
back and retool this I was studying
music Memorial Committee idea we didn’t
have it these films do present a wide
range of musical challenges we go to
great lengths to frighten the audience
and use sometimes advanced or special
technique atonal music which would be
more into contemporary concert music
Bartok and others and people say heard
music without the film might be shocked
by it but for me and for the orchestra
also it’s a pretty exciting challenge to
do to be still on the right pace with
what we see here feel the Star Wars
films
seven of them I don’t know how many
films I’ve done Travis maybe hundreds I
don’t know a lot of them not not very
memorable and so long as we all have
done it is probably the most popular
music that I’ve done and people asked
what your favorite school and this and
that and I’ve done concertos and
symphonies and other things that are
some good some not so good some are
played and many of rightfully forgotten
but I think hot and I think we’re all
the same in the sense in this sense that
you you look at look at your work or
listen to your work and it’s like
children you have three children you
love them and they’re beautiful but is
upset you wish this could be could have
been better in here and that get that
you know maybe as parents is what we
don’t want to reflect that to the
children but the sense is whatever we do
we can always it can always be better
always always be better I know what I
would say to young people is really what
I say to myself and if you can if you
can find the joy and use ik
and fine personal life is a great gift
life itself is just that we’re here and
we think and we could share things and
see what’s beautiful here what’s
beautiful music first among all of the
sounds we think some of us musicians do
and find the joy in music find the joy
in life find the joy in each other find
the joy in work and life becomes really
very very beautiful that way I think go
out and find the joy people who have
great ambitions I guess all of us to be
you know design a spaceship or to become
a president or a senator and the so much
disappointment we you know so few people
can never really achieve what their
dreams are I’m sometimes suspicious of
these great goals that we have in mind
for ourselves because we can get tripped
up and become disappointed and cynical
and depressed about it all few of us can
design spaceships or become presidents
or become Steven Spielberg may be better
to get outside of ourselves and confront
with with joy and pleasure and a sense
of opportunity every little simple task
forgiven rather than to try to do the
big task and to try to shoot a gone with
the wind
but but but through a postcard and then
grow from there even though our eye is
on the gone with the wind maybe where it
shouldn’t be maybe maybe that should be
something as a result of a path that
leads to a goal I remember the first
time when John called me up and he was
saying to me it’s hockey says I’m doing
this music score for a film called
Schindler’s List and I said that tell me
a little bit about it you know he and he
just gave me a little synopsis about it
and he says I hear a violin that’s what
I hear he says would you play that and I
said to myself well I don’t know let me
think about it I actually thought about
it instead of just saying yeah I’ll do
it you know it took me a few hours to to
realize you know what it was and that he
was talking about and then I always kind
of I said to myself
I wonder what he is going to do because
you know after all is it’s John Williams
who wrote each he wrote Star Wars you
know I mean that’s with and what would
he do with the Jewish theme and he was
quite amazing you know and then I looked
at the score and I played the music and
it was such an amazing experience and I
can tell you that wherever I go around
the world it doesn’t matter whether it’s
in the Far East or whether it’s in South
America or whether it’s in the United
States they asked me to play the same
from Schindler’s List that’s you know
that’s like the only piece and it’s and
everybody gets so engrossed in this in
this piece and it’s you know it’s a very
simple tune but John just did something
to it that gave it this feeling of an
emotional happening and and that’s
that’s more power to into the way
composes amazing ladies and gentlemen
the recipient of the 23rd AFI Life
Achievement Award
even fielder
how does he do it the truth is we’ll
we’ll never know but after making 27
films together across 43 years yeah I
wish I could at least try to explain
what he does and and it goes something
like this
first everybody except John makes the
movie thousands of people from all over
the world working together for months
sometimes for years and then finally we
show our work to John and in fact I
think that’s why it’s called a work
print and he doesn’t begin immediately
in fact one of the most important steps
in the process often goes unnoticed and
it’s called the spotting session and
it’s when we decide what scenes should
have music and what scenes should not
have music and it sounds simple but
great composers like John know that the
power of music also lies in the absence
of music so that would be step one now
look at a scene like this this is the
kind of shape our films are in when we
finally show it to John for the first
time
now John watches the movie and he goes
back to his house and he sits alone with
a yellow pad and a pencil and his 100
year old Steinway piano and he begins to
write the violins play these notes
exactly this time and exactly at this
tempo the flutes do this
the brass plays here then the percussion
comes in over there and some of these
orchestrations are as complex as debut
see and as accomplished as Stravinsky
but at last he has this gigantic
mathematical puzzle to an orchestra of
nearly 100 people and it is during this
arranged marriage of image and music
that audiences fall in love with these
movies now this footage nobody has ever
seen before this is from 1982 the
scoring session for ET and I’m behind
the camera a super8 camera doing my best
to capture John at work so here’s the
man behind the curtain
he’s scoring the scene where the mom
played by Dee Wallace first czt now this
is what I really want to show you with
ruff audio and bad focus because you
will hear and you will see the very
moment that John waives his baton and
creates movie magic
you
[Music]
[Music]
Oh
without John Williams bikes don’t really
fly nor do brooms and Quidditch matches
nor do men and red capes there is no
force dinosaurs do not walk the earth we
do not wonder we do not weep we do not
believe Jon you breathe belief into
every film we have made you take our
movies many of them about our most
impossible dreams and through your
musical genius you make them real and
everlasting for billions and billions of
people so it is my honor to be up here
tonight to say to you my lifelong friend
and my colleague congratulations out of
my great good fortunes is that work for
me is fun and it’s what I do every day I
write something every day whether it’s
good bad or indifferent just the habit
the practice of truth six and a half
days a week something goes on paper I
always tell young people they’re
starting up writing just either either
writing script or music slop it down I
just get every day and then you can all
go back and work on this book well I
usually play these things for him you
know on the piano and he has very good
reaction a very good very good sense of
what’s musically royal and he helps me a
lot to a lot of times I think I when I
you know this thing I was just playing
it used to finish
at the end of the unit I can see that it
needs another phrase other kind of
section and that’s what this thing but
maybe something like that yeah yeah go
ahead
keep it going that kind of thing that he
does you know with me I think he’s very
special as a filmmaker and also as a
person as an interesting person why he’s
an interesting film maker I think and
tremendous insight into into what makes
an entertaining film and tremendously
musical if you don’t mind my saying it
even musical in the sense of rhythm I
think Steven has a wonderful sense of
rhythm in this film and as a musician
it’s something that I appreciate every
film the action has a kind of tempo or
rhythm in it or doesn’t have it you know
and I look at the film I’m trying to
find out just exactly how fast is it or
how slow is it because the film is
telling me what the tempo is and with
Stevens film I find it all very
rhythmical and easy in what in a funny
way of saying it easier to score easier
for me to make music for than a lot of
other people’s films because the films
themselves have a singing musical
quality I particularly thing like et’s
fabulous for music because the picture
has phrases almost you know that’s
because it makes my movies with Johnny
in mind yeah Temple of Doom was exactly
what George wanted with Indiana Jones
you know you know court goes to hell and
and then returns to fight and loved
another day and Johnny thought and I
think he reacted appropriately
you know Tarkin strains with all the
coral the judge male chorus with all the
stuff happening inside the actual Temple
of Doom itself
they don’t
John did an amazing score and really
brought the movie up in my eyes and I
love this truck music I love the kind of
truck score when the elephant’s burg
cross for Lanka not an ocean some of the
most beautiful track be that I ever
heard
[Music]
[Music]
when they keep time for John to write
the music for it glass tree shade John
said you know this is a father-son story
so I’m going to write music that might
be more appropriate for a less
action-oriented
picture about a father and a son so he
did very intimate soul themes for the
indie father relationship
Oh No
Oh
[Music]
this for me is my favorite of all three
ways easily my favorite of all the one
was compressing a social network and our
blockers
relationship
good they’re at 36 wins little – new
satsang every 8th note
the option I have had a boy relationship
this years or 40 hours or against
artists working every night 97 direction
our breakfast you’re 40 and I’m sorry
there to worry about
you’re not John person in three months
ago he are they get a lot John is the
most uh important clever and might work
maybe look at a non-profit better I love
that intuition and I love make a
contribution for the right your heart a
a lot of contributions my other
collaborators are women over the single
without the credit although without them
you resulted to have the impact some of
those would have you back to have but
John said we had most considerable stack
because V means I have the great already
right that’s why it’s always with me
everybody knows from music one them in
you have a minor chord and a miniature
chord minor being sort of unhappy in the
mage of being happy and clear das veda
stew and you mayor members this one
that’s the sort of stately Imperial
ominous theme for a not very nice guy
done in all low brass and trombones and
tubas and so on very different from
those Luke Skywalker who is
which is all stunning up and positive
our heroes
the first little piece in this tweet is
called Hedwig flight and people who know
the book in the film will know that
Hedwig is that wonderfully beautiful
white owl so he had was needed some
music that was gossamer light and so I
thought Celeste which is the little
keyboard instruments like a mini piano
and each note on it you play it like a
piano but he snow is kind of like a bell
it has a pedal like a pound so you play
five quick notes and put the pedal down
you get this little blur it’s kind of
like a bird feather that this would flow
[Music]
Oh
reflection it seems musical themes that
that the wonderful opportunity of the
book in the film gave me to to write and
at the end of the sale I was able to put
several of these together in the kind of
not a suite exactly but an orchestrated
finale where all the themes from the
picture many of them have brought
together and the kind of medley at the
end of the film John you know he he
actually written to Raiders themes he
had written play that for me which I
freaked out over I loved it so much they
said and here’s another possible Raider
score Raiders main theme and he played
and and so he had had two choices and I
think my only input was say can’t you
use both and he did he made this ladder
the bridge and he made a former the main
thing that’s a perfect example the kind
of collaboration that these entities
done with his finger interesting about
that daunted occupant but on a very
simple little secrets of no but I spend
more time on those little bits of
musical grammar to get them just right
so that they seem inevitable seem like
they’ve always been neither so simple
and I don’t know how many permutations I
will go through with the six note motif
like that one note down long enough and
spend a lot of time on these little
simplicity’s which are often the hardest
things to capture I think for anybody
when if I played the music forming on
the piano he previewed the main jaws be
I expected here’s something kind of
weird and melodic you know kind of tonal
but
eerie and of another world almost a bit
like outer space inside you know inner
space under the water and when he played
me and said with two fingers on the
Lower Keys was I’m done tundra done then
done and and at first I began to laugh I
thought he was get a great sense of
humor and I was putting me on and he
said no that’s the theme the jaws and I
said played again he played it again and
he played it again and it suddenly
seemed right and John found a signature
for the entire movie one could alter the
speed of this us another one could be
knows no
any kind of alteration of speeds very
slow very fast and very soft very loud
there were opportunities in the movie to
advertise the shark with music and also
opportunities when we don’t have to
music in the oil into the sense of an
absence they sense the absence of The
Sharper they don’t hear the thump thump
because we’ve conditioned them to do
that but then you may go one step
further and we know now the shark really
is there but we have an advertiser with
music so that a comes out of silence now
because you’ve been conditioned to
having music every time you don’t and
the shark arrives it’s even more
terrifying it’s one of the beauties of
the film medium that it’s a combination
of the visual and situation this this
being the shark or the knifing scene
edge cut psycho combined with the milk
that combination of sound
image-forming a memory one of the last
pieces to come into place was the music
by composer John Williams Williams score
brought a soul to the movie and a
musical voice to Superman still today
the music remains ingrained in American
culture one of the great thrills is to
go in after you’ve cut the movie you
you’ve done all the work and you think
it’s working and suddenly you go into
the scoring stage and the composer
strikes up and it could be able to stop
and the movie comes alive one of the
essential things about the film to me
was the fact that it was fun and didn’t
take itself too seriously and the way
which it had directed it and
particularly a career and Marvel who
played the part that had almost kind of
theatrical camp if you like – it was it
didn’t take itself too seriously and if
one could strike a level of both Seether
and and sleight of hand and tie and
Sheik and in the creation of the themes
that it might be the right idea when
somebody that has the command musically
that he has gets with a hundred piece
Orchestra and starts to go it’s just so
thrilling I mean when you have a great
score for a movie it just brings
everything to life today we went into a
recording studio and we ran the opening
credits and as Superman came on the
screen I swear to god if you listen
carefully
it’s literally music speaks the word
[Music]
[Applause]
[Music]
I screwed up this case here because I
just ran out on a for healing genius
genius fantastic the authors are
employed them on everything but it was I
listen you can actually hear the music
say the word the hero theme which is
Superman himself which is made up with
several parts a kind of Stanford each
time he opens his his shirt you get the
sort of Shri Note Superman musical motif
that precedes the exposure of his shirt
so that he’s going through a revolving
door the music whatever the six or eight
seconds preceded that if we established
a kind of modus operandi that each time
he revealed the shirt there was this
musical balletic preparation thank you
guys so much for watching I made this
video because Nicholas Bennett asked me
to so if there’s a famous entrepreneur
that you want me to profile next leave
it down the comments below and I’ll see
what I can do I’d also love to know what
did John say that had the biggest impact
on you and why what are you going to
take from this video and immediately
apply to your life or to your business
leave it down the comments below and I’m
going to join in the discussion I also
want to give a quick shout at the shin I
do karate thank you so much for picking
up a cup of my book your one word I
really appreciate the support and that
YouTube video you made as well thank you
thank you thank you so much
[Music]
thank you guys again for watching I
believe in you I hope you continue to
believe in yourself and whatever your
one word is much loved I’ll see you soon
have a computer always goes hey Oh like
I’ve been so busy fortunately ya do that
I haven’t been able to go back and
retool if I was stuttering losing the
ordinal computer Isis well life is a
great gift life itself it’s just that
we’re here we think and we could share
things joins the most important weather
and I were available better already
he’s an American composer conductor and
pianist with a career spanning over six
decades he’s composed some of the most
recognized and popular film scores in
cinematic history with 50 Academy Award
nominations he’s the second most
nominated person to Walt Disney he’s
John Williams and here’s my take on his
top ten rule success rule number ten is
my personal favorite and I’m curious to
figure out which one you guys like the
best and as always guys as you’re
watching the videos if you hear
something that really resonates with you
please leave it down the comments below
and put quotes around it so other people
can be inspired as well also as you are
writing something down it’s much more
likely to stick in your head to enjoy
[Music]
our first work that I did in the
Hollywood film studios was as a pianist
I Columbia Studios where they had a
contract orchestra there was an opening
position for piano which I auditioned
for and I was hired by the then music
director mara still while she was young
people not remember so that meant it
every day Monday through Friday four or
five days a week I sat in the orchestra
Columbia studios playing under mr. Louis
direction and watching in underscore
films that about westerns or
love stories or scary films or comedies
or whatever and had a first-hand view as
an orchestra member of how this process
of creating and fitting music to film
went and two or three years into my time
at the orchestra they are the same
gentleman I said would you would you
prepare the music for one theme for next
week’s recording so I did one theme for
next week’s recording and apparently
worked up well enough that he said we
will give you two scenes for us a little
short this week maybe three months later
so it was a very good series of steps or
increments if you like to say I
progressed from the piano bench of
sitting in the orchestra playing the
piano two young men sitting not far from
the music library writing the music for
next Tuesday’s recording and literally
our for many of us in this room and
watching movie wise you are the
soundtrack of our lives so much of your
stuff is obviously well known to your
point some stuff maybe not as well known
but how do you know is there something
inside of you how do you know when you
get it right what’s that do you know
when you get it right very very rarely
you hope that you’ve gotten 90% of it as
closely as you can but at least with me
and I think with most writers of any
kind usually don’t say Eureka is it yes
it’s working this come back the next
week and reshape it and do it like a
Scott you know keep people owning away
at it I’m not so brilliant that I can
sit down and write a melody or theme or
a whole scene or old work I suppose that
might have done we’re told you know –
get off like a letter and the grammar is
perfect
it’s writing there’s at least what is
always very very hard working for
Orchestra particularly because it’s so
it’s a labor-intensive thing I have to
be in a room alone all the time because
that’s the way that’s the life it is and
hard working is lonely work it’s hard
work it’s lonely work it’s
labor-intensive I still use a pencil and
paper I don’t have a computer in all
schools Oh
like I’ve been so busy fortunately yeah
you know that I haven’t been able to go
back and retool this I was studying
music Memorial Committee idea we didn’t
have it these films do present a wide
range of musical challenges we go to
great lengths to frighten the audience
and use sometimes advanced or special
technique atonal music which would be
more into contemporary concert music
Bartok and others and people say heard
music without the film might be shocked
by it but for me and for the orchestra
also it’s a pretty exciting challenge to
do to be still on the right pace with
what we see here feel the Star Wars
films
seven of them I don’t know how many
films I’ve done Travis maybe hundreds I
don’t know a lot of them not not very
memorable and so long as we all have
done it is probably the most popular
music that I’ve done and people asked
what your favorite school and this and
that and I’ve done concertos and
symphonies and other things that are
some good some not so good some are
played and many of rightfully forgotten
but I think hot and I think we’re all
the same in the sense in this sense that
you you look at look at your work or
listen to your work and it’s like
children you have three children you
love them and they’re beautiful but is
upset you wish this could be could have
been better in here and that get that
you know maybe as parents is what we
don’t want to reflect that to the
children but the sense is whatever we do
we can always it can always be better
always always be better I know what I
would say to young people is really what
I say to myself and if you can if you
can find the joy and use ik
and fine personal life is a great gift
life itself is just that we’re here and
we think and we could share things and
see what’s beautiful here what’s
beautiful music first among all of the
sounds we think some of us musicians do
and find the joy in music find the joy
in life find the joy in each other find
the joy in work and life becomes really
very very beautiful that way I think go
out and find the joy people who have
great ambitions I guess all of us to be
you know design a spaceship or to become
a president or a senator and the so much
disappointment we you know so few people
can never really achieve what their
dreams are I’m sometimes suspicious of
these great goals that we have in mind
for ourselves because we can get tripped
up and become disappointed and cynical
and depressed about it all few of us can
design spaceships or become presidents
or become Steven Spielberg may be better
to get outside of ourselves and confront
with with joy and pleasure and a sense
of opportunity every little simple task
forgiven rather than to try to do the
big task and to try to shoot a gone with
the wind
but but but through a postcard and then
grow from there even though our eye is
on the gone with the wind maybe where it
shouldn’t be maybe maybe that should be
something as a result of a path that
leads to a goal I remember the first
time when John called me up and he was
saying to me it’s hockey says I’m doing
this music score for a film called
Schindler’s List and I said that tell me
a little bit about it you know he and he
just gave me a little synopsis about it
and he says I hear a violin that’s what
I hear he says would you play that and I
said to myself well I don’t know let me
think about it I actually thought about
it instead of just saying yeah I’ll do
it you know it took me a few hours to to
realize you know what it was and that he
was talking about and then I always kind
of I said to myself
I wonder what he is going to do because
you know after all is it’s John Williams
who wrote each he wrote Star Wars you
know I mean that’s with and what would
he do with the Jewish theme and he was
quite amazing you know and then I looked
at the score and I played the music and
it was such an amazing experience and I
can tell you that wherever I go around
the world it doesn’t matter whether it’s
in the Far East or whether it’s in South
America or whether it’s in the United
States they asked me to play the same
from Schindler’s List that’s you know
that’s like the only piece and it’s and
everybody gets so engrossed in this in
this piece and it’s you know it’s a very
simple tune but John just did something
to it that gave it this feeling of an
emotional happening and and that’s
that’s more power to into the way
composes amazing ladies and gentlemen
the recipient of the 23rd AFI Life
Achievement Award
even fielder
how does he do it the truth is we’ll
we’ll never know but after making 27
films together across 43 years yeah I
wish I could at least try to explain
what he does and and it goes something
like this
first everybody except John makes the
movie thousands of people from all over
the world working together for months
sometimes for years and then finally we
show our work to John and in fact I
think that’s why it’s called a work
print and he doesn’t begin immediately
in fact one of the most important steps
in the process often goes unnoticed and
it’s called the spotting session and
it’s when we decide what scenes should
have music and what scenes should not
have music and it sounds simple but
great composers like John know that the
power of music also lies in the absence
of music so that would be step one now
look at a scene like this this is the
kind of shape our films are in when we
finally show it to John for the first
time
now John watches the movie and he goes
back to his house and he sits alone with
a yellow pad and a pencil and his 100
year old Steinway piano and he begins to
write the violins play these notes
exactly this time and exactly at this
tempo the flutes do this
the brass plays here then the percussion
comes in over there and some of these
orchestrations are as complex as debut
see and as accomplished as Stravinsky
but at last he has this gigantic
mathematical puzzle to an orchestra of
nearly 100 people and it is during this
arranged marriage of image and music
that audiences fall in love with these
movies now this footage nobody has ever
seen before this is from 1982 the
scoring session for ET and I’m behind
the camera a super8 camera doing my best
to capture John at work so here’s the
man behind the curtain
he’s scoring the scene where the mom
played by Dee Wallace first czt now this
is what I really want to show you with
ruff audio and bad focus because you
will hear and you will see the very
moment that John waives his baton and
creates movie magic
you
[Music]
[Music]
Oh
without John Williams bikes don’t really
fly nor do brooms and Quidditch matches
nor do men and red capes there is no
force dinosaurs do not walk the earth we
do not wonder we do not weep we do not
believe Jon you breathe belief into
every film we have made you take our
movies many of them about our most
impossible dreams and through your
musical genius you make them real and
everlasting for billions and billions of
people so it is my honor to be up here
tonight to say to you my lifelong friend
and my colleague congratulations out of
my great good fortunes is that work for
me is fun and it’s what I do every day I
write something every day whether it’s
good bad or indifferent just the habit
the practice of truth six and a half
days a week something goes on paper I
always tell young people they’re
starting up writing just either either
writing script or music slop it down I
just get every day and then you can all
go back and work on this book well I
usually play these things for him you
know on the piano and he has very good
reaction a very good very good sense of
what’s musically royal and he helps me a
lot to a lot of times I think I when I
you know this thing I was just playing
it used to finish
at the end of the unit I can see that it
needs another phrase other kind of
section and that’s what this thing but
maybe something like that yeah yeah go
ahead
keep it going that kind of thing that he
does you know with me I think he’s very
special as a filmmaker and also as a
person as an interesting person why he’s
an interesting film maker I think and
tremendous insight into into what makes
an entertaining film and tremendously
musical if you don’t mind my saying it
even musical in the sense of rhythm I
think Steven has a wonderful sense of
rhythm in this film and as a musician
it’s something that I appreciate every
film the action has a kind of tempo or
rhythm in it or doesn’t have it you know
and I look at the film I’m trying to
find out just exactly how fast is it or
how slow is it because the film is
telling me what the tempo is and with
Stevens film I find it all very
rhythmical and easy in what in a funny
way of saying it easier to score easier
for me to make music for than a lot of
other people’s films because the films
themselves have a singing musical
quality I particularly thing like et’s
fabulous for music because the picture
has phrases almost you know that’s
because it makes my movies with Johnny
in mind yeah Temple of Doom was exactly
what George wanted with Indiana Jones
you know you know court goes to hell and
and then returns to fight and loved
another day and Johnny thought and I
think he reacted appropriately
you know Tarkin strains with all the
coral the judge male chorus with all the
stuff happening inside the actual Temple
of Doom itself
they don’t
John did an amazing score and really
brought the movie up in my eyes and I
love this truck music I love the kind of
truck score when the elephant’s burg
cross for Lanka not an ocean some of the
most beautiful track be that I ever
heard
[Music]
[Music]
when they keep time for John to write
the music for it glass tree shade John
said you know this is a father-son story
so I’m going to write music that might
be more appropriate for a less
action-oriented
picture about a father and a son so he
did very intimate soul themes for the
indie father relationship
Oh No
Oh
[Music]
this for me is my favorite of all three
ways easily my favorite of all the one
was compressing a social network and our
blockers
relationship
good they’re at 36 wins little – new
satsang every 8th note
the option I have had a boy relationship
this years or 40 hours or against
artists working every night 97 direction
our breakfast you’re 40 and I’m sorry
there to worry about
you’re not John person in three months
ago he are they get a lot John is the
most uh important clever and might work
maybe look at a non-profit better I love
that intuition and I love make a
contribution for the right your heart a
a lot of contributions my other
collaborators are women over the single
without the credit although without them
you resulted to have the impact some of
those would have you back to have but
John said we had most considerable stack
because V means I have the great already
right that’s why it’s always with me
everybody knows from music one them in
you have a minor chord and a miniature
chord minor being sort of unhappy in the
mage of being happy and clear das veda
stew and you mayor members this one
that’s the sort of stately Imperial
ominous theme for a not very nice guy
done in all low brass and trombones and
tubas and so on very different from
those Luke Skywalker who is
which is all stunning up and positive
our heroes
the first little piece in this tweet is
called Hedwig flight and people who know
the book in the film will know that
Hedwig is that wonderfully beautiful
white owl so he had was needed some
music that was gossamer light and so I
thought Celeste which is the little
keyboard instruments like a mini piano
and each note on it you play it like a
piano but he snow is kind of like a bell
it has a pedal like a pound so you play
five quick notes and put the pedal down
you get this little blur it’s kind of
like a bird feather that this would flow
[Music]
Oh
reflection it seems musical themes that
that the wonderful opportunity of the
book in the film gave me to to write and
at the end of the sale I was able to put
several of these together in the kind of
not a suite exactly but an orchestrated
finale where all the themes from the
picture many of them have brought
together and the kind of medley at the
end of the film John you know he he
actually written to Raiders themes he
had written play that for me which I
freaked out over I loved it so much they
said and here’s another possible Raider
score Raiders main theme and he played
and and so he had had two choices and I
think my only input was say can’t you
use both and he did he made this ladder
the bridge and he made a former the main
thing that’s a perfect example the kind
of collaboration that these entities
done with his finger interesting about
that daunted occupant but on a very
simple little secrets of no but I spend
more time on those little bits of
musical grammar to get them just right
so that they seem inevitable seem like
they’ve always been neither so simple
and I don’t know how many permutations I
will go through with the six note motif
like that one note down long enough and
spend a lot of time on these little
simplicity’s which are often the hardest
things to capture I think for anybody
when if I played the music forming on
the piano he previewed the main jaws be
I expected here’s something kind of
weird and melodic you know kind of tonal
but
eerie and of another world almost a bit
like outer space inside you know inner
space under the water and when he played
me and said with two fingers on the
Lower Keys was I’m done tundra done then
done and and at first I began to laugh I
thought he was get a great sense of
humor and I was putting me on and he
said no that’s the theme the jaws and I
said played again he played it again and
he played it again and it suddenly
seemed right and John found a signature
for the entire movie one could alter the
speed of this us another one could be
knows no
any kind of alteration of speeds very
slow very fast and very soft very loud
there were opportunities in the movie to
advertise the shark with music and also
opportunities when we don’t have to
music in the oil into the sense of an
absence they sense the absence of The
Sharper they don’t hear the thump thump
because we’ve conditioned them to do
that but then you may go one step
further and we know now the shark really
is there but we have an advertiser with
music so that a comes out of silence now
because you’ve been conditioned to
having music every time you don’t and
the shark arrives it’s even more
terrifying it’s one of the beauties of
the film medium that it’s a combination
of the visual and situation this this
being the shark or the knifing scene
edge cut psycho combined with the milk
that combination of sound
image-forming a memory one of the last
pieces to come into place was the music
by composer John Williams Williams score
brought a soul to the movie and a
musical voice to Superman still today
the music remains ingrained in American
culture one of the great thrills is to
go in after you’ve cut the movie you
you’ve done all the work and you think
it’s working and suddenly you go into
the scoring stage and the composer
strikes up and it could be able to stop
and the movie comes alive one of the
essential things about the film to me
was the fact that it was fun and didn’t
take itself too seriously and the way
which it had directed it and
particularly a career and Marvel who
played the part that had almost kind of
theatrical camp if you like – it was it
didn’t take itself too seriously and if
one could strike a level of both Seether
and and sleight of hand and tie and
Sheik and in the creation of the themes
that it might be the right idea when
somebody that has the command musically
that he has gets with a hundred piece
Orchestra and starts to go it’s just so
thrilling I mean when you have a great
score for a movie it just brings
everything to life today we went into a
recording studio and we ran the opening
credits and as Superman came on the
screen I swear to god if you listen
carefully
it’s literally music speaks the word
[Music]
[Applause]
[Music]
I screwed up this case here because I
just ran out on a for healing genius
genius fantastic the authors are
employed them on everything but it was I
listen you can actually hear the music
say the word the hero theme which is
Superman himself which is made up with
several parts a kind of Stanford each
time he opens his his shirt you get the
sort of Shri Note Superman musical motif
that precedes the exposure of his shirt
so that he’s going through a revolving
door the music whatever the six or eight
seconds preceded that if we established
a kind of modus operandi that each time
he revealed the shirt there was this
musical balletic preparation thank you
guys so much for watching I made this
video because Nicholas Bennett asked me
to so if there’s a famous entrepreneur
that you want me to profile next leave
it down the comments below and I’ll see
what I can do I’d also love to know what
did John say that had the biggest impact
on you and why what are you going to
take from this video and immediately
apply to your life or to your business
leave it down the comments below and I’m
going to join in the discussion I also
want to give a quick shout at the shin I
do karate thank you so much for picking
up a cup of my book your one word I
really appreciate the support and that
YouTube video you made as well thank you
thank you thank you so much
[Music]
thank you guys again for watching I
believe in you I hope you continue to
believe in yourself and whatever your
one word is much loved I’ll see you soon
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