MONDAY

• Home
• Video
• Podcasts/RSS 
• Local Showtimes
• Past Shows
• Blogs
• About the Show
• Tell Tavis
• Features
• Mobile

RELATED LINKS

• Mr. Williams' official site
• Filmtracks' tribute to Mr. Williams
• Article on Mr. Williams

E-mail a friend

Tavis: I am honored to welcome the legendary composer and conductor John Williams to this program. He is, of course, responsible for some of the most indelible musical moments in Hollywood history. Music from movies like "Jaws," 'E.T.,' 'Star Wars,' 'Indiana Jones.' The list goes on and on and on.

Two more Oscar nominations this year, which means he has now received a staggering, get this, 45 nominations. More than any other living person. From one of his most recent Oscar-nominated films, here now a scene from "Memoirs of A Geisha."

[A film clip is shown]

Tavis: Mr. Williams, it is an honor to meet you.

John Williams: Thank you, Tavis.

Tavis: I'm glad to have you on this program.

Williams: Honor to meet you.

Tavis: So Walt Disney, as we all know, is now deceased. But at his death, he had 59 nominations. So you, with 45, have more nominations than any living person for your work. How does that make you feel, man? (laugh)

Williams: Well, it's amazing. I don't know how anyone can get that old without looking. But I guess when you are paying attention to what you're doing, the years slip by, as they do with all of us. And the number added up to an amazing total. But 59, I don't think I'll make that. But I'll keep at it, if I can.

Tavis: I don't know, every year you seem to come out of nowhere with these things. And two nominations this year. I guess I'm trying to recall from my research, is this the first time you've been nominated for two in the same year?

Williams: No, I have had two before

Tavis: Yeah, two before, okay.

Williams: One year comes to mind quickly with me, and that was the year I did "Star Wars." And I also did "Close Encounters of The Third Kind" that year. So that's way back. So, but it has happened to me a couple of times. And it's thrilling. The first time is great. But every time seems the first time, since we live in the present and not what we've done years ago. It's a big kick to be here, and be with you, and be talking about this.

Tavis: Well, I'm glad you said that, 'cause I was just about to ask whether or not you ever get jaded. Not that I expect you to admit that on national television. (laugh) But after 45 nominations, does it still have a kick for you?

Williams: It does have a kick. It does feel like the first time every time. It's nice that people are paying attention, and that at some level, we've earned their attention and some little level of appreciation. No, it's great.

Tavis: What is that? Here's a strange and stupid question, but what is that John Williams thing? And I ask that because obviously you're talented and you're gifted and you're good at what you do, great at what you do. But there is something that apparently you are doing, some style that you've created that works. Because every time you do something, it meets with a rave review, you get Oscar nominated. So what is that John Williams thing?

Williams: I wish I knew if there is such a thing, Tavis. I really don't know. Sometimes when things work, it's a miracle. You write something and it may be better than you think it was or is. And it connects with people. And if that happens, I guess, it's a mysterious thing, and a fortunate thing, I think. One thing (unintelligible) to say to you is that I've been very lucky with collaborations.

Steven Spielberg, for example. Writing the music for "Jaws." Well, if the bass figure for "Jaws" had been written for a piece about birds, maybe nobody, perhaps, would know what (unintelligible).

Tavis: Yeah. (laugh)

Williams: Great big bird. So, yeah, the collaborations, the good fortune to be with those people at that time. When the music is working and the film is working and things are coming together, yeah. And if you could conjure that every day, I would do it every day. We can't. There are other forces working that contribute to all of it that are difficult to analyze. So I have to say I've been lucky, and I feel that way. I feel lucky.

Tavis: So forgive me, I went into acting like a child, 'cause I could hear that "Jaws" theme in my head. (makesnoise) When you're talking about your work with Spielberg. So take me back to that moment. What was it about that sound, about that bassline, that worked for that film? You find stuff that works. What was it about that?

Williams: In those days when Steven made "Jaws," we didn't have computers. And the shark was just a plastic dummy that sort of moved around in the water, where he could photograph it. And the music needed to say something that was ominous and threatening and unstoppable. This thing's coming at you, and you can't stop it, and it's getting louder and faster.

Simple, just a primeval force which the animal had. And somehow, the suggestion of those low bass and cello notes in the orchestra, just repeating those two notes with an occasional third one thrown in, seemed mindless and unstoppable, as the shark would be when he's attacking his prey. It seemed like a good idea.

When it worked, when we made the film, I had no idea, certainly, that people would retain it in their minds. Now when I play it in concerts, I play the opening note, (makesnoise) and people laugh. They giggle.

Tavis: Yeah, they know. (laugh)

Williams: And the same way if you play "Psycho," which is one note, high, shrieking.

Tavis: Yeah, absolutely.

Williams: I don't know what that is. It would take a psychologist to explain to us what that turning around of emotion has been over the years. But it's interesting that it started out to be frightening thing, and now to repeat, when you do it in a concert, it's kind of fun and people giggle about it.

Tavis: You mentioned Spielberg. So what is this love affair the two of you have? You have scored every film that Spielberg has ever done, except for "The Color Purple," done by our friend, Quincy Jones. So the Q did 'The Color Purple,' but every other film that Spielberg has done, the two of you guys have worked together.

Williams: We met in 1973, which is a long time ago now. It's like over 30 years. And it's just a great relationship. It's probably like a good marriage would be, in the sense that collaboration like that, when you get together on a new project, it's not like a first date where you gotta learn each other's history and go through all the thing of become acquainted.

We know each other. There's a shorthand that's already operating the minute that we begin to sit down and work together. That's one thing. And the other thing is that Steven Spielberg is a lovely guy who's, among other, has so many wonderful qualities. First among them, I think, is the loyalty to friends and coworkers that he works with.

Michael Kahn, our editor, has been with him for years. So I would suggest people working in collaborative media would benefit if they can form good relationships with people and work together over a period of years. I think it's helpful creatively.

Tavis: So what's your process? So Mr. Spielberg calls you and says, John, got an idea.

Williams: Yeah, well, usually what I like to do, Tavis, with Steven and others, is see the film in pretty much a finished state. Because if I read a script, I preconceive what I'm going to see. And very often, it's like reading a novel. And you read the novel, close it, and then look at someone's realization of it, it doesn't comport with your own.

Tavis: Mm hmm, doesn't match it yeah.

Williams: Your own pictures of it. So if I can walk into a darkened projection room and look at a film and not know what's coming, I don't know when the surprise is coming, I don't know when it's gonna slow down or accelerate and speed up, those first impressions that I get from watching the film are the things that guide me when I write the music.

I remember that I was surprised at that moment, or I think the film is slowing down, so maybe I can accelerate the music and increase the tension from here to here.

Tavis: So you watch the film with the director one time, and then you go off and work.

Williams: Right.

Tavis: Wow.

Williams: And break it down, take one scene out of the dozens that will have music, and analyze it, and work out a kind of silhouette for it. Which is to say, within that scene, when it's going to be loud, and when it's going to get quicker, and when it's going to slow up to create an expectancy. And then lunge forward, if it's an action thing. And this way. So it's interesting and it may be the greatest job in the world for a musician. Maybe second to your job, I don't know how you feel about it.

Tavis: Yeah, yeah, I don't know about that. Speaking of having a great job, though, let me ask you whether or not your classical friends ever say to you, John, let that Hollywood stuff alone. Why don't you just spend your time writing some good classical music? Come on, man.

Williams: Some do. My friend Andre Previn, who's been a pal since teenage years, has often chided me about why you do so much Hollywood work? And (unintelligible) doing some concert work, which I do. I wouldn't be able to attempt to evaluate one against the other. I leave that to other people to do.

The only thing that I would say about the film thing is with music, that you can reach millions, maybe even billions of people with music in film.

That's not possible if you conduct concerts for 2,500 people, or even 10,000. So the opportunity for all musicians, I think, to find a broad audience is a big one in the area of film.

Tavis: And of course, you did do those years with that group called the Boston Pops. So you spent a little time doing it.

Williams: Right. Many years with the Boston Pops as their conductor, and I still go back and conduct them every year, and love the orchestra, and have, yeah, it's been marvelous. And the opportunity in films also, just to mention the recent one you and I were talking about earlier, "Geisha," to work with Yo Yo Ma.

Tavis: Not bad company. (laugh)

Williams: No. And we had Itzhak Perlman playing the violin. And this was a Japanese story. And we had a Chinese-American cellist, and a Russian-Israeli-American violinist, and an American composer, and wonderful Japanese musicians. So it was a wonderful mix of musical talents working on the soundtrack.

Tavis: You mentioned a couple of big names. I've got 45 seconds left, and I cannot end this conversation without asking you, speaking of big names, about one of my favorite performers of all time. I was not around when she was singing, but I have everything she's ever done. Did I read that you did some work for, with, Mahalia Jackson?

Williams: Yes, you did. At Columbia Records, in I think the early 1960s, I did three or four LPs as music director with Mahalia. Mildred Falls was her famous pianist. Some people watching would remember Mildred, who always played for her. And Mahalia usually would bring in a church group of about 12 people to sing.

So it was Mahalia, her group of singers, and Mildred. And I had Columbia Orchestra, Columbia Records, just right down here, right on Sunset Boulevard, of however many players we had. And arranged orchestra and music for her, and conducted it for her. Is that amazing?

Tavis: That's why I had to ask about it.

Williams: I was 12 years old. (laugh)

Tavis: I had to ask about Mahalia Jackson, gospel great, Dr. King's favorite gospel singer of all time. John Williams, the greatest of all time, glad to have you here.

Williams: Thank you. It was great to be here.

Tavis: And all the best on the nominations.

Williams: Thank you.

Tavis: Not that you need it, but good luck anyway.

Williams: Thanks a lot.

Tavis: That's our show for tonight. You can catch me on the weekends on PRI, Public Radio International. Check your local listings. See you back here next time on PBS. Good night from L.A. Thanks for watching, and as always, keep the faith.