Williams, John

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Biography

John Towner Williams (born February 8, 1932) is an American composer, music conductor|conductor , and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film score s in the history of motion pictures, including the Star Wars music| Star Wars saga , Jaws (film)|Jaws , Superman (film)|Superman , the Indiana Jones (franchise)|Indiana Jones films, E.T. the Extra-Terrestrial , Hook (film)|Hook , Jurassic Park (film)|Jurassic Park , '' Schindler's List , War Horse (film)|War Horse , Home Alone and the first three Harry Potter (film series)|Harry Potter films. He has had a long association with director Steven Spielberg , composing the music for all but two ( Duel (1971 film)|Duel and The Color Purple (film)|The Color Purple '') of Spielberg's major feature films.

Other notable works by Williams include theme music for four Olympic Games, NBC Sunday Night Football , the NBC Nightly News , the Liberty Weekend|rededication of the Statue of Liberty , and the television series Lost in Space . Williams has also composed numerous classical concerti, and he served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993; he is now the orchestra's conductor laureate .

Williams has won five Academy Award s (followed by John Barry (composer)|John Barry with five Academy Award s and Henry Mancini with four Academy Award s)
, four Golden Globe Award s, seven BAFTA Award s, and 21 Grammy Award s. at www.IMDb.com. Retrieved July 9, 2007. With 47 Academy Award nominations, Williams is the second most nominated person, after Walt Disney . at www.oscars.org (accessed September 29, 2007) John Williams was honored with the prestigious Richard Kirk award at the 1999 Broadcast Music Incorporated|BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music. Williams was inducted into the Hollywood Bowl Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004.

Early life and family

John Williams was born on February 8, 1932 on Long Island, New York , the son of Esther (née Towner) and Johnny Williams (drummer)|Johnny Williams . His father was a jazz percussionist who played with the Raymond Scott Quintet.

In 1948, the Williams family moved to Los Angeles where John attended North Hollywood High School graduating in 1950. He later attended the University of California at Los Angeles (UCLA), and studied privately with the Italian composer Mario Castelnuovo-Tedesco . at www.sonybmgmasterworks.com. Retrieved September 29, 2007. In 1952, Williams was selective service|drafted into the U.S. Air Force , where he conducted and arranged music for the Service bands#Air Force Band|Air Force Band as part of his assignments.

After his Air Force service ended in 1955, Williams moved to New York City and entered the Juilliard School , where he studied piano with Rosina Lhévinne . During this time, Williams worked as a jazz pianist in New York's many clubs and eventually studios, most notably for composer Henry Mancini . His fellow session musicians included Rolly Bundock on bass, Jack Sperling on drums, and Bob Bain on guitar—the same lineup featured on the Mr. Lucky (TV series)|Mr. Lucky television series. Williams was known as "Little Johnny Love" Williams during the early 1960s, and he served as music arranger and bandleader for a series of popular music albums with the singer Frankie Laine .

Williams was married to actress Barbara Ruick from 1956 until her death on March 3, 1974. The Williamses had three children: Jennifer (born 1956), Mark (born 1958), and Joseph Williams (musician)|Joseph (born 1960). Williams' younger son (Joseph) is one of the various lead singers the band Toto (band)|Toto . John Williams married his second wife, Samantha Winslow, on July 21, 1980.

John Williams is an honorary member of Kappa Kappa Psi , the national fraternity for college band members. Rumour has it that he might compose London 2012 Olympics theme; Williams has neither denied nor confirmed this.

Film and television scoring

While skilled in a variety of 20th century compositional idioms, Williams' most familiar style may be described as a form of Neoromanticism (music)|neoromanticism , inspired by the same large-scale orchestral music of the late 19th century—especially the compositions of Richard Wagner and its Richard Wagner#Influence on film|concept of leitmotif —that inspired his film music predecessors.

After his studies at Juilliard, Williams returned to Los Angeles, where he began working as an orchestrator at film studios. Among other composers, Williams worked with Franz Waxman , Bernard Herrmann , and Alfred Newman , and also with his fellow orchestrators Conrad Salinger and Bob Franklyn. Films & Filming, vol.24, 1977, p.32 Williams was also a studio pianist, performing on film scores by composers such as Jerry Goldsmith , Elmer Bernstein , and Henry Mancini . Williams recorded with Henry Mancini on the film scores of Peter Gunn (1959), Days of Wine and Roses (film)| Days of Wine and Roses (1962), and Charade (1963 film)|Charade (1963). (Williams actually played the well-recognized opening riff to Mancini's Peter Gunn theme.Tribute to John Williams, ca. 1991. at FilmReference.com.) Williams (often credited as "Johnny Williams") also composed the music for various TV programs in the 1960s: The pilot episode of '' Gilligan's Island , Marooned credits (unaired pilot, October 16, 1962) Bachelor Father (U.S. TV series)|Bachelor Father (1959-1960), the Kraft Suspense Theatre , Lost in Space (1965–68), The Time Tunnel (1966–67), and Land of the Giants (the last three created by the prolific Television producer|TV producer , Irwin Allen ).

Working at Universal Studios, Williams shared music credit on a number of films, the most notable being The Creature from the Black Lagoon in 1954. Williams's first major film composition was for the B movie Daddy-O in 1958, and his first screen credit came two years later in '' Because They're Young . He soon gained notice in Cinema of the United States|Hollywood for his versatility in composing jazz , piano, and symphony|symphonic music. Williams received his first nomination for an Academy Award for his film score for Valley of the Dolls (film)| Valley of the Dolls (1967), and then was nominated again for his score for Goodbye, Mr. Chips (1969 film)| Goodbye, Mr. Chips (1969). Williams broke through to win his first Academy Award for his adapted score for the film Fiddler on the Roof (film)| Fiddler on the Roof (1971). In 1972 he composed the score for the Robert Altman psychological thriller Images (film)|Images '' (recorded in collaboration with noted percussionist Stomu Yamashta ) which earned him another nomination in the category 'Best Music, Original Dramatic Score' at the 1973 Academy Awards . During the early 1970s, Williams' prominence grew thanks to his work for now–film producer Irwin Allen's disaster films, composing the scores for The Poseidon Adventure (1972 film)| The Poseidon Adventure (1972) and The Towering Inferno (1974). In addition, he scored Universal's Earthquake (film)| Earthquake (1974) for director Mark Robson , completing a "trinity" of scores for the highest grossing "disaster films" of the decade. He also wrote a very memorable score to The Cowboys (1972), a western (genre)|western starring John Wayne and directed by Mark Rydell .

In 1974, Williams was approached by director Steven Spielberg to compose the music for his feature directorial debut, The Sugarland Express . The young director had been impressed with Williams's score for the movie The Reivers (1969), and Spielberg was convinced that Williams could compose the musical sound that he desired for any of his films. They teamed up again a year later for Spielberg's second film, Jaws (film)|Jaws . Widely considered to be a classic suspense film, its film score 's ominous two-note motif (music)|motif has become synonymous with shark s and approaching danger. The score for Jaws earned Williams his second Academy Award, his first one for an original composition.

Shortly thereafter, Williams and Spielberg began a long collaboration for their next feature film together, Close Encounters of the Third Kind ( CE3K, 1977). In an unusual step for a Hollywood film, Spielberg and Williams developed their script and musical concepts simultaneously, as in the film these entwine very closely together. During their two-year-long collaboration, they crafted its distinctive five-note figure (music)|figure that functions both in the background music and as the recognition signal|communications signal of the film's extraterrestrial life|extraterrestrials . Williams also used a system of musical hand signals in CE3K that were based on Kodály Method#Hand signs|hand signs created by John Curwen and refined by Zoltan Kodaly .

During the same period, Spielberg recommended Williams to his friend and fellow director George Lucas , who needed a composer to score his ambitious space opera|space epic , Star Wars Episode IV: A New Hope|Star Wars (1977). Williams delivered a grand symphonic score in the fashion of Richard Strauss and Golden Age Hollywood composers Max Steiner and Erich Wolfgang Korngold . Its main theme, " Star Wars music#First appearance in Episode IV|Luke's Theme " is among the most widely recognized in motion picture history, and the " Star Wars music#First appearance in Episode IV|Force Theme " and " Princess Leia's Theme " are well-known examples of leitmotif . Both the film and its soundtrack were immensely successful—it remains the highest grossing non- popular music recording of all-time—and Williams won another Academy Award for Best Original Score . In 1980, Williams returned to score Star Wars Episode V: The Empire Strikes Back|The Empire Strikes Back , where he introduced " The Imperial March " as the theme for Darth Vader and the Galactic Empire (Star Wars)|Galactic Empire . The original Star Wars trilogy concluded with the 1983 film Star Wars Episode VI: Return of the Jedi|Return of the Jedi , for which Williams's score provided most notably the " Palpatine|Emperor's Theme ," " Ewok|Parade of the Ewoks ," and " Luke Skywalker|Luke and Princess Leia Organa|Leia ." Both scores earned Williams Academy Award nominations.

Williams worked with director Richard Donner to score the 1978 film Superman (film)|Superman . The score's heroic and romantic themes, particularly the main march, the Superman fanfare and the love theme, known as " Can You Read My Mind ," would appear in the four sequel films. For the 1981 film Raiders of the Lost Ark , created and directed by Lucas and Spielberg, Williams wrote a rousing main theme known as "The Raiders March" to accompany the film's hero, Indiana Jones . He also composed separate themes to represent the Ark of the Covenant , the character Marion, and the Nazi villains of the story. Additional themes were featured in his scores to the sequel films Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), and Indiana Jones and the Kingdom of the Crystal Skull (2008). Williams composed an emotional and sensitive score to Spielberg's 1982 fantasy film E.T. the Extra-Terrestrial . The music conveys the film's benign, childlike sense of innocence, particularly with a spirited theme for the freedom of flight, and a soft string-based, harp-featured theme for the friendship between characters E.T. and Elliott. The film's final chase and farewell sequence marks a rare instance in film history in which the on-screen action was re-edited to conform to the composer's musical interpretation. Williams was awarded a fourth Academy Award for this score.

The 1985 film The Color Purple (film)|The Color Purple is the only theatrical feature directed by Steven Spielberg for which John Williams did not serve as composer. The film's producer, Quincy Jones , wanted to personally arrange and compose the music for the project. Williams also did not score Twilight Zone: The Movie , but Spielberg had directed only one of the four segments in that film; the lead director and producer of the film, John Landis , selected Jerry Goldsmith as composer. The Williams-Spielberg collaboration resumed with the director's 1987 film Empire of the Sun (film)|Empire of the Sun , and has continued to the present, spanning genres from science fiction thrillers (1993's Jurassic Park (film)|Jurassic Park ), to somber tragedies (1993's '' Schindler's List '', 2005's Munich (film)|Munich ), to Eastern-tinged melodramas (2005's Memoirs of a Geisha (film)|Memoirs of a Geisha , directed by Rob Marshall ). Spielberg has said, "I call it an honorable privilege to regard John Williams as a friend." "...and I consider it a privilege to call John my Friend."

In 1999 George Lucas launched the first of a series of prequels to the original Star Wars trilogy. Williams was asked to score all three films, starting with Star Wars Episode I: The Phantom Menace|The Phantom Menace . Along with themes from the previous movies, Williams created new themes to be used as leitmotifs in Star Wars Episode II: Attack of the Clones|Attack of the Clones (2002) and Star Wars Episode III: Revenge of the Sith|Revenge of the Sith (2005). Most notable of these was " Duel of the Fates ," an aggressive choral movement utilizing harsh Sanskrit lyrics that broadened the style of music used in the Star Wars films. Also of note was "Anakin's Theme," which begins as an innocent childlike melody and morphs insidiously into a quote of the sinister "Imperial March" of the prior trilogy. For Episode II, Williams composed "Across the Stars," a love theme for Padmé Amidala and Anakin Skywalker (mirroring the love theme composed for the second film of the previous trilogy, The Empire Strikes Back ). The final installment combined many of the themes created for the series' previous movies, including "The Emperor's Theme," "The Imperial March," "Across the Stars," "Duel of the Fates," "The Force Theme," "Rebel Fanfare," "Luke's Theme," and "Princess Leia's Theme," as well as new themes for General Grievous and the film's climax, entitled "Battle of the Heroes." Few composers have scored an entire series of this magnitude: The combined scores of all six Star Wars films add up to more than 14 hours of orchestral music.

In the new millennium, Williams was asked to score the film adaptations of the widely successful book series, Harry Potter . He went on to score the first three installments of the Harry Potter (film series)|film franchise . As with his Superman theme, the most important theme from Williams's scores for the adaptations of J. K. Rowling 's Harry Potter series, dubbed ''Hedwig's Theme , has been used in the fourth, fifth, sixth, seventh and eighth films ( Harry Potter and the Goblet of Fire (film)|Harry Potter and the Goblet of Fire , Harry Potter and the Order of the Phoenix (film)|Harry Potter and the Order of the Phoenix , Harry Potter and the Half-Blood Prince (film)|Harry Potter and the Half-Blood Prince , Harry Potter and the Deathly Hallows – Part 1 and Harry Potter and the Deathly Hallows – Part 2 ), scored by Patrick Doyle , Nicholas Hooper and Alexandre Desplat respectively. Like the main themes from Star Wars , Jaws , Superman , and Indiana Jones , fans have come to identify the Harry Potter'' films with Williams's original compositions. Williams was asked to return to the film franchise to score the final installment, Harry Potter and the Deathly Hallows – Part 2 , but director David Yates stated that "their schedules simply did not align" as he would have had to provide Williams with a rough cut of the film sooner than was possible.

In 2006 Superman Returns was completed under the direction of Bryan Singer , best known for directing the first two movies in the X-Men series. Although Singer did not request Williams to compose a score for the intentionally Donner-esque film, he employed the skills of X2 (film)|X2 composer John Ottman to incorporate Williams's original Superman theme, as well as those for Can You Read My Mind|Lois Lane , Superman music|Krypton and Superman music#First appearance in Superman|Smallville . Don Davis (composer)|Don Davis performed a similar role for Jurassic Park III , recommended to the producers by Williams himself. (Film scores by Ottman and to a lesser extent Davis are often compared to those of Williams, as both use similar styles of composition.)

In 2008 Williams returned to the Indiana Jones series to score the fourth film— The Kingdom of the Crystal Skull . He received a Grammy nomination for his work on the film. During 2008, he also composed music for two documentaries, Warner at War , and A Timeless Call , the latter of which was directed by Steven Spielberg .

After a three year absence from film scoring, Williams composed the scores for Spielberg's The Adventures of Tintin: The Secret of the Unicorn and War Horse (film)|War Horse in 2011. Both scores received overwhelmingly positive reviews, with both scores earning Oscar nominations, and the latter being nominated for a Golden Globe. The Oscar nominations are Williams' 46th and 47th, making him the most nominated musician in Academy Awards history (having previously been tied with Alfred Newman 's 45 nominations), and the second most nominated overall, following Walt Disney . Williams won an Annie Award for his score for The Adventures of Tintin: The Secret of the Unicorn in 2012.

Williams is next scheduled to score Spielberg's 2012 film Lincoln (2012 film)|Lincoln .

Conducting and performing

From 1980 to 1993, Williams succeeded Arthur Fiedler as Principal Conductor of the Boston Pops Orchestra . Williams never met Fiedler in person but spoke with him by telephone. His arrival as the new leader of the Pops in the spring of 1980 allowed him to devote part of the Pops' first PBS broadcast of the season to presenting his new compositions for The Empire Strikes Back, in addition to conducting many Fiedler audience favorites.

Williams almost ended his tenure with the Pops in 1984. Considered a customary practice of opinion, some players hissed while sight-reading a new Williams composition in rehearsal; Williams abruptly left the session and turned in his resignation. He initially cited mounting conflicts with his film composing schedule, but later admitted a perceived lack of discipline in and respect from the Pops' ranks, culminating in this latest instance. After entreaties by the management and personal apologies from the musicians, Williams withdrew his resignation and continued as principal conductor for nine more years. In 1995 he was succeeded by Keith Lockhart , the former associate conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra .

Williams is now the Laureate Conductor of the Pops, thus maintaining his affiliation with its parent, the Boston Symphony Orchestra (BSO). Williams leads the Pops on several occasions each year, particularly during their Holiday Pops season and typically for a week of concerts in May. He conducts an annual Film Night at both Boston Symphony Hall and Tanglewood , where he frequently enlists the Tanglewood Festival Chorus , official chorus of the BSO....

Williams has written many concert pieces, including a symphony; a Concerto for Horn written for Dale Clevenger, principal hornist of the Chicago Symphony; a Concerto for Clarinet written for Michele Zukovsky (Principal Clarinetist of the Los Angeles Philharmonic ) in 1991; a sinfonietta for wind ensemble; a cello concerto premiered by Yo-Yo Ma and the Boston Symphony Orchestra at Tanglewood in 1994; concertos for the flute and violin recorded by the London Symphony Orchestra ; and a trumpet concerto, which was premiered by the Cleveland Orchestra and their principal trumpet Michael Sachs in September 1996. His bassoon concerto, " The Five Sacred Trees ", which was premiered by the New York Philharmonic and principal bassoon player Judith LeClair in 1995, was recorded for Sony Classical by Williams with LeClair and the London Symphony Orchestra. He is also an accomplished pianist, as can be heard in various scores in which he provides solos, as well as a handful of European classical music recordings.

Williams was the subject of an hour-long documentary for the BBC in 1980, and was featured in a story for American Broadcasting Company|ABC 's newsmagazine 20/20 (US television show)|20/20 in 1983. from the John Williams Fan Network, June 2, 2007.

In 1985, Williams was commissioned by NBC to compose a television news music package for various network news spots. The package, which Williams named " The Mission (theme song)|The Mission ", consists of four movements, two of which are still used heavily by NBC today for Today (NBC program)|The Today Show , NBC Nightly News , and Meet the Press . Williams also composed the " Liberty Fanfare " for the rededication of the Statue of Liberty , "We're Lookin' Good!" for the Special Olympics in celebration of the 1987 International Summer Games, and themes for the 1984, 1988, 1996, and 2002 Olympic games. His most recent concert work, "Seven for Luck", for soprano and orchestra, is a seven-piece song cycle based on the texts of former U.S. Poet Laureate Rita Dove . "Seven for Luck" was given its world premiere by the Boston Symphony under Williams with soprano Cynthia Haymon .

Williams makes annual appearances with the Los Angeles Philharmonic at the Hollywood Bowl , and took part as conductor and composer in the orchestra's opening gala concerts for the Walt Disney Concert Hall in 2003.

In 2004, Williams both served as the Grand Marshall for the Rose Parade, and directed the Star Spangled Banner at the beginning of the Rose Bowl.

In April 2005, Williams and the Boston Pops performed "The Force Theme" from Star Wars at opening day in Fenway Park as the Boston Red Sox , having won their first World Series championship since 1918, received their championship rings. For Game 1 of the 2007 World Series, Williams conducted a brass -and-drum Musical ensemble|ensemble through a new dissonant arrangement of the " Star Spangled Banner ."

In April 2004, February 2006, and September 2007, he conducted the New York Philharmonic at Avery Fisher Hall in New York City. The initial program was intended to be a one-time special event, and featured Williams's medley of Oscar-winning film scores first performed at the previous year's Academy Awards . Its unprecedented popularity led to two concerts in 2006: fundraising gala events featuring personal recollections by film directors Martin Scorsese and Steven Spielberg . Continuing demand fueled three more concerts in 2007, which all sold out. These featured a tribute to the musicals of film director Stanley Donen , and had the distinction of serving as the opening event of the New York Philharmonic season. After a four-season absence, Williams conducted the Philharmonic once again in October 2011.

Awards

John Williams has won five Academy Awards , and four Golden Globe Awards . He has also been nominated for 22 Golden Globes, winning four, and 59 Grammys, winning 20. With 47 Oscar nominations, Williams currently holds the record for the most Oscar nominations for a living person, and is the second most nominated person in the history of the Academy Awards behind only Walt Disney 's 59. Forty-two of Williams' Oscar nominations are for Academy Award for Original Music Score|Best Original Score and five are for Academy Award for Best Original Song|Best Original Song . He won four Oscars for Academy Award for Original Music Score|Best Original Score and one for Academy Award for Original Music Score|Best Adapted Score ( Fiddler on the Roof (film)|Fiddler on the Roof ).

Williams has received three Emmy Award s and five nominations, seven British Academy of Film and Television Arts|BAFTAs , twenty Grammy Award s, and has been inducted into the American Classical Music Hall of Fame and the Hollywood Bowl|Hollywood Bowl Hall of Fame . In 2004 he received a Kennedy Center Honors|Kennedy Center Honor . He won a Classical BRIT Awards|Classical Brit award in 2005 for his soundtrack work of the previous year.

Notably, Williams has won the Grammy Award for Best Instrumental Composition for his scores for Star Wars , Close Encounters of the Third Kind , Superman , The Empire Strikes Back , E.T. The Extraterrestrial , ''Angela's Ashes (1999), Munich (2005), and Indiana Jones and the Kingdom of the Crystal Skull. The competition includes not only composers of film scores, but also composers of instrumental music of any genre, including composers of classical fare such as symphony|symphonies and chamber music .

In 2003, the International Olympic Committee accorded Mr. Williams its highest individual honor, the Olympic Order .

In 2009, Williams received the National Medal of Arts in the White House in Washington for his achievements in symphonic music for motion pictures, and "as a pre-eminent composer and conductor scores have defined and inspired modern movie-going for decades."

John Williams was made an honorary brother of Kappa Kappa Psi at Boston University in the late 80's.

AFI

Williams's richly thematic and highly popular 1977 score to Star Wars Episode IV: A New Hope was selected in 2005 by the American Film Institute as the AFI's 100 Years of Film Scores|greatest American movie score of all time . His scores for Jaws and E.T. also appeared on the list, at No.& nbsp;6 and No.& nbsp;14, respectively. Other Williams scores for the following films were nominated for the list:

A.I. Artificial Intelligence (2001)

Close Encounters of the Third Kind (1977)

The Cowboys (1972)

'' Harry Potter and the Sorcerer's Stone (film)|Harry Potter and the Sorcerer's Stone (2001)

Raiders of the Lost Ark (1981)

'' Schindler's List (1993)

Superman (film)|Superman (1978)

The Witches of Eastwick (film)|The Witches of Eastwick (1987)

List of awards

Award	Year	Project	Category	Outcome
Academy Award	1967	Valley of the Dolls	Best Score Adaptation	nom
	42nd Academy Awards	Goodbye, Mr Chips	Best Score Adaptation	nom
	42nd Academy Awards	The Reivers	Best Original Score	nom
	1971	Fiddler on the Roof	Best Scoring Adaptation and Original Song Score	won
	45th Academy Awards	Images	Best Original Dramatic Score	nom
	45th Academy Awards	The Poseidon Adventure	Best Original Dramatic Score	nom
	46th Academy Awards	Cinderella Liberty	Best Original Dramatic Score	nom
		Nice to Be Around " (from Cinderella Liberty )	Best Original Song	nom
		Tom Sawyer	Best Score Adaptation	nom
	1974	The Towering Inferno	Best Original Score	nom
	1975	Jaws	Best Original Dramatic Score	won
	50th Academy Awards	New Hope (soundtrack)>Star Wars	Best Original Score	won
	50th Academy Awards	Close Encounters of the Third Kind	Best Original Score	nom
	1978	Superman (film)>Superman	Best Original Score	nom
	1980	The Empire Strikes Back	Best Original Score	nom
	1981	Raiders of the Lost Ark	Best Original Score	nom
	55th Academy Awards	E.T. the Extra-Terrestrial	Best Original Score	won
	55th Academy Awards	"If We Were in Love" (from Yes, Giorgio )	Best Original Song	nom
	1983	Return of the Jedi	Best Original Score	nom
	57th Academy Awards	Indiana Jones and the Temple of Doom	Best Original Score	nom
	57th Academy Awards	The River	Best Original Score	nom
	60th Academy Awards	Empire of the Sun	Best Original Score	nom
	60th Academy Awards	The Witches of Eastwick	Best Original Score	nom
	1988	The Accidental Tourist	Best Original Score	nom
	62nd Academy Awards	Born on the Fourth of July	Best Original Score	nom
	62nd Academy Awards	Indiana Jones and the Last Crusade	Best Original Score	nom
	63th Academy Awards	Home Alone	Best Original Score	nom
	63th Academy Awards	"Somewhere in My Memory" (from Home Alone )	Best Original Song	nom
	64th Academy Awards	JFK	Best Original Score	nom
	64th Academy Awards	(from Hook (film)>Hook )	Best Original Song	nom
	1993	Schindler's List	Best Original Score	won
	68th Academy Awards	Nixon	Best Original Dramatic Score	nom
		Sabrina (1995 film)>Sabrina	Best Original Musical or Comedy Score	nom
		(from Sabrina (1995 film)>Sabrina )	Best Original Song	nom
	1996	Sleepers	Best Original Dramatic Score	nom
	1997	Amistad	Best Original Dramatic Score	nom
	1998	Saving Private Ryan	Best Original Dramatic Score	nom
	1999	Angela's Ashes	Best Original Score	nom
	2000	The Patriot	Best Original Score	nom
	74th Academy Awards	A.I. Artificial Intelligence	Best Original Score	nom
	74th Academy Awards	Harry Potter and the Philosopher's Stone (film)>Harry Potter and the Sorcerer's Stone	Best Original Score	nom
	2002	Catch Me If You Can	Best Original Score	nom
	2004	Harry Potter and the Prisoner of Azkaban (film)>Harry Potter and the Prisoner of Azkaban	Best Original Score	nom
	78th Academy Awards	Geisha (film)>Memoirs of a Geisha	Best Original Score	nom
	78th Academy Awards	Munich	Best Original Score	nom
	84th Academy Awards	The Adventures of Tintin	Best Original Score	nom
	84th Academy Awards	War Horse	Best Original Score	nom
Annie Award	2012	The Adventures of Tintin: The Secret of the Unicorn	Music in a Feature Production	won
BAFTA Award	1975	Jaws	Best Film Music	won
	1978	Star Wars	Best Film Music	won
	1978	Close Encounters of the Third Kind	Best Film Music	nom
	1980	The Empire Strikes Back	Best Film Music	won
	1981	Raiders of the Lost Ark	Best Film Music	nom
	1982	E.T. the Extra-Terrestrial	Best Film Music	won
	1988	Empire of the Sun	Best Film Music	won
	1993	Schindler's List	Best Film Music	won
	1998	Saving Private Ryan	Best Film Music	nom
	2002	Catch Me If You Can	Best Film Music	nom
	2005	Geisha (soundtrack)>Memoirs of a Geisha	Best Film Music	won
	2011	War Horse	Best Film Music	nom
Emmy Award	1962	Alcoa Premiere	Outstanding Achievement in Original Music Composed for Television	nom
	1963	Alcoa Premiere	Outstanding Achievement in Composing Original Music	nom
	1968	Heidi	Outstanding Achievement in Musical Composition	won
	1971	Jane Eyre	Outstanding Achievement in Musical Composition	won
	2002	The 74th Academy Awards	Outstanding Music Direction	nom
	2009	Great Performances	Outstanding Original Main Title Theme Music	won
Golden Globe Award	1973	The Poseidon Adventure	Best Original Score	nom
	31st Golden Globe Awards	Cinderella Liberty	Best Original Score	nom
	31st Golden Globe Awards	Tom Sawyer (with Richard M. Sherman and Robert B. Sherman )	Best Original Score	nom
	33rd Golden Globe Awards	Earthquake	Best Original Score	nom
	33rd Golden Globe Awards	Jaws	Best Original Score	won
	1977	Star Wars Episode IV: A New Hope	Best Original Score	won
	1978	Close Encounters of the Third Kind	Best Original Score	nom
	1979	Superman (film)>Superman	Best Original Score	nom
	39th Golden Globe Awards	Star Wars: Episode V: The Empire Strikes Back	Best Original Score	nom
	1982	E.T. the Extra-Terrestrial	Best Original Score	won
	1983	"If We Were In Love" (with Alan Bergman and Marilyn Bergman ) from Yes, Giorgio	Best Original Song	nom
	1985	The River	Best Original Score	nom
	1988	Empire of the Sun	Best Original Score	nom
	1989	The Accidental Tourist	Best Original Score	nom
	1990	Born on the Fourth of July	Best Original Score	nom
	1994	'' Schindler's List	Best Original Score	nom
	1996	(with Alan Bergman and Marilyn Bergman ) from Sabrina (1995 film)>Sabrina	Best Original Song	nom
	1998	Seven Years in Tibet	Best Original Score	nom
	1999	Saving Private Ryan	Best Original Score	nom
	2000	Angela's Ashes	Best Original Score	nom
	2002	A.I. Artificial Intelligence	Best Original Score	nom
	2005	Geisha (film)>Memoirs of a Geisha	Best Original Score	won
	2011	War Horse	Best Original Score	nom
Grammy Award	1962	Checkmate	Best Soundtrack Album or Recording or Score from Motion Picture or Television	nom
	1975	Jaws	Best Album of Original Score Written for a Motion Picture	won
	19th Grammy Awards	New Hope (soundtrack)>Star Wars	Best Pop Instrumental Performance	won
		"Main Title" from Star Wars	Best Instrumental Composition	won
		Star Wars	Best Album of Original Score Written for a Motion Picture	won
	20th Grammy Awards	"Theme" from Close Encounters of the Third Kind	Best Instrumental Composition	won
	20th Grammy Awards	Close Encounters of the Third Kind	Best Album of Original Score Written for a Motion Picture	won
	21st Grammy Awards	"Main Title Theme from Superman"	Best Instrumental Composition	won
	21st Grammy Awards	Superman (film)>Superman	Best Album of Original Score Written for a Motion Picture	won
	22nd Grammy Awards	Star Wars Episode V: The Empire Strikes Back	Best Instrumental Composition	won
	22nd Grammy Awards	Star Wars Episode V: The Empire Strikes Back	Best Album of Original Score Written for a Motion Picture	won
	1981	Raiders of the Lost Ark	Best Album of Original Score Written for a Motion Picture	won
	24th Grammy Awards	"Flying" (Theme from E.T. )	Best Instrumental Composition	won
		E.T. the Extra-Terrestrial	Best Album of Original Score Written for a Motion Picture	won
		"Flying" (Theme from E.T. )	Best Arrangement on an Instrumental Recording	won
	26th Grammy Awards	Olympic Fanfare and Theme	Best Instrumental Composition	won
	26th Grammy Awards	Star Wars Episode VI: Return of the Jedi	Best Instrumental Composition Written for a Motion Picture or for Television	nom
	1988	The Witches of Eastwick	Best Instrumental Composition Written for a Motion Picture or for Television	nom
	1989	Empire of the Sun	Best Instrumental Composition Written for a Motion Picture or for Television	nom
	1990	Indiana Jones and the Last Crusade	Best Instrumental Composition Written for a Motion Picture or for Television	nom
	1992	Home Alone	Best Song Written Specifically for a Motion Picture or for Television	nom
	33rd Grammy Awards	'' Schindler's List	Instrumental Composition for a Motion Picture or Television	won
	33rd Grammy Awards	Hook	Best Instrumental Composition Written for a Motion Picture or for Television	nom
	1994	Jurassic Park (film score)>Jurassic Park	Best Instrumental Composition Written for a Motion Picture or for Television	nom
	1997	Marilyn Bergman ) from Sabrina (1995 film)>Sabrina	Best Song Written Specifically for a Motion Picture or for Television	nom
	40th Grammy Awards	Seven Years in Tibet	Best Instrumental Composition Written for a Motion Picture or for Television	nom
	40th Grammy Awards	Jurassic Park (film score)>The Lost World: Jurassic Park	Best Instrumental Composition Written for a Motion Picture or for Television	nom
	41st Grammy Awards	Saving Private Ryan	Best Instrumental Composition Written for a Motion Picture or for Television	won
	41st Grammy Awards	Amistad	Best Instrumental Composition Written for a Motion Picture or for Television	nom
	42nd Grammy Awards	Angela's Ashes	Best Instrumental Composition	won
	42nd Grammy Awards	The Phantom Menace (soundtrack)>Star Wars Episode I: The Phantom Menace	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	nom
	2002	Artificial Intelligence: A.I.	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	nom
	2003	Harry Potter and the Sorcerer's Stone (soundtrack)>Harry Potter and the Sorcerer's Stone	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	nom
	46th Grammy Awards	Catch Me If You Can	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	nom
	46th Grammy Awards	Harry Potter and the Chamber of Secrets (soundtrack)>Harry Potter and the Chamber of Secrets	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	nom
	2005	Harry Potter and the Prisoner of Azkaban (soundtrack)>Harry Potter and the Prisoner of Azkaban	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	nom
	2006	Star Wars Episode III: Revenge of the Sith	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	nom
	49th Grammy Awards	Geisha (film)>Memoirs of a Geisha	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	won
		Munich	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	nom
		"A Prayer For Peace" (Theme from Munich )	Best Instrumental Composition	won
	51st Grammy Awards	"The Adventures of Mutt" from Indiana Jones and the Kingdom of the Crystal Skull	Best Instrumental Composition	won
	51st Grammy Awards	Indiana Jones and the Kingdom of the Crystal Skull	Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media	nom

Discography

Charting hits (U.S., Billboard)

1975 - "Theme From Jaws", #32

1977 - "Star Wars Theme - Main Title", #10

1978 - "Theme From Close Encounters Of The Third Kind", #13

1979 - "Theme From Superman", #81

Copyright Citations

This article is licensed under the GNU License
Click here for original article: Williams, John


1. Cotton Mather 2. Hurricane 3. Rubettes 4. Dame Shirley Bassey

Undetermined Music Artists