It isn’t often that I go after a “scoop” — what we print journalists used to call getting to a hot story first. But when I heard that John Williams would not be scoring both of the Steven Spielberg films currently in production (The Papers and Ready Player One), I thought it was worth the effort. So we at Variety were the first to report that Williams will score The Papers, the Pentagon Papers story, and that Alan Silvestri (perhaps best known for such classics as Back to the Future and Forrest Gump) will be doing the sci-fi film Ready Player One. Silvestri is well known to Spielberg, who has produced a number of Robert Zemeckis films that he has scored over the years.
The Wallis Annenberg Center for the Performing Arts is a relatively new theater in the heart of Beverly Hills. The family of the late, Oscar-winning composer Henry Mancini assembled an incredible lineup of talent as a fundraiser for the nonprofit organization on Saturday, April 1, and we were thrilled to be invited to cover it for Variety. The event, which featured Julie Andrews, John Williams, Quincy Jones, Kristin Chenoweth and many other stars, was a memorable concert of Mancini’s greatest hits, from Peter Gunn to The Pink Panther, “Moon River” to “Days of Wine and Roses” and more. Here is my story for Variety‘s online news page.
I am delighted to report that composer John Williams and director Steven Spielberg asked me to pen the notes for the third volume in their Sony Classical series of “Spielberg-Williams Collaboration” albums, released today (March 17, 2017). It’s a newly recorded collection of themes and suites from their past two decades of filmmaking, eight of which were nominated for Best Original Score at the Academy Awards (including such masterworks as Saving Private Ryan, Catch Me If You Can, Munich, War Horse and Lincoln). And when Sony Classical decided to make it a 3-CD package — including the two earlier albums — they then requested a new introduction to all three discs. It was an honor to be chosen and I hope that my words will help to illuminate just how special this 43-year collaboration has been, both for film and in American music.
For one of its awards-related special end-of-year issues, Variety asked me to inquire of this year’s crop of potential score honorees about the challenges they face in a changing environment for composers in film. It was an interesting assignment, and I asked Johann Johannsson (Arrival), James Newton Howard (Fantastic Beasts), John Debney (The Jungle Book), Nicholas Britell (Moonlight), Alan Silvestri (Allied) and John Williams (The BFG) about time to compose, budgets, temp tracks, synth mockups and the controversial new practice of “striping” (recording different sections of the orchestra separately from one another).
The first of my four stories in a special edition of this week’s Variety deals with fantasy-film scores, specifically The BFG by John Williams and Fantastic Beasts and Where to Find Them by James Newton Howard. Both composers gave me time on the phone last month, Williams before he dove back into the Star Wars universe — he begins recording in a matter of weeks — and Howard prior to leaving for an extended stay in Europe. These are two of the finest orchestral scores of the year and, in this story, we delve into the details and the approaches to two very different fantasy tales (one by Roald Dahl, whom Williams knew, and one by J.K. Rowling herself).
John Williams conducted the Los Angeles Philharmonic during three weekend concerts at the Hollywood Bowl. It was, as always, hugely entertaining, with the maestro doing considerable Star Wars music and introducing a new suite of music from The BFG. Then in just a few days, he’ll be honored on Turner Classic Movies with a night of his movies plus two terrific American Film Institute specials: a commercial-free version of the Life Achievement Award dinner from earlier this year, and his conversation with Steven Spielberg that first aired in 2011. Here is a look at both events.
I was lucky enough to attend composer John Williams’ 1992 re-recordings of his Olympics music, including his classic 1984 “Olympic Fanfare and Theme,” which prompted me to write this July 1992 piece for TV Update. (At the time, I was writing a nationally syndicated column about television.) I happened to stumble across the original piece this morning and thought you might like to see it. It predates, of course, his third and fourth Olympic themes (“Summon the Heroes” and “Call of the Champions”), which I’ve written about elsewhere. But it’s nice to be reminded of the composer’s original thoughts about creating these pieces, which are now an indelible part of the Olympics experience.
Tonight, John Williams becomes the first composer to receive the American Film Institute’s Life Achievement Award in the 44-year history of the honor. In connection with the event, Variety asked me to interview the five-time Oscar winner about composing such iconic themes as Star Wars, Jaws, E.T., Raiders of the Lost Ark, Superman and Harry Potter — as well as what’s next for him in an already distinguished 60-year career. It was also an opportunity to inquire of conductor Gustavo Dudamel, producer Kathleen Kennedy and AFI president Bob Gazzale about their thoughts on working with a Hollywood legend — and a chance for me to outline (in a short sidebar) some key career highlights.
My last Variety story during the 2015 Oscar campaign examines each of the five nominees for Best Original Score: music by John Williams, Ennio Morricone, Thomas Newman, Carter Burwell and Johann Johannsson. Here is the link to the score story; also here is a second story, about this year’s Best Song category, that draws on my original interviews with nominees Lady Gaga and Diane Warren (“Til It Happens to You”), Sam Smith (“Writing’s on the Wall”) and J. Ralph (“Manta Ray”).
My editor at Variety came up with an interesting angle, and one especially relevant in today’s world of sequels, spinoffs and reboots: what’s the role of music, and how do composers decide when and where to apply themes from previous films or TV shows? For this final story in our pre-nominations Oscar-music series, I received fascinating answers from John Williams (Star Wars: The Force Awakens), Thomas Newman (Spectre), Michael Giacchino (Jurassic World), Christophe Beck (The Peanuts Movie), Ludwig Goransson (Creed) and Joe Kraemer (Mission: Impossible – Rogue Nation).