Editing John Williams (section)

==Film and television scoring==
{{further|List of compositions by John Williams}}
[[File:Johnwilliams2006.JPG|thumb|upright=0.95|Williams at the Boston Symphony Hall after conducting the Boston Pops, May 2006]]
While fluent in many 20th-century musical languages, Williams's most familiar style is [[Neoromanticism (music)|neoromanticism]].<ref>{{cite web|url=https://www.wsu.edu/~brians/hum_303/romanticism.html|archive-url=https://web.archive.org/web/19981202200618/http://www.wsu.edu/%7Ebrians/hum_303/romanticism.html|archive-date=December 2, 1998|title=Romanticism|access-date=August 25, 2006}}</ref> Williams's score for ''Star Wars'' is often described as [[Wagnerian]] as it makes use of the [[leitmotif]], a musical phrase associated with a place, character or idea.<ref>{{cite web|url=http://www.trell.org/wagner/starwars.html|title=Star Wars and Wagner's Ring|access-date=August 15, 2010|archive-url=https://web.archive.org/web/20100726141647/http://www.trell.org/wagner/starwars.html|archive-date=July 26, 2010}}</ref> Williams downplays the influence of Wagner: "People say they hear Wagner in ''Star Wars'', and I can only think, It's not because I put it there. Now, of course, I know that Wagner had a great influence on [[Erich Wolfgang Korngold|Korngold]] and all the early Hollywood composers. Wagner lives with us here—you can't escape it. I have been in the big river swimming with all of them."{{Sfn|Ross|2020}}

=== 1954–1973: Rise to prominence ===
Williams wrote his first film composition in 1952 while stationed at [[Pepperrell Air Force Base]] for a promotional film titled ''You Are Welcome'', created for the [[Newfoundland and Labrador|Newfoundland]] tourist information office.<ref name="SW" /> Williams's first feature film composition was for ''[[Daddy-O (film)|Daddy-O]]'' (1958), and his first screen credit came two years later in ''[[Because They're Young]]''. Williams also composed music for television, ''[[Bachelor Father (American TV series)|Bachelor Father]]'' (1957–59), the ''[[Kraft Suspense Theatre]]'' (1963–65), ''[[Lost in Space]]'' (1965–68), ''[[The Time Tunnel]]'' (1966–67) and ''[[Land of the Giants]]'' (1968-70), the last three created by the prolific producer [[Irwin Allen]].<ref>{{cite web|url=http://www.iann.net/giants/|title=Deanna Lund Meets John Williams At Lincoln Party|publisher=Irwin Allen News Network|access-date=December 31, 2015|archive-date=January 11, 2016|archive-url=https://web.archive.org/web/20160111124919/http://www.iann.net/giants/|url-status=live}}</ref> He also worked on several episodes of ''[[M Squad]]'' (1957-1960) and ''[[Checkmate (American TV series)|Checkmate]]'' (1960–1962) and the pilot episode of ''[[Gilligan's Island]]'' (1964–67).<ref>"Marooned" credits (unaired pilot, October 16, 1962)</ref><ref>RCA Victor PL-45929</ref>

Williams called [[William Wyler]]'s ''[[How to Steal a Million]]'' (1966) "the first film I ever did for a major, super-talent director". Williams received his first [[Academy Awards|Oscar]] nomination for his score for [[Valley of the Dolls (film)|''Valley of the Dolls'']] (1967) and was nominated again for [[Goodbye, Mr. Chips (1969 film)|''Goodbye, Mr. Chips'']] (1969). His first Oscar was for [[Academy Award for Best Original Score|Scoring: Adaptation and Original Song Score]], for [[Fiddler on the Roof (film)|''Fiddler on the Roof'']] (1971). He scored [[Robert Altman]]'s psychological thriller [[Images (film)|''Images'']] (1972) and his [[neo-noir]] [[The Long Goodbye (film)|''The Long Goodbye'']] (1973), based on the [[The Long Goodbye (novel)|novel of the same name]] by [[Raymond Chandler]]. [[Pauline Kael]] wrote that "Altman does variations on Chandler's theme the way the John Williams score does variations the title song, which is tender in one scene, a funeral dirge in another. Williams' music is a parody of the movies' frequent overuse of a theme, and a demonstration of how adaptable a theme can be."<ref>{{cite magazine| last=Kael| first=Pauline| title=Movieland—The Bum's Paradise| date=October 14, 1973| magazine=[[The New Yorker]]| url=https://www.newyorker.com/magazine/1973/10/22/movieland-the-bums-paradise| access-date=November 30, 2023| archive-date=December 8, 2023| archive-url=https://web.archive.org/web/20231208194930/https://www.newyorker.com/magazine/1973/10/22/movieland-the-bums-paradise| url-status=live}}</ref> Altman, known for giving actors free rein, had a similar approach to Williams, telling him "Do whatever you want. Do something you haven't done before."<ref name="King2023">{{cite news| last=King| first=Darryn| title=John Williams on 'Indiana Jones' and His Favorite Film Scores| date=June 24, 2023| work=[[The New York Times]]| url=https://www.nytimes.com/2023/06/24/movies/john-williams-indiana-jones-dial-of-destiny.html| access-date=November 29, 2023| archive-date=November 30, 2023| archive-url=https://web.archive.org/web/20231130161730/https://www.nytimes.com/2023/06/24/movies/john-williams-indiana-jones-dial-of-destiny.html| url-status=live}}</ref> His prominence grew in the early 1970s thanks to his work for Irwin Allen's [[disaster film]]s; he scored [[The Poseidon Adventure (1972 film)|''The Poseidon Adventure'']] (1972), ''[[The Towering Inferno]]'' and [[Earthquake (1974 film)|''Earthquake'']] (both 1974). Williams named his ''Images'' score as a favorite; he recalls "the score used all kinds of effects for piano, percussion, and strings. It had a debt to [[Edgard Varèse|Varèse]], whose music enormously interested me. If I had never written film scores, if I had proceeded writing concert music, it might have been in this vein. I think I would have enjoyed it. I might even have been fairly good at it. But my path didn't go that way."{{Sfn|Ross|2020}} As it happened, Williams's scores for [[The Reivers (film)|''The Reivers'']] (1969) and ''[[The Cowboys]]'' (1972) shaped the path his career went.

=== 1974–present: Collaborations with Steven Spielberg ===
Williams's scores for ''The Reivers'' and ''The Cowboys'' impressed a young [[Steven Spielberg]], who was getting ready to direct his feature debut, ''[[The Sugarland Express]]'' (1974) and requested the composer for ''The Reivers''. Williams recalled, "I met what looked to be this seventeen-year-old kid, this very sweet boy, who knew more about film music than I did—every [[Max Steiner]] and [[Dimitri Tiomkin]] score. We had a meeting in a fancy Beverly Hills restaurant, arranged by executives. It was very cute—you had the feeling Steven had never been in a restaurant like that before. It was like having lunch with a teen-age kid, but a brilliant one."{{Sfn|Ross|2020}} They reunited a year later for [[Jaws (film)|''Jaws'']]. Spielberg used Williams's theme for ''Images'' as a [[temp track]] while editing ''Jaws''. When Williams played his main theme for ''Jaws'', based on the alteration of two notes, Spielberg initially thought it was a joke. Williams explained that "the sophisticated approach you would like me to take isn't the approach you took with the film I just experienced." After hearing variations on the theme, Spielberg agreed: "sometimes the best ideas are the most simple ones."<ref>{{cite book| last=Audissino| first=Emilio| title=The Film Music of John Williams| year=2021}}</ref> The score earned Williams his second Academy Award, his first for [[Academy Award for Best Original Score|Best Original Score]].<ref name="oscars">{{cite web|url=http://www.johnwilliams.org/reference/awards.html|title=Academy Awards and Nominations|publisher=John Williams Web Pages|access-date=December 31, 2015|archive-url=https://web.archive.org/web/20090331123940/http://www.johnwilliams.org/reference/awards.html|archive-date=March 31, 2009}}</ref> Its ominous two-note [[ostinato]] has become a shorthand for approaching danger.<ref>{{cite news| last=MacKay| first=Robbie| title=45 years on, the 'Jaws' theme manipulates our emotions to inspire terror| date=April 27, 2020| work=The Conversation| url=https://theconversation.com/45-years-on-the-jaws-theme-manipulates-our-emotions-to-inspire-terror-136462| access-date=November 28, 2023| archive-date=June 24, 2021| archive-url=https://web.archive.org/web/20210624203142/https://theconversation.com/45-years-on-the-jaws-theme-manipulates-our-emotions-to-inspire-terror-136462| url-status=live}}</ref> (Williams's score is more complex than the two-note theme; it contains echoes of [[Claude Debussy|Debussy]]'s {{lang|fr|[[La mer (Debussy)|La mer]]}} and [[Igor Stravinsky|Stravinsky]]'s ''[[The Rite of Spring]]''.<ref>{{cite magazine| last=Tylski| first= Alexandre| title=A Study of Jaws' Incisive Overture| magazine=Film Score Monthly| date=September 14, 1999| url=http://www.filmscoremonthly.com/articles/1999/14_Sep---A_Study_of_Jaws_Incisive_Overture.asp| archive-url= https://web.archive.org/web/20061023150218/http://www.filmscoremonthly.com/articles/1999/14_Sep---A_Study_of_Jaws_Incisive_Overture.asp| archive-date= October 23, 2006}}</ref>)

Shortly thereafter, Spielberg and Williams began a two-year collaboration on ''[[Close Encounters of the Third Kind]]''. They crafted the distinctive five-note motif that functions both in the score and in the story as the [[recognition signal|communications signal]] of the film's [[extraterrestrial life|extraterrestrials]]. Darryn King writes that "One moment in that film captures some of Spielberg and Williams's alchemy: the musical dialogue between the humans and the otherworldly visitors, itself an artistic collaboration of sorts." Pauline Kael wrote of the scene: "the earthlings are ready with a console, and they greet the great craft with an oboe solo variation on the five-note theme; the craft answers in deep, tuba tones. The dialogue becomes blissfully garrulous&nbsp;... there is a conversational duet: the music of the spheres."<ref>{{cite magazine| last=Kael| first=Pauline| date=November 20, 1977| title=The Greening of the Solar System| url=https://www.newyorker.com/magazine/1977/11/28/the-greening-of-the-solar-system| magazine=[[The New Yorker]]| access-date=November 17, 2023| archive-date=November 17, 2023| archive-url=https://web.archive.org/web/20231117231711/https://www.newyorker.com/magazine/1977/11/28/the-greening-of-the-solar-system| url-status=live}}</ref> Williams says the first three notes of the theme are resolved, making the next two surprising, adding "I realized that 20 years after the fact."<ref name="King2023" />

Spielberg chose Williams to score [[1941 (film)|''1941'']] (1979) and ''[[Raiders of the Lost Ark]]'' (1981). For the latter, Williams wrote the rousing "The Raiders March" for the film's hero, [[Indiana Jones (character)|Indiana Jones]], as well as separate themes to represent the eponymous [[Ark of the Covenant]], Jones's love interest [[Marion Ravenwood]] and the Nazi villains. Additional themes were written and featured in his scores for ''[[Indiana Jones and the Temple of Doom]]'' (1984), ''[[Indiana Jones and the Last Crusade]]'' (1989), ''[[Indiana Jones and the Kingdom of the Crystal Skull]]'' (2008) and ''[[Indiana Jones and the Dial of Destiny]]'' (2023). Spielberg emphasized the importance of Williams's score to the Indiana Jones pictures: "Jones did not perish, but listened carefully to the ''Raiders'' score. Its sharp rhythms told him when to run. Its slicing strings told him when to duck. Its several integrated themes told adventurer Jones when to kiss the heroine or smash the enemy. All things considered, Jones listened&nbsp;... and lived."{{Sfn|Tylski|1999}} Williams's soaring score for Spielberg's ''[[E.T. the Extra-Terrestrial]]'' (1982) won him a fourth Oscar.<ref name="oscars" /> Spielberg liked Williams's music for the climactic chase so much that he edited the film to match it.<ref>{{cite video | people=John Williams| title=A Conversation with John Williams | medium=DVD | publisher=Universal |year=2002}}</ref>

[[File:John Williams scoring Raiders.jpg|thumb|left|John Williams conducting the score to ''Raiders of the Lost Ark'' in the Avery Fisher Hall in 2007]]

The Spielberg-Williams collaboration resumed in 1987 with [[Empire of the Sun (film)|''Empire of the Sun'']] and continued with [[Always (1989 film)|''Always'']] (1989), [[Hook (film)|''Hook'']] (1991), [[Jurassic Park (film)|''Jurassic Park'']] (1993) and its sequel ''[[The Lost World: Jurassic Park]]'' (1997), [[Amistad (film)|''Amistad'']] (1997) and ''[[Saving Private Ryan]]'' (1998). Williams also contributed the theme music for, and scored several episodes of, Spielberg's anthology television series [[Amazing Stories (1985 TV series)|''Amazing Stories'']] (1985). ''[[Schindler's List]]'' (1993) proved to be a challenge for Williams; after viewing the rough cut with Spielberg, he was so overcome with emotion that he was hesitant to score the film. He told Spielberg, "I really think you need a better composer than I am for this film." Spielberg replied, "I know, but they're all dead."<ref>{{cite web |last1=Daniloff |first1=Caleb |title=Williams surprises Spielberg |url=https://www.bu.edu/articles/2009/williams-surprises-spielberg/ |website=BU Today |date=May 18, 2009 |publisher=Boston University |access-date=July 15, 2021 |archive-date=July 15, 2021 |archive-url=https://web.archive.org/web/20210715175325/https://www.bu.edu/articles/2009/williams-surprises-spielberg/ |url-status=live}}</ref> Williams asked classical violinist [[Itzhak Perlman]] to play the main theme for the film. Williams garnered his fourth Oscar for Best Original Score, his fifth overall.

Williams scored Spielberg's ''[[A.I. Artificial Intelligence]]'', based on an unfinished project [[Stanley Kubrick]] asked Spielberg to direct. [[A. O. Scott]] argued that the movie represented new directions for director and composer, writing that Spielberg created "a mood as layered, dissonant and strange as John Williams's unusually restrained, modernist score".<ref>{{cite news |last=Scott |first=A. O. |title=Do Androids Long For Mom? |work=The New York Times |date=June 29, 2001 |url=https://www.nytimes.com/2001/06/29/movies/film-review-do-androids-long-for-mom.html |access-date=November 27, 2023 |archive-date=October 23, 2021| archive-url=https://web.archive.org/web/20211023130713/https://www.nytimes.com/2001/06/29/movies/film-review-do-androids-long-for-mom.html |url-status=live}}</ref> Williams wrote scores inspired by jazz for Spielberg's ''[[Catch Me If You Can]]'' (2002), which allowed him to tip his hat to [[Henry Mancini]], as well as ''[[The Terminal]]'' (2004).<ref>{{cite web |url=http://preview.reelviews.net/movies/c/catch_me.html |last=Berardinelli |first=James |publisher=ReelViews.net |title=Catch Me If You Can |access-date=July 3, 2008 |archive-date=December 3, 2019 |archive-url=https://web.archive.org/web/20191203183542/http://preview.reelviews.net/movies/c/catch_me.html |url-status=live}}</ref> His 2005 score for Spielberg's [[War of the Worlds (2005 film)|''War of the Worlds'']] allowed him to tip his hat to the scores for classic monster movies. That same year, he scored Spielberg's [[Epic film|epic]] [[historical drama]] film [[Munich (2005 film)|''Munich'']].

In 2011, after a three-year hiatus from film scoring, Williams composed the scores for Spielberg's [[The Adventures of Tintin (film)|''The Adventures of Tintin'']] and [[War Horse (film)|''War Horse'']]. The former was his first score for an animated film, and he employed various styles, including "1920s, 1930s European jazz" for the opening credits and "pirate music" for the maritime battles. Both scores received overwhelmingly positive reviews<ref>{{cite web|url=http://www.filmtracks.com/titles/tintin.html|title=The Adventures of Tintin: The Secret of the Unicorn (John Williams)|website=Filmtracks|access-date=April 30, 2012|archive-date=February 28, 2013|archive-url=https://web.archive.org/web/20130228041742/http://www.filmtracks.com/titles/tintin.html|url-status=live}}</ref><ref>{{cite web|url=http://www.filmtracks.com/titles/war_horse.html|title=War Horse (John Williams)|website=Filmtracks|date=November 21, 2011|access-date=April 30, 2012|archive-date=March 2, 2013|archive-url=https://web.archive.org/web/20130302182722/http://filmtracks.com/titles/war_horse.html|url-status=live}}</ref><ref>{{cite web|url=http://www.moviecues.com/tintin|title=The Adventures of Tintin: The Secret of the Unicorn (John Williams)|website=Moviecues|date=November 1, 2011|access-date=April 30, 2012|archive-date=April 26, 2012|archive-url=https://web.archive.org/web/20120426052032/http://www.moviecues.com/tintin/|url-status=live}}</ref><ref>{{cite web|url=http://www.moviecues.com/war-horse|title=War Horse (John Williams)|website=Moviecues|date=December 4, 2011|access-date=April 30, 2012|archive-date=April 26, 2012|archive-url=https://web.archive.org/web/20120426052148/http://www.moviecues.com/war-horse/|url-status=live}}</ref><ref>{{cite web|url=http://moviemusicuk.us/2011/10/23/the-adventures-of-tintin-the-secret-of-the-unicorn-john-williams|title=The Adventures Of Tintin: The Secret Of The Unicorn&nbsp;– John Williams|website=Moviemusicuk.us|date=October 23, 2011|access-date=April 30, 2012|archive-date=June 6, 2012|archive-url=https://web.archive.org/web/20120606230459/http://moviemusicuk.us/2011/10/23/the-adventures-of-tintin-the-secret-of-the-unicorn-john-williams/|url-status=live}}</ref><ref>{{cite web|url=http://www.movie-wave.net/?p=1883|title=The Adventures of Tintin: The Secret of the Unicorn soundtrack review|date=December 4, 2011|website=Movie-wave.net|access-date=April 30, 2012|archive-date=April 6, 2013|archive-url=https://web.archive.org/web/20130406132559/http://www.movie-wave.net/?p=1883|url-status=live}}</ref> and earned Academy Award nominations,<ref>{{cite web|url=http://www.oscars.org/awards/academyawards/84/nominees.html|title=Winners for the 84th Academy Awards|website=Oscars.org|access-date=April 30, 2012|archive-date=August 25, 2013|archive-url=https://web.archive.org/web/20130825202636/http://www.oscars.org/awards/academyawards/84/nominees.html|url-status=live}}</ref> the latter also being nominated for a Golden Globe.<ref>{{cite web|url=http://www.goldenglobes.org/blog/2011/12/the-69th-annual-golden-globe-awards-nominations|title=The 69th Annual Golden Globe Awards Nominations |website=Official Website of the HFPA and the Golden Globe Awards|date=December 15, 2011|access-date=April 30, 2012|archive-url=https://web.archive.org/web/20120507232315/http://www.goldenglobes.org/blog/2011/12/the-69th-annual-golden-globe-awards-nominations/|archive-date=May 7, 2012}}</ref> The Oscar nominations were Williams's 46th and 47th, making him the most nominated musician in Academy Award history (having previously been tied with [[Alfred Newman (composer)|Alfred Newman]]'s 45 nominations) and the second most nominated overall, behind [[Walt Disney]]. Williams won an [[Annie Awards|Annie Award]] for his score for ''Tintin''. In 2012, he scored Spielberg's [[Lincoln (film)|''Lincoln'']], for which he received his 48th Academy Award nomination.<ref>{{Cite web|url=http://www.johnwilliams.org/reference/awards|title=John Williams {{!}} Awards|website=Johnwilliams.org|access-date=December 12, 2019|archive-date=January 17, 2020|archive-url=https://web.archive.org/web/20200117075634/http://www.johnwilliams.org/reference/awards|url-status=live}}</ref> He was also set to write the score for [[Bridge of Spies (film)|''Bridge of Spies'']] that year, which would have been his 27th collaboration with Spielberg,<ref>{{cite news|last1=Fischer|first1=Russ|title=New Steven Spielberg and Tom Hanks Film Titled 'Bridge of Spies,' John Williams Confirmed to Score|url=https://www.slashfilm.com/536572/bridge-of-spies/|access-date=May 13, 2022|website=/Film|date=March 3, 2015|archive-date=May 13, 2022|archive-url=https://web.archive.org/web/20220513050535/https://www.slashfilm.com/536572/bridge-of-spies/|url-status=live}}</ref> but in March 2015, it was announced that [[Thomas Newman]] would score it instead, as Williams's schedule was interrupted by a minor health issue.<ref>{{cite news|title=Thomas Newman Replaces Williams on 'Bridge of Spies'|url=http://www.jwfan.com/?p=7446|access-date=March 18, 2015|website=John Williams Fan Network|date=March 18, 2015|archive-date=March 20, 2015|archive-url=https://web.archive.org/web/20150320152957/http://www.jwfan.com/?p=7446|url-status=live}}</ref> This was the first Spielberg film since [[The Color Purple (1985 film)|''The Color Purple'']] (1985) not scored by Williams.<ref name="The Verge">{{cite web|title=John Williams won't score a Steven Spielberg film for the first time in 30 years|url=https://www.theverge.com/2015/3/18/8243915/john-williams-not-scoring-spielberg-film|access-date=June 8, 2015|website=The Verge|date=March 18, 2015|archive-date=June 7, 2015|archive-url=https://web.archive.org/web/20150607111901/http://www.theverge.com/2015/3/18/8243915/john-williams-not-scoring-spielberg-film|url-status=live}}</ref> Williams composed the scores for Spielberg's fantasy [[The BFG (2016 film)|''The BFG'']] and his drama [[The Post (film)|''The Post'']] (2017).<ref name="Silvestri">{{cite news|last1=Burlingame|first1=Jon|title=John Williams and Alan Silvestri to Score Steven Spielberg's Next Films (EXCLUSIVE)|url=https://variety.com/2017/film/news/john-williams-alan-silvestri-steven-spielberg-ready-player-one-the-papers-1202490105/|access-date=July 8, 2017|work=Variety|date=July 7, 2017|archive-date=July 9, 2017|archive-url=https://web.archive.org/web/20170709055735/https://variety.com/2017/film/news/john-williams-alan-silvestri-steven-spielberg-ready-player-one-the-papers-1202490105/|url-status=live}}</ref>

In 2019, Williams served as music consultant for Spielberg's [[West Side Story (2021 film)|''West Side Story'']] (2021)<ref>{{cite news|last=Burlingame|first=Jon|date=December 10, 2021|title=How 'West Side Story's' First-Class Music Team Preserved the Authenticity of Leonard Bernstein's Score|work=Variety|url=https://variety.com/2021/artisans/news/west-side-story-john-wiliams-leonard-bernstein-1235131071/|access-date=December 14, 2021|archive-date=December 14, 2021|archive-url=https://web.archive.org/web/20211214191116/https://variety.com/2021/artisans/news/west-side-story-john-wiliams-leonard-bernstein-1235131071/|url-status=live}}</ref><ref>{{cite book|last1=Bouzereau|first1=Laurent|url=https://www.abramsbooks.com/product/west-side-story_9781419750632|title=''West Side Story'' the Making of the Steven Spielberg Film|year=2021|publisher=Abrams, Incorporated|isbn=978-1-4197-5063-2|access-date=November 5, 2021|archive-date=October 9, 2021|archive-url=https://web.archive.org/web/20211009165148/https://www.abramsbooks.com/product/west-side-story_9781419750632/|url-status=live}}</ref> and scored his semi-autobiographical ''[[The Fabelmans]]'' (2022).<ref>{{Cite web|last=Burlingame|first=Jon|date=February 7, 2022|title=As John Williams Turns 90, No Signs of Slowing Down, With ''Fabelmans'', ''Indiana Jones'' and Birthday Gala in the Offing|url=https://variety.com/2022/artisans/news/john-williams-turns-90-celebrating-1235172996/|website=[[Variety (magazine)|Variety]]|access-date=February 7, 2022|archive-date=September 28, 2022|archive-url=https://web.archive.org/web/20220928124850/https://variety.com/2022/artisans/news/john-williams-turns-90-celebrating-1235172996/|url-status=live}}</ref> In June 2022, Williams announced that ''[[Indiana Jones and the Dial of Destiny]]'', scheduled for a 2023 release, would likely be his last film score as he planned to retire from film and focus on solely composing concert music.<ref>[http://sverigesradio.se/artikel/kompositoren-john-williams-gar-i-pension "Kompositören John Williams går i pension"]. {{Webarchive|url=https://web.archive.org/web/20220624141042/https://sverigesradio.se/artikel/kompositoren-john-williams-gar-i-pension |date=June 24, 2022}} ''Sveriges Radio'', June 24, 2022. {{in lang|sv}}</ref><ref name="nyt90">{{Cite news |last=Hernández |first=Javier C. |date=February 8, 2022 |title=John Williams, Hollywood's Maestro, Looks Beyond the Movies |language=en-US |work=The New York Times |url=https://www.nytimes.com/2022/02/08/arts/music/john-williams-hollywood-film.html |access-date=June 22, 2022 |issn=0362-4331 |archive-date=June 22, 2022 |archive-url=https://web.archive.org/web/20220622153203/https://www.nytimes.com/2022/02/08/arts/music/john-williams-hollywood-film.html |url-status=live}} This article explicitly confirms that Williams was born on February 8, 1932; "Williams, who turned 90 on Tuesday".</ref> However, he reversed this decision by January 2023, stating that he had at least "10 more years to go. I'll stick around for a while!". He compared the decision to Spielberg's father [[Arnold Spielberg|Arnold]], who had worked in his field until he was 100.<ref name="comicbook.com">{{cite web |url=https://comicbook.com/movies/news/john-williams-walks-back-retirement-claims/?mibextid=Zxz2cZ |title=John Williams Walks Back Retirement Claims |date=January 13, 2023 |access-date=August 17, 2023 |archive-date=January 14, 2023 |archive-url=https://web.archive.org/web/20230114194920/https://comicbook.com/movies/news/john-williams-walks-back-retirement-claims/?mibextid=Zxz2cZ |url-status=live}}</ref>

=== ''Star Wars'' and other franchises ===
Spielberg recommended Williams to his friend [[George Lucas]], who needed a composer for his [[space opera]] ''[[Star Wars (film)|Star Wars]]'' (1977). Williams delivered a grand symphonic score influenced by [[Gustav Holst]]'s orchestral suite ''[[The Planets]]'', as well as [[Richard Strauss]], [[Antonín Dvořák]], and [[Classical Hollywood cinema|Golden Age]] Hollywood composers [[Max Steiner]] and [[Erich Wolfgang Korngold]]. The [[Star Wars (Main Title)|Star Wars theme]] is among the most widely recognized in film history, and the "[[Music of Star Wars#Star Wars (A New Hope)|Force Theme]]" and "[[Music of Star Wars#Star Wars (A New Hope)|Princess Leia's Theme]]" are well-known examples of leitmotif. The score was immensely successful—it remains the highest grossing non-[[popular music]] recording of all time—and won Williams a second [[Academy Award for Best Original Score]].<ref>{{cite web|url=http://www.moviefone.com/2013/05/01/star-wars-episode-7-john-williams/|title='Star Wars Episode 7': John Williams Will Probably Score the Sequel, According to J. J. Abrams|publisher=Moviefone|date=May 1, 2013|access-date=December 31, 2015|archive-url=https://web.archive.org/web/20160304073622/http://www.moviefone.com/2013/05/01/star-wars-episode-7-john-williams/|archive-date=March 4, 2016}}</ref> In 1980, Williams returned to score ''[[The Empire Strikes Back]]'', introducing "[[The Imperial March]]" as the theme for [[Darth Vader]] and the [[Galactic Empire (Star Wars)|Galactic Empire]], "[[Music of Star Wars#The Empire Strikes Back|Yoda's Theme]]", and "[[Music of Star Wars#The Empire Strikes Back|Han Solo and the Princess]]". The original ''Star Wars'' trilogy concluded with ''[[Return of the Jedi]]'', for which Williams provided the "[[Music of Star Wars#Return of the Jedi|Emperor's Theme]]", "[[Music of Star Wars#Return of the Jedi|Parade of the Ewoks]]", and "[[Music of Star Wars#Return of the Jedi|Luke and Leia]]". Both scores earned him Academy Award nominations.<ref name="oscars" />

In 1999, Lucas launched the first of three prequels to the original ''Star Wars'' trilogy. Williams was asked to score all three, starting with ''[[Star Wars: Episode I – The Phantom Menace|The Phantom Menace]]''. Along with themes from the previous films, Williams created new themes for 2002's ''[[Star Wars: Episode II – Attack of the Clones|Attack of the Clones]]'' and 2005's ''[[Star Wars: Episode III – Revenge of the Sith|Revenge of the Sith]]''. Most notable of these was "[[Duel of the Fates]]", an aggressive choral composition in the style of [[Giuseppe Verdi|Verdi's]] [[Requiem (Verdi)|''Requiem'']],<ref>[http://h2g2.com/approved_entry/A563942 "John Williams – Film Composer']. ''h2g2''. {{Webarchive|url=https://web.archive.org/web/20160927020241/http://h2g2.com/approved_entry/A563942 |date=September 27, 2016}} Accessed June 1, 2019. "Reminiscent of the 'Dies Irae' from Verdi's Requiem, 'Duel of the Fates' was written to accompany the climactic lightsaber battle in the first of the ''Star Wars'' prequels. While much of the film failed to meet the expectations generated by its hype, this scene stood out as a dazzling work of fight choreography, and the score was an important part of that."</ref>{{user-generated inline|date=January 2024}} using harsh [[Sanskrit]] lyrics that broadened the style of music used in the ''Star Wars'' films. It used vocal melodies instead of his usual compositions using brass instruments. 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". For ''Attack of the Clones'', Williams composed "Across the Stars", a love theme for [[Padmé Amidala]] and [[Anakin Skywalker]] (mirroring the love theme composed for ''The Empire Strikes Back'').<ref>{{cite web|url=http://www.filmmusicnotes.com/celebrating-star-wars-themes-part-4-of-6-duel-of-the-fates/|title=Celebrating Star Wars Themes Part 4|first=Mark|last=Richards|publisher=Film Music Notes|date=November 30, 2015|access-date=December 31, 2015|archive-date=January 5, 2016|archive-url=https://web.archive.org/web/20160105121607/http://www.filmmusicnotes.com/celebrating-star-wars-themes-part-4-of-6-duel-of-the-fates/|url-status=live}}</ref><ref>{{cite web|url=http://www.filmmusicnotes.com/celebrating-star-wars-themes-part-5-of-6-across-the-stars//|title=Celebrating Star Wars Themes Part 5|first=Mark|last=Richards|publisher=Film Music Notes|date=November 30, 2015|access-date=December 31, 2015|archive-date=January 20, 2016|archive-url=https://web.archive.org/web/20160120202505/http://www.filmmusicnotes.com/celebrating-star-wars-themes-part-5-of-6-across-the-stars/|url-status=live}}</ref> The final installment ''Revenge of the Sith'' combined many of the themes created for the series' previous films, 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, titled "Battle of the Heroes".<ref>{{cite web|url=http://www.filmmusicnotes.com/celebrating-star-wars-themes-part-6-of-6-battle-of-the-heroes/|title=Celebrating Star Wars Themes Part 6|first=Mark|last=Richards|publisher=Film Music Notes|date=November 30, 2015|access-date=December 31, 2015|archive-date=January 19, 2016|archive-url=https://web.archive.org/web/20160119213527/http://www.filmmusicnotes.com/celebrating-star-wars-themes-part-6-of-6-battle-of-the-heroes/|url-status=live}}</ref>

Williams scored the first three film adaptations of [[J. K. Rowling]]'s ''[[Harry Potter]]'' series. The most important theme from Williams's scores for the ''Harry Potter'' films, "[[Hedwig's Theme]]", was also used in the fourth through eighth films. Like the main themes from ''Jaws'', ''Star Wars'', ''Superman'', and ''Indiana Jones'', fans have come to identify the ''Harry Potter'' films with Williams's themes. Williams was asked to return to score the film franchise's final installment, ''[[Harry Potter and the Deathly Hallows – Part 2]]'', but director [[David Yates]] said 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.<ref>{{Cite news|url=http://www.mugglenet.com/2010/11/first-notes-from-deathly-hallows-part-1-junket-in-london/|title=First notes from Deathly Hallows – Part 1 junket in London|date=November 12, 2010|website=MuggleNet|access-date=December 12, 2019|archive-date=December 12, 2019|archive-url=https://web.archive.org/web/20191212073023/http://www.mugglenet.com/2010/11/first-notes-from-deathly-hallows-part-1-junket-in-london/|url-status=live |author1=Mugglenet}}</ref>

In 2013, Williams expressed interest in working on the [[Star Wars sequel trilogy|''Star Wars'' sequel trilogy]], saying: "Now we're hearing of a new set of movies coming in 2015, 2016&nbsp;... so I need to make sure I'm still ready to go in a few years for what I hope would be continued work with George."<ref>{{cite web|title=Williams Says He 'Hopes' to Work on New Star Wars Trilogy|website=John Williams Fan Network|date=February 11, 2013|access-date=February 12, 2013|url=http://www.jwfan.com/?p=5407/|archive-date=August 25, 2020|archive-url=https://web.archive.org/web/20200825233807/http://www.jwfan.com/?p=5407%2F|url-status=live}}</ref> In 2015, Williams scored ''[[Star Wars: The Force Awakens]]'', earning him his 50th Academy Award nomination.<ref>{{cite web|title=Williams confirms he will score Episode VII|website=John Williams Fan Network|date=May 23, 2013|access-date=May 23, 2013|url=http://www.jwfan.com/?p=5671/|archive-date=November 3, 2013|archive-url=https://web.archive.org/web/20131103234754/http://www.jwfan.com/?p=5671/|url-status=live}}</ref><ref>{{cite web|title=Oscar Nominations 2016: Star Wars: The Force Awakens|website=Oscars|date=January 14, 2016|access-date=January 14, 2015|url=http://oscar.go.com/nominees/music-original-score/star-wars-the-force-awakens|archive-date=January 17, 2016|archive-url=https://web.archive.org/web/20160117135812/http://oscar.go.com/nominees/music-original-score/star-wars-the-force-awakens|url-status=live}}</ref> In 2017, he wrote the music for ''[[Star Wars: The Last Jedi]]'',<ref>{{cite web|url=https://www.theverge.com/2016/8/16/12497252/john-williams-scoring-star-wars-episode-8|title=John Williams confirms he's working on the score for Star Wars: Episode VIII|last=McCormick|first=Rich|work=The Verge|date=August 16, 2016|access-date=August 16, 2016|archive-date=August 16, 2016|archive-url=https://web.archive.org/web/20160816191424/http://www.theverge.com/2016/8/16/12497252/john-williams-scoring-star-wars-episode-8|url-status=live}}</ref> the eighth episode of the saga. Williams contributed "The Adventures of Han" and several additional demos for the 2018 standalone ''Star Wars'' film ''[[Solo: A Star Wars Story]]'', while [[John Powell (film composer)|John Powell]] wrote the film's original score and adapted Williams's music.<ref>{{Cite news|url=https://variety.com/2017/film/news/john-williams-star-wars-composer-han-solo-movie-theme-1202650282/|title='Solo' Locks In Key 'Star Wars' Veteran|last=Burlingame|first=Jon|date=December 30, 2017|work=Variety|access-date=December 30, 2017|archive-date=December 30, 2017|archive-url=https://web.archive.org/web/20171230173800/http://variety.com/2017/film/news/john-williams-star-wars-composer-han-solo-movie-theme-1202650282/|url-status=live}}</ref><ref>{{Cite web|date=October 20, 2020|title='Solo: A Star Wars Story' Deluxe Edition Soundtrack Album Details|url=https://filmmusicreporter.com/2020/10/20/solo-a-star-wars-story-deluxe-edition-soundtrack-album-details/|access-date=November 21, 2020|website=Film Music Reporter|archive-date=November 20, 2020|archive-url=https://web.archive.org/web/20201120091142/https://filmmusicreporter.com/2020/10/20/solo-a-star-wars-story-deluxe-edition-soundtrack-album-details/|url-status=live}}</ref><ref>{{Cite tweet|date=November 20, 2020|title=John Powell also revealed which cues include JW's own pieces he composed to picture as 'demos'|user=thelegacyofjw|number=1329794708466524160|access-date=November 21, 2020|author=The Legacy of John Williams}}</ref>

In March 2018, Williams announced that following ''[[Star Wars: The Rise of Skywalker]]'' (2019), he would retire from composing music for the ''Star Wars'' franchise: "We know [[J. J. Abrams]] is preparing one ''Star Wars'' movie now that I will hopefully do next year for him. I look forward to it. It will round out a series of nine, that will be quite enough for me."<ref>{{cite web|last=Kaye|first=Ben|title=John Williams to retire from Star Wars films following Episode IX|url=https://consequence.net/2018/03/john-williams-to-retire-from-star-wars-films-following-episode-ix/|access-date=March 7, 2018|work=[[Consequence of Sound]]|date=March 7, 2018|archive-date=June 25, 2021|archive-url=https://web.archive.org/web/20210625081506/https://consequence.net/2018/03/john-williams-to-retire-from-star-wars-films-following-episode-ix/|url-status=live}}</ref> Williams also makes a cameo in the film as Oma Tres, a [[List of Star Wars planets and moons|Kijimi]] bartender.<ref>{{Cite magazine|url=https://www.vanityfair.com/hollywood/2019/12/star-wars-the-rise-of-skywalker-cameos-who-were-the-jedi-voices-jodie-comer-reys-mom|title=25 Star Wars: The Rise of Skywalker Cameos You Might Have Missed|last1=Breznican|first1=Anthony|last2=Robinson|first2=Joanna|date=December 20, 2019|magazine=Vanity Fair|access-date=December 24, 2019|archive-date=December 1, 2020|archive-url=https://web.archive.org/web/20201201234554/https://www.vanityfair.com/hollywood/2019/12/star-wars-the-rise-of-skywalker-cameos-who-were-the-jedi-voices-jodie-comer-reys-mom|url-status=live}}</ref> In July 2018, Williams composed the main musical theme for [[Disneyland]] and [[Disney's Hollywood Studios]] theme park attraction ''[[Star Wars: Galaxy's Edge]]''. [[William Ross (composer)|William Ross]], who conducted the symphonic recording of the theme with the [[London Symphony Orchestra]] on Williams's behalf, additionally arranged Williams's original composition in different musical contexts for use, recording nearly an hour of musical material at [[Abbey Road Studios]] in November 2018.<ref>{{Cite web|last1=Burlingame|first1=Jon|date=May 20, 2019|title=John Williams in Disneyland: The Story Behind His 'Star Wars: Galaxy's Edge' Theme|url=https://variety.com/2019/music/news/john-williams-new-theme-music-star-wars-galaxys-edge-disneyland-1203220959/|access-date=November 21, 2020|website=Variety|archive-date=May 20, 2019|archive-url=https://web.archive.org/web/20190520191631/https://variety.com/2019/music/news/john-williams-new-theme-music-star-wars-galaxys-edge-disneyland-1203220959/|url-status=live}}</ref><ref>{{Cite web|last1=Nyren|first1=Erin|date=November 18, 2018|title=John Williams to Compose New 'Star Wars' Music for Disney Parks Attractions|url=https://variety.com/2018/biz/news/star-wars-land-disneyland-john-williams-new-attractions-1203031846/|access-date=November 21, 2020|website=Variety|archive-date=December 3, 2018|archive-url=https://web.archive.org/web/20181203152122/https://variety.com/2018/biz/news/star-wars-land-disneyland-john-williams-new-attractions-1203031846/|url-status=live}}</ref> Williams won the [[Grammy Award for Best Instrumental Composition]] for his ''Star Wars: Galaxy's Edge Symphonic Suite''. In 2022, he contributed the theme music for the ''Star Wars'' miniseries [[Obi-Wan Kenobi (TV series)|''Obi-Wan Kenobi'']], which was subsequently adapted further by William Ross.<ref>{{Cite web|last=Burlingame|first=Jon|date=February 17, 2022|title=John Williams Returns to 'Star Wars' Universe with 'Obi-Wan Kenobi' Theme (EXCLUSIVE)|url=https://variety.com/2022/artisans/news/john-williams-obi-wan-kenobi-theme-star-wars-series-1235185228/|access-date=February 17, 2022|website=Variety|archive-date=February 17, 2022|archive-url=https://web.archive.org/web/20220217231822/https://variety.com/2022/artisans/news/john-williams-obi-wan-kenobi-theme-star-wars-series-1235185228/|url-status=live}}</ref>

=== Other film and television works ===
Williams scored [[Alfred Hitchcock]]'s final film, ''[[Family Plot]]'' (1976), as well as [[John Guillermin]]'s ''[[The Towering Inferno]]'' (1974), [[Clint Eastwood]]'s [[The Eiger Sanction (film)|''The Eiger Sanction'']] (1975), [[John Frankenheimer]]'s [[Black Sunday (1977 film)|''Black Sunday'']] (1977), [[John Badham]]'s [[Dracula (1979 film)|''Dracula'']] (1979), [[Allan Arkush]]'s ''[[Heartbeeps]]'' (1981) and [[Frank Perry]]'s [[Monsignor (film)|''Monsignor'']] (1982). He also contributed the [[Academy Awards|Oscar]] and [[Golden Globe Awards|Golden Globe]] nominated song "If We Were in Love" (with lyrics by [[Alan & Marilyn Bergman]]) to [[Franklin J. Schaffner]]'s ''[[Yes, Giorgio]]'' (1982).

For ''Family Plot'', Hitchcock told Williams to remember one thing: "Murder can be fun." He tipped his hat to Hitchcock's frequent composer, [[Bernard Herrmann]], and Hitchcock was pleased with the result. Williams would follow a similar approach when scoring [[Brian de Palma]]'s [[The Fury (film)|''The Fury'']] (1978). Kael called Williams "a major collaborator" on the film, writing that he had "composed what may be as apt and delicately varied a score as any horror movie has ever had. He scares us without banshee melodramatics. He sets the mood under the opening titles: otherworldly, seductively frightening. The music cues us in."<ref>{{cite magazine |last=Kael |first=Pauline |date=March 20, 1978 |title=Shivers |magazine=The New Yorker}}</ref>

That same year, Williams scored [[Richard Donner]]'s [[Superman (1978 film)|''Superman'']] (1978). Donner reportedly interrupted the demo premiere of the opening title by running onto the soundstage, exclaiming, "The music actually says 'Superman'!"<ref>Commentary track, ''Superman: The Movie''</ref> King writes that "Donner had a theory that the three-note motif in the main theme—the one that makes you want to punch the air in triumph—is a musical evocation of 'SU-per-MAN!{{'"}}. When asked if there was anything to that, Williams replied "There's ''everything'' to that."<ref name="King2023" /> The score's heroic and romantic themes, particularly the main march, the Superman fanfare and the love theme, "Can You Read My Mind?", appeared in the subsequent Salkind/Cannon film sequels as well as ''[[Superman Returns]]'' (2006). The main march is set to return as part of [[John Murphy (composer)|John Murphy]] and [[David Fleming (composer)|David Fleming]]'s score to [[James Gunn]]'s ''[[Superman (2025 film)|Superman]]'' (2025), the first film of the [[DC Universe]].<ref>{{cite web |url=https://www.gamesradar.com/entertainment/dc-movies/james-gunn-says-he-is-bringing-back-that-iconic-john-williams-score-in-superman-to-pay-tribute-to-when-he-first-heard-it-as-a-child/ |title=James Gunn says he is bringing back that iconic John Williams score in Superman to "pay tribute" to when he first heard it as a child |date=December 19, 2024}}</ref><ref>{{Cite web |last=Gonzalez |first=Umberto |date=December 17, 2024 |title=James Gunn's 'Superman' Takes Flight: No Universe-Building, 'Top Gun'-Style Action and Why the Trunks Won Out |url=https://www.thewrap.com/james-gunn-superman-reboot-universe-building-action-casting/ |access-date=December 17, 2024 |website=[[TheWrap]]}}</ref>

In 1985, NBC commissioned Williams to compose a [[television news music]] package for various network news spots. The package, which Williams named "[[The Mission (theme music)|The Mission]]", consists of four movements, two of which are still used heavily by NBC today for ''[[Today (NBC program)|Today]]'', ''[[NBC Nightly News]]'' and ''[[Meet the Press]]''.<ref>{{cite news |last1=Kaplan |first1=Peter |date=September 10, 1985 |title=John Williams Creates Themes for NBC News |url=https://www.nytimes.com/1985/09/10/arts/john-williams-creates-themes-for-nbc-news.html |url-status=live |archive-url=https://web.archive.org/web/20210715180315/https://www.nytimes.com/1985/09/10/arts/john-williams-creates-themes-for-nbc-news.html |archive-date=July 15, 2021 |access-date=July 15, 2021 |work=The New York Times}}</ref> In 1987, Williams scored [[George Miller (filmmaker)|George Miller]]'s [[The Witches of Eastwick (film)|''The Witches of Eastwick'']] (1987). In his Oscar-nominated score for [[Lawrence Kasdan]]'s [[The Accidental Tourist (film)|''The Accidental Tourist'']] (1988),<ref>{{Cite web |title=The 61st Academy Awards, 1989 |url=https://www.oscars.org/oscars/ceremonies/1989 |url-status=live |archive-url=https://web.archive.org/web/20180417063017/https://www.oscars.org/oscars/ceremonies/1989 |archive-date=April 17, 2018 |access-date=April 3, 2022 |website=Academy of Motion Picture Arts and Sciences |date=October 5, 2014 |language=en}}</ref> Williams developed the two main theme sections in different ways, turning the mood lighter or darker through orchestration and an unexpected use of synthesizers.<ref>{{Cite web |last=Southall |first=James |date=2008 |title=Williams: The Accidental Tourist |url=http://www.movie-wave.net/titles/accidental_tourist.html |url-status=live |archive-url=https://web.archive.org/web/20220811213155/http://www.movie-wave.net/titles/accidental_tourist.html |archive-date=August 11, 2022 |access-date=April 3, 2022 |website=Movie Wave}}</ref>

Other frequent collaborations with directors include [[Martin Ritt]] (''[[Pete 'n' Tillie]]'' (1972), ''[[Conrack]]'' (1974) and ''[[Stanley & Iris]]'' (1990)), [[Mark Rydell]] ([[The Reivers (film)|''The Reivers'']] (1969), ''[[The Cowboys]]'' (1972), ''[[Cinderella Liberty]]'' (1973) and [[The River (1984 film)|''The River'']] (1984)), [[Oliver Stone]] ([[Born on the Fourth of July (film)|''Born on the Fourth of July'']] (1989), [[JFK (film)|''JFK'']] (1991) and [[Nixon (film)|''Nixon'']] (1995)), and [[Chris Columbus (filmmaker)|Chris Columbus]] (the first two [[Home Alone (franchise)|''Home Alone'' films]] (1990–1992), [[Stepmom (1998 film)|''Stepmom'']] (1998) and the first two [[Harry Potter (film series)|''Harry Potter'' films]] (2001-2002). Additional films Williams scored during this period include [[Harry Winer]]'s ''[[SpaceCamp]]'' (1986), [[Alan J. Pakula]]'s [[Presumed Innocent (film)|''Presumed Innocent'']] (1990), [[Ron Howard]]'s ''[[Far and Away]]'' (1992), [[Sydney Pollack]]'s [[Sabrina (1995 film)|''Sabrina'']] (1995), [[Barry Levinson]]'s [[Sleepers (film)|''Sleepers'']] (1996), [[John Singleton]]'s [[Rosewood (film)|''Rosewood'']] and [[Jean-Jacques Annaud]]'s [[Seven Years in Tibet (1997 film)|''Seven Years in Tibet'']] (1997), [[Alan Parker]]'s [[Angela's Ashes (film)|''Angela's Ashes'']] (1999), [[Roland Emmerich]]'s [[The Patriot (2000 film)|''The Patriot'']] (2000) and [[Rob Marshall]]'s [[Memoirs of a Geisha (film)|''Memoirs of a Geisha'']] (2005).

Williams scored the 2013 film ''[[The Book Thief (film)|The Book Thief]]'',<ref>{{cite web |date=August 6, 2013 |title=John Williams to Score 'The Book Thief' |url=http://filmmusicreporter.com/2013/08/06/john-williams-to-score-the-book-thief/ |url-status=live |archive-url=https://web.archive.org/web/20151208123731/http://filmmusicreporter.com/2013/08/06/john-williams-to-score-the-book-thief/ |archive-date=December 8, 2015 |access-date=August 6, 2013 |publisher=Film Music Reporter}}</ref> his first collaboration with a director other than Spielberg since 2005. The score earned him an Academy Award, Golden Globe and BAFTA nominations and a Grammy Award for Best Instrumental Composition. It was his 44th nomination for [[Academy Award for Best Original Score|Best Original Score]] (and 49th overall), setting a new record for the most nominations in that category (he tied [[Alfred Newman (composer)|Alfred Newman]]'s record of 43 nominations in 2013).<ref name="oscars" /><ref>[http://awardsdatabase.oscars.org/ampas_awards/help/helpMain.jsp?helpContentURL=statistics/indexStats.html "Nominee Facts – Most nominations and Awards"] {{webarchive|url=https://web.archive.org/web/20160701093205/http://awardsdatabase.oscars.org/ampas_awards/help/helpMain.jsp?helpContentURL=statistics%2FindexStats.html|date=July 1, 2016}}, ''Academy Awards Database'', Retrieved November 30, 2015</ref> In 2017, Williams scored the animated short film ''[[Dear Basketball]]'', directed by [[Glen Keane]] and based on a poem by [[Kobe Bryant]].<ref>{{cite news |last=Spangler |first=Todd |date=May 5, 2016 |title=Kobe Bryant Inks Sports Illustrated Deal for 'Dear Basketball' Animated Film |url=https://variety.com/2016/digital/news/kobe-bryant-dear-basketball-film-sports-illustrated-1201767225/ |url-status=live |archive-url=https://web.archive.org/web/20160608064159/http://variety.com/2016/digital/news/kobe-bryant-dear-basketball-film-sports-illustrated-1201767225/ |archive-date=June 8, 2016 |access-date=June 10, 2016 |work=[[Variety (magazine)|Variety]] |language=en-US}}</ref><ref>{{cite news |last=Burlingame |first=Jon |date=January 11, 2018 |title=Kobe Bryant Scores With Composer John Williams for 'Dear Basketball' |url=https://variety.com/2018/film/spotlight/kobe-bryant-scores-with-composer-john-williams-for-dear-basketball-1202662215/ |url-status=live |archive-url=https://web.archive.org/web/20180113093030/http://variety.com/2018/film/spotlight/kobe-bryant-scores-with-composer-john-williams-for-dear-basketball-1202662215/ |archive-date=January 13, 2018 |access-date=January 12, 2018 |work=[[Variety (magazine)|Variety]]}}</ref> In 2023, he was commissioned by [[ESPN]] to write an original composition titled "Of Grit and Glory" for the [[2023 College Football Playoff National Championship]].<ref>{{Cite web |last=Brooks |first=Amanda |date=January 9, 2023 |title=Legendary Composer John Williams Creates Original Score for ESPN's College Football Playoff National Championship Presented by AT&T |url=https://espnpressroom.com/us/press-releases/2023/01/legendary-composer-john-williams-creates-original-score-for-espns-college-football-playoff-national-championship-presented-by-att/ |access-date=April 16, 2024 |website=ESPN Press Room U.S. |language=en-US}}</ref>