Editing John Williams (section)

=== 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>