Debunking Misquotes: Unveiling John Williams’ True Perspective on Film Music

A recent online article with the headline, “John Williams: ‘I Never Really Liked Film Music Much,’” has caused a firestorm. It has led readers to misunderstand the legendary composer’s perspective on film music and implicate him as ungrateful or bitter. Tim Greiving, the author of his upcoming biography, ‘John Williams: A Composer’s Life’, and the recipient of the quoted remarks provides clarity and context to his comments. Williams holds genuine respect for his work and the art of film music, despite the complexities and constraints involved. Although he critiques aspects of the genre, this doesn’t overshadow his dedication and significant contributions to it.

– John Williams, the renowned film composer, was misquoted in recent headlines as not liking film music; the author argues this is inaccurate and taken out of context.
– Williams was discussing the challenges of adapting film music for a concert program, and the limitations of film music as a subservient art form to the narrative, not expressing disdain for it.
– Despite his self-doubt, Williams continues to create film music well into his 90s, recognizing its cultural value and its potential to evolve with new composers.

A recent article published in The Guardian, with the headline “John Williams: ‘I Never Really Liked Film Music Much.’” has sparked a wildfire of controversy online. More conscientious outlets have included the context of the statement in their narratives, but the headlines all revolve around “John Williams Admits He Doesn’t Like Film Music,” or some other sensational variant.

The headlines, however, misrepresent a man of Williams’ stature rendering him as indifferent, unappreciative or bitter, none of which he is. His words to the author, “I never liked film music very much,” were in the specific context of balancing film music with concert programs in a symphony. His experiences as music director of the Boston Pops from 1980 to 1993 led to these insights about the nuances of integrating a music form designed expressly for films into concert programs.

It’s a complex task to transpose the sheet music of a film cue onto a conductor’s podium for a concert. The music needs to be revised, “engraved,” then copied for every musician. Additionally, it often has to be rearranged since it was composed to serve specific film scenes, and lacks a concert-ready beginning or end.

Separately, Williams has talked about the constraints that film music faces as an art form. It has to be less complex and more concise than the classical repertoire, so as to not distract from the dialogue and sound effects. Unlike concert hall music, it must play a secondary role to the director’s overall vision.

However, it needs to be emphasized that Williams is proud of his work. Despite his insecurities and self-criticism, he acknowledges the widespread love for his music, and he extends his gratitude for this affection. He also continues to compose film scores well into his 90s and has been organizing popular concerts featuring his music for over four decades globally.

Furthermore, Williams wasn’t deprecating recent film music, rather, he was referring to the film music that existed during his time at the Pops. Williams rarely follows contemporary film scores. However, he shared optimism about future composers taking the genre in new, wonderful directions.

Williams is not a bitter, senile old man. He is an intellect of high caliber and a warm, graceful, and modest personality. He would likely be distressed by his comments being sensationalized. Williams is more intricate and intriguing than most people realize.

The upcoming book’s focus is his perfection and elevation of film music. He’s not only the most admired film composer of our times but he’s also successfully introduced film music into global symphony concert halls. His music is now frequently performed by every major orchestra and is popular with patrons of all ages. His scores are even used in high-level orchestra auditions.

Despite his personal reservations about his profession, his music testifies to its own value and beauty. We are well-advised to appreciate it.