John Towner Williams (born February 8, 1932) is an American composer and conductor. Over his seven-decade career, he has composed many of the best-known scores in film history. His style blends romanticism and impressionism with complex orchestration. Best known for his collaborations with George Lucas and Steven Spielberg, he has received numerous accolades, including 27 Grammy Awards, five Academy Awards, seven BAFTA Awards, three Emmy Awards and four Golden Globe Awards. With a total of 54 Academy Award nominations, he is the second-most-nominated person in the award's history, after Walt Disney. He is also the oldest Academy Award nominee in any category, receiving a nomination at 91 years old.
Williams's early work as a film composer includes None but the Brave (1965), Valley of the Dolls (1967), Goodbye, Mr. Chips (1969), Images (1972), The Long Goodbye (1973) and The Towering Inferno (1974). His work with Spielberg began on The Sugarland Express (1974), and he has composed music for all but five of his feature films. He received Academy Awards for Fiddler on the Roof (1971; arrangement of the original score by Jerry Bock), Jaws (1975), Star Wars (1977), E.T. the Extra-Terrestrial (1982) and Schindler's List (1993). Other memorable collaborations with Spielberg include Close Encounters of the Third Kind (1977), Raiders of the Lost Ark (1981), Jurassic Park (1993), Saving Private Ryan (1998), Catch Me If You Can (2002), Lincoln (2012) and The Fabelmans (2022). He also scored Superman (1978) and its sequel Superman II (1980), the first two Home Alone films (1990–1992), and the first three Harry Potter films (2001–2004).
Williams served as the Boston Pops' principal conductor from 1980 to 1993 and is its laureate conductor."Boston Pops – John Williams" , bso.org; retrieved November 29, 2015. He has also composed numerous classical concertos and other works for orchestral ensembles and solo instruments. Williams's works include theme music for the 1984 Summer Olympics, "The Mission" theme (used by NBC News and Seven News in Australia) and PBS's Great Performances.
Williams received the Kennedy Center Honor in 2004, the National Medal of the Arts in 2009 and the AFI Life Achievement Award in 2016. He was inducted into the Songwriters Hall of Fame in 1998, the Hollywood Bowl's Hall of Fame in 2000 and the American Classical Music Hall of Fame in 2004. In 2022, Williams was awarded an honorary knighthood by Queen Elizabeth II, "for services to film music". The Library of Congress included the Star Wars score in the National Recording Registry for being "culturally, historically, or aesthetically significant". The American Film Institute included three of his scores on its AFI's 100 Years of Film Scores: Jaws, E.T. and, in first place, Star Wars. His career was chronicled in the Disney+ documentary Music by John Williams (2024).
Early life and education John Towner Williams was born on February 8, 1932, in Queens, New York City, to Esther (née Towner) and Johnny Williams, a jazz drummer and percussionist who played with the Raymond Scott Quintet. He has an older sister, Joan, and two younger brothers, Jerry and Don, who play on his film scores. Williams said of his lineage: "My father was a Maine man—we were very close. My mother was from Boston. My father's parents ran a department store in Bangor, Maine, and my mother's father was a cabinetmaker." John Williams senior collaborated with Bernard Herrmann, and his son sometimes joined him in rehearsals.
In 1948, the Williams family moved to Los Angeles. John attended North Hollywood High School and graduated in 1950. He attended the University of California, Los Angeles, and studied composition privately with the Italian composer Mario Castelnuovo-Tedesco. at Sony Classical; retrieved September 29, 2007. During his time in college, Williams was a pianist at a local club. Williams also attended Los Angeles City College for one semester to play for the school's studio jazz band.
In 1951, Williams joined the U.S. Air Force, where he played the piano and bass and conducted and arranged music for the U.S. Air Force Band. In March 1952, he was assigned to the Northeast Air Command 596th Air Force Band, and after military training at the Lackland Air Force Base in Texas, he was stationed at Davis–Monthan Air Force Base in Tucson, Arizona. While there, he attended music courses at the University of Arizona. Williams was then stationed at Pepperrell Air Force Base in St. John's, Newfoundland for two years.
In 1955, following his service, Williams moved to New York City to study piano with Rosina Lhévinne at Juilliard. Williams neither enrolled in courses nor did he graduate from the school, instead taking private lessons from Lhévinne at her practice room on campus. He originally planned on becoming a concert pianist, but after hearing John Browning and Van Cliburn perform, he switched his focus to composition, realizing "I could write better than I could play." During his studies, Williams found work in many of the city's jazz clubs as a pianist.
Career Early career Following his studies with Lhévinne, Williams moved back to Los Angeles, where he began working as an orchestrator at film studios. During this period, Williams worked with such composers as Franz Waxman, Bernard Herrmann and Alfred Newman, and with fellow orchestrators Conrad Salinger and Bob Franklyn.Films & Filming, vol. 24, 1977, p. 32
Williams was also a studio pianist and session musician, performing scores by Jerry Goldsmith, Elmer Bernstein and Henry Mancini. One of his first jobs was working under mentor Alfred Newman with an uncredited orchestral role for Carousel (1956), starring his soon-to-be wife Barbara Ruick.
With Mancini, he recorded the scores of Peter Gunn (1959), Breakfast at Tiffany's (1961), Days of Wine and Roses (1962) and Charade (1963), and played the piano part of the guitar-piano ostinato in Mancini's Peter Gunn title theme.Tribute to John Williams, ca. 1991. With Elmer Bernstein, he performed on the scores for Alexander Mackendrick's Sweet Smell of Success (1957) and Robert Mulligan's To Kill a Mockingbird (1962). Williams was also the pianist on the scores of Billy Wilder's The Apartment (1960), Jerome Robbins and Robert Wise's West Side Story (1961) and Blake Edwards's The Great Race (1966).
He released several jazz albums under the name Johnny Williams, including Jazz Beginnings, World on a String and The John Towner Touch. Williams also served as music arranger and bandleader for a series of popular music albums alongside Ray Vasquez and Frankie Laine.
Film and television scoring
Rise to prominence In 1952, Williams wrote his first film composition while stationed at Pepperrell Air Force Base for You Are Welcome, a promotional film created for the Province of Newfoundland tourist information office. Williams's first feature film composition was for Daddy-O (1958), followed two years later by Because They're Young. Williams also composed music for television, including 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 latter three created by producer Irwin Allen. He also worked on several episodes of M Squad (1957–60) and Checkmate (1960–62) and the pilot episode of Gilligan's Island (1964–67)."Marooned" credits (unaired pilot, October 16, 1962)RCA Victor PL-45929
The American-Japanese anti-war epic None but the Brave (1965) marked the beginning of Williams's full transition from television to major Hollywood film composing, and shaped his style for future blockbusters. A Variety reviewer highlighted his score for providing "excellent background". The film was also Williams's first collaboration with Frank Sinatra, who directed and starred in it. He later conducted for Sinatra at venues such as a Sloan-Kettering Cancer Center gala.
Williams called William Wyler's How to Steal a Million (1966) "the first film I ever did for a major, super-talent director". He received his first Academy Award nomination for his score for Valley of the Dolls (1967), and was nominated again for Goodbye, Mr. Chips (1969). His first win was for Best Scoring: Adaptation and Original Song Score, for Norman Jewison's Fiddler on the Roof (1971). He scored Robert Altman's Images (1972) and The Long Goodbye (1973). Of the latter, Pauline Kael wrote, "Williams' music is a parody of the movies' frequent overuse of a theme, and a demonstration of how adaptable a theme can be." Altman, known for giving actors free rein, had a similar approach to Williams, telling him to "do whatever you want. Do something you haven't done before."
His prominence grew in the early 1970s thanks to his work for Irwin Allen's disaster films The Poseidon Adventure (1972), The Towering Inferno and 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 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". As it happened, two of Williams's scores shaped the direction of his career.
Collaborations with Steven Spielberg Williams's scores for The Reivers (1969) and The Cowboys (1972) impressed a young Steven Spielberg, who was getting ready to direct his feature debut, The Sugarland Express (1974). He requested Williams, who 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 teenage kid, but a brilliant one". They reunited a year later for Jaws. Spielberg used Williams's score for Images as a temp track while editing Jaws. When Williams played his main theme for Jaws, based on the alternation of two notes, Spielberg initially thought it was a joke. Williams explained: "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". The score earned Williams his second Academy Award, his first for Best Original Score. Its ominous two-note ostinato has become a shorthand for approaching danger. The ostinato is derived from Ravel's La valse; the score also quotes Debussy's La mer and Stravinsky's The Rite of Spring.
Spielberg and Williams began a two-year collaboration on Close Encounters of the Third Kind, crafting the distinctive five-note motif that functions both in the score and in the story as the communications signal of the film's extraterrestrials. Darryn King writes: "One moment in that film captures some of Spielberg and Williams' 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 ... there is a conversational duet: the music of the spheres". Williams says the surprise of the final two notes comes from the fact that the first three notes of the theme are already resolved, adding "I realized that twenty years after the fact".