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is a fourth year student at the University of Toronto with a Specialist in Cinema Studies, and a Minor in English. Julia’s primary interest include: genres (specif-ically science-fiction), animation, and film music. In addition to an academic life dedicated to the study of cinema, Julia also makes short films, with the inten-tion of becoming a director.

JULIA BENEY

WHEN MUSIC ASKED IMAGE TO

DANCE

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John Williams is a Hollywood composer who wrote some of the most unforgettable film scores, including Jaws (1975), Star Wars (1977) and Super-man (1978) – scores that are arguably better, or more memorable, than the films themselves. John Williams is known for his romantic, melodic music, with themes and motifs that are iconic and have become part of contem-porary popular culture. Emilio Audissino, in his book John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style, argues that Williams is a “neo-classical” composer, meaning, Williams’ music has the same style, functions, and approach as the classical Hollywood composers of the studio era.1 This categorization is prob-lematic because it reduces Williams to his simplest traits and ignores the ele-ments of Williams’ music that greatly differ from studio era scores. One such element is Williams’ partnership with Steven Spielberg, a partnership that not only shapes both artists’ work, but one that complicates how – if at all – Wil-liams can be categorized as a neo-classical composer. This paper will analyze Williams’ scores within the films of Steven Spielberg, analyzing Williams’ ap-proach and style, and the function of his music within Spielberg’s films. This essay will also identify how this partnership raises Williams’ music up from a subordinate position to the filmic image. Thus, this paper will address, and problematize, Williams as a neo-classical composer in order to better under-stand how composers like Williams – who maintain a strong partnership with a director – can be categorized, and attempt to illustrate a new “model” in which director and composer relationships can be understood.

•The Classical Score

In order to understand Williams’ music in relation to the music of the classical studio era, it is crucial to first understand what embodies a classical Hollywood score. To clarify, when I use the term “classical” I refer not to the classical era of music (Mozart and Beethoven, for instance) but to the clas-sical era of film, also known as the studio era, roughly 1920 – 1960. In the classical studio era, music is subordinate to the image, serving only to support the narrative. As such, music is just one element aiding in the transmission of narrative information.2 The classical score is not meant to stand out on its own, but rather to assist in guiding the spectator through the film in a man-ner that produces the appropriate responses, at particular times, within the narrative. Thus, the classical score can be identified through specific traits, which, according to Kathryn Kalinak, are: unified, romantic, and symphonic, including the frequent use of the leitmotiv,3 which I will return to later.

Based on the provided rough description of the classical studio era score, it is evident that the principles of composing and editing music for film have

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not changed entirely. John Williams’ music can, arguably, be described as based in the traditions of the classical score: his music is symphonic, often romantic, aids the narrative by triggering specific emotions at specific times, and swells with spectacle or action. Nevertheless, John Williams’ music is not subordinate to the narrative – it is the narrative’s partner. That being said, the films of Williams and Spielberg still strive toward intelligibility, and thus, dialogue is privileged, but Williams’ scores rarely go unnoticed. As a matter of fact, Williams steps around Claudia Gorbman’s “invisibility” and “inaudi-bility,”4 so the spectator is almost always aware of his music, and if not, the spectator can feel the pull of his music. Williams’ scores do not trail behind the narrative, they carry the narrative and it is this effect of Williams’ scores that makes Spielberg’s films memorable, and makes Williams and Spielberg’s partnership unique.

•Musical Partners

In order to better understand the success of Williams and Spielberg’s partnership, it is first important to understand Spielberg’s relationship to music and Williams’ attitude toward directors. Williams has made 25 films with Steven Spielberg, from The Sugarland Express in 1974, to Lincoln in 2012,5 all of which embody an important relationship between music and image. According to Williams, “the best directors, for me, are people who are also musical, I think it’s part of the art of – of what they do.”6 Interesting-ly, Spielberg comes from a fairly musical background – his mother used to play the piano with, and for, Spielberg throughout his youth.7 Additionally, Spielberg has been credited saying: “If I weren’t a filmmaker I’d probably be in music. I’d play piano or I’d compose.”8 Thus, Williams’ appreciation for musical directors is embodied in Steven Spielberg, who thinks musically – an aspect that comes out in his films and affects the manner in which Williams approaches his films.

•The Williams Approach

According to John Williams, Spielberg “has a wonderful sense of rhythm in his films,” and as a result, when Williams composes for Spielberg he is “trying to find out just exactly how fast is it or how slow is it, because the film is telling [Williams] what the tempo is.”9 Interestingly, Williams goes on to note that Spielberg’s films have “phrases” – meaning, certain scenes or sequences of Spielberg’s films have a particular feel and rhythm – to which Spielberg replies, “that’s because I make my pictures with Johnny in mind.”10 Consequently, an interesting dynamic is created since Williams is not just re-sponding to the films provided to him – like a classical studio era composer –

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but Spielberg is actually tailoring his films for the music. This back and forth relationship breaks away from the classical model as Williams’ music, rather than being subordinate to Spielberg’s work, is more on an equal plane – they are partners.

In their process, Williams and Spielberg discuss the thematic material and, once that is decided, begin to look at the rhythm of the film – whether it’s speeding up or slowing down, or swelling into something larger.11 Fur-thermore, the discussions generally revolve around musical accents on certain cuts, or the lack of accents on cuts, which allows Williams to prepare for a significant musical accent, or piece, later on.12 The effects of this particular approach can be seen in E.T.: The Extra Terrestrial (1982) when Elliot takes E.T. into the woods on Halloween night to attempt to phone (E.T.’s) home. Williams refrains from placing a musical accent on the change of scenery from the sunset bathed street to the dim light of the forest; instead, he uses long musical phrases to tie the two scenes together. These musical phrases resume – steadily increasing in intensity – as Elliot bikes through the woods, continuing to refrain from accenting action in the image, most noticeable when Elliot stops and E.T. makes his bike jerk forward, an action which has no musical accent. Williams refrains from the use of accents so that when E.T. drives Elliot’s bike off the cliff, the long phrases of the music, which has been leading up to this point, swells into a significant musical moment. Williams cues the next big swell when Elliot laughs in excitement in the air, which then goes into a segment of the main theme of the film, with the final accent holding off until Elliot lands and falls, which is mimicked by the music. Based on the short analysis of cueing in this scene, it can be said that Williams scores this flight in a very classical manner, his music cued by narrative moments, supporting the action of the scene and compensating for the visual spectacle.

•The Style of Williams

Whether or not John Williams can be considered a neo-classical compos-er is increasingly debatable when looking at his style. According to Audissino, Williams’ use of a symphony orchestra, specifically one that is larger than that used in the studio era, is another trait that makes Williams neo-classical.13 Although this is accurate, as many classical era composers used symphony or-chestras,14 it is the manner in which Williams utilizes this symphonic orches-tra that complicates the categorization. Williams will often use very romantic music and make it larger than life, to the point where, like in E.T., the music almost stands on equal grounds with the image, if it does not surpass the image. This grandiosity and musical embodiment of wonder is illustrated in

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Jurassic Park (1993) when Grant, Ellie, and Malcolm first see a brachiosaurus at the park. The music starts out low and ebbing, drawing on the terror of the film’s narrative, as Allan looks out the car window at something unknown, creating suspense. Then, once the music begins to lead into a more melodic phrase, the film follows with the image (and call) of the brachiosaurus. The music at this point is romantic and grand, enhancing the sense of wonder created from the sight of a live dinosaur. Williams adds accents into the score, building up to the main section of the phrase when the brachiosaurus stands, timed so that the height of the phrase cues the brachiosaurus’ landing. Then, the film and music work together to create a sense of wonder – a grand mu-sical moment – when Hammond says “Welcome to Jurassic Park”15 and the music is brought up to full volume, enhancing the spectacle and drawing the spectator into the film. Thus, the music is larger than life, it is grand, roman-tic, and melodic – a musical metaphor for these wondrous creatures – but the music does not hide behind the image, in fact it appears, in this scene, to lead the image, to pull the narrative out of suspense and into a realm of wonder – the music takes the spectacle of the image, and the narrative, one step further.

Moreover, Williams uses specific orchestral techniques in his scores to create certain effects within a film and these techniques can be traced back to the classical model. One such technique is the pandiatonicism, which frees chords from fixed functions on the diatonic scale, enabling instant key chang-es, unexpected inflections, and frequent changes within a musical phrase.16 This technique is used in Jurassic Park, especially in the scene described above, as the music goes from a low ebbing and then quickly jumps into a melodic phrase that increases in intensity until it is at full volume with a sense of epic grandeur, before ducking back down again to a more staccato, rhythmic, musical phrase as the group make their way to the Visitor’s Center. Audissino describes this technique as a “powerful attention catcher” or a “sudden color change” that can stress “noteworthy twists in the narrative or events in the visuals.”17

Additionally, Williams’ music is just as much a storyteller as Spielberg’s images – the two work together to present a particular story in a particular way, as seen in a Williams’ technique Audissino calls “gradual disclosure of the main theme.”18 This “gradual disclosure” occurs when a theme develops over the course of a film, coming into its entirety only at a climax in the narrative, or at a point where its presence is strategic.19 This is effectively employed in E.T., where the music develops from something rather ominous in the beginning, to something familial by the end of the film.20 The film begins with the first seven notes of the main theme repeated and varied over the course of the opening musical track. When Elliot leads E.T. up stairs,

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the same seven notes appear, but they morph into something less ominous and more mystical. The music transforms even more as Elliot befriends E.T., slowly developing into the final theme. The theme is almost at its complete stage when Elliot and E.T. go for their first bike ride on Halloween – the first time in which the various melodies are weaved together into a grand melo-dy. However, the theme does not come into its entirety until the final scene – beginning when Elliot and the boys escape with E.T., to when E.T. says goodbye and goes home. According to Williams, this technique allows the music to develop with the film, so when it appears in its entirety, the theme is “vaguely familiar”, something “you feel comfortable with.”21 Aside form a grand narrative theme, Williams also frequently uses leitmotivs.22

•The Leitmotiv

Leitmotivs are common across Williams’ work and are a trait of classical studio era scoring. Notably, a theme, a motif and a leitmotiv are not the same thing (to an extent). A theme is a musical element that is repeated and varied throughout the course of a film and becomes associated with narrative as-pects or meanings – not all to the same level of intensity or effect.23 A motif, on the other hand, is a repeated musical element that has a more direct link to a character, locale, or situation.24 Thus, the E.T. theme is a theme because it is repeated and varied throughout the film without being directly tied to a specific character – they are associated with feelings and moments. Rela-tively speaking, the theme for Indiana Jones (1981) is actually a motif, as the “theme” is directly associated with the character Indiana Jones. Likewise, in Catch Me If You Can (2002) the main protagonist – Frank – is directly associ-ated with a specific piece of music – his motif. The leitmotiv stems from the motif, as it is a repeated musical element directly associated with a character, but it also develops narratively.25 For instance, in Catch Me If You Can Frank’s motif surfaces whenever he gets a new idea, a new scheme, and the music triggers a new escapade26 – it moves and transforms with him throughout the film. Thus, Frank’s motif is a leitmotiv because not only does it specifically relate to Frank’s character, but the motif functions as part of the narrative and character development.

Even though the use of the leitmotiv further connects Williams to the classical studio era model, Williams pushes the boundaries of the leitmotiv by enabling it to create characters. For instance, the shark in Jaws (1975) is signified by a few notes, which is a leitmotiv, but this leitmotiv stands in for the shark for a majority of the film – the leitmotiv becomes the character, changing pace and tone as the shark’s character develops. Williams also side steps the classical model in The Adventures of Tintin (2011) as he uses music,

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specifically the leitmotiv, to meld the past and the present, using one charac-ter’s leitmotiv to plant a suggestion in another characters head. For instance, in Tintin in moments when Haddock is recalling the past, or embodying the energy of his ancestor Sir Francis, Sir Francis’ leitmotiv is heard while Had-dock’s image is presented, drawing a connection across time and between the characters’ energies and motives. Thus, Williams uses the leitmotiv to not just support what is shown in the image, and signal a character’s presence, but he uses the leitmotiv to stand in for a character – to become a character – or to create a history and deep connection between characters that cannot be shown visually.

•Not So Classical

Williams’ scores can vary from the classical model in different ways, from the rather experimental score of Close Encounters (1977), to the minimal use of a score in Saving Private Ryan (1998), to the use of jazz in Catch Me If You Can and Tintin. Close Encounters’ score is a combination, or juxtaposition, of romantic music and chaotic, or non-tonal, music.27 For instance, in the scene in which the little boy is abducted, the music is not melodic, but harsh and disconnected, echoing the terror and chaos of the scene, while the final scene of the film is romantic and melodic, emulating the beauty and wonder of the aliens. Although the use of specific techniques to support specific scenes is common in the classical score, Williams’ experimental use of two drasti-cally different modes of symphonic music, within a single film, complicates Williams as a neo-classical composer. On the other hand, in Saving Private Ryan, Williams refrains from using music in most of the film, which is not a common trait of his work. Whereas classical scores have music follow through the entirety – or almost the entirety – of a film, but remain fairly unnoticed, the minimal use of a score in Saving Private Ryan draws attention to when the score is present – emotional, quiet, intimate moments. Thus, Saving Private Ryan is not classical because its literal inaudibility is visible, so to speak, and its musical audibility is more effective and noticeable.

Further, Williams comments that throughout his partnership with Spielberg they have traversed various styles of films and music, and Spielberg, rather than classifying Williams as a composer for a specific type of film, gives Williams a new opportunity or challenge to explore different styles of music.28 For instance, in Catch Me If You Can, Williams utilizes a style differ-ent from any of his other films with Spielberg, one that is in contrast to the traditional classical film score – jazz. According to Williams, since the film takes place in the 60s, he uses jazz to encapsulate “a kind of 60s swagger.”29

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Similarly, with Tintin, Williams and Spielberg went with a similar approach – using a 1920s, early 30s, European styled jazz in its animated opening cred-its sequence.30 The jazz music, as Williams describes, choreographs Tintin’s movements, creating – like with Catch Me If You Can – a parallel use of music and images.31

•Taking The Forefront

In the classical studio era model, music is subservient to the narrative and the image. If music comes to the forefront, it is only ever to compensate for spectacle or maintain continuity in action sequences. However, Spielberg is credited saying: “Most of John’s scores are characters in films.”32 Williams’ music is so iconic it can stand on its own, separate from the image and nar-rative, to the point where when it is placed within the narrative, it still makes its presence known. Williams and Spielberg are, thus, more like two artists putting their forces together on equal grounds. As seen in Williams’ approach and style, and how he works with Spielberg rather than for Spielberg, music in the partnership is in a constant state of flux – the image and music work with each other to weave together a engaging story. Williams states, “I think there’s something about Steven’s movies that require, almost, that the music be a partner in the narrative, and that it either follows the story, or leads the story, or describes the story – probably all three functions, you know, as we go through the film.”33 This is seen the most clearly in E.T. and Tintin, both of which provide excellent examples of Spielberg tailoring his film to Williams’ music.

Music plays a predominant role in the final chase scene of E.T., which is a lengthy sequence beginning with the boys’ initial escape, and ending with E.T.’s ship flying away. The track in question – “Escape/Chase/Saying Good-bye” – is a beautiful, and elaborate, piece of music and another example of pandiatonicism as it shifts in tone and changes frequently with the image – or more accurately, the image shifts, and changes pace and rhythm with the music. Initially, Williams attempted to orchestrate this fifteen minute piece of music to the image, “all of it planned to catch all of these sync points, [and] these points of accent”, such as when the bicycles start to fly, the emotional section when they say goodbye to E.T., and the fanfare for the ship’s ascen-sion, and Williams was, in his words “having a very difficult time with the orchestra.”34 According to Williams, they would get the first five sync points, miss the next few, and vice versa.35 Thus, Spielberg who, as said before, attends most recording sessions, went up to the podium and took the image off the screen, telling Williams to “just play the music with the orchestra

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with the natural phrasing, the way it ebbs and flows in its own way” and then when Williams got the performance with the most “lift” Spielberg “laid the music track against the film and made the editorial adjustments to conform to the music.”36

This moment in movie music history would never have happened in the classical model, nor would it be something a neo-classical composer would do because the image lets the music take precedence. This instance privileges music over the film text – the music here leads the image, it directs where the sync points will be, and cues the image to certain moments of emotional weight or lift. Rightly so, Williams later states that “part of the reason the end of the film has such a kind of operatic sense of completion, a real emotion-al satisfaction […] may be partly the result of this wedding of the musical accents with Steven’s film editing.”37 The music in the final scene is constant and fluid, a product of Williams’ ability to compose without the hand of the image invading his rhythm. Correspondingly, the editing of the film flows with the music, each cue hitting its mark – the image rises and falls with the music. The ending of E.T. proves that allowing music to lead the image does not take the viewer out of the film, but raises the grandeur and emotional weight of the film – it makes the scene memorable.

Similarly, Tintin breaks classical studio era principles by allowing the music to lead the image. Tintin is an interesting case for Spielberg and Williams as it is animation, something neither artist has done before, besides the opening of Catch Me If You Can. What makes Tintin more intriguing, however, is that Williams began scoring the film before it was even complet-ed.38 William states: “what I actually hoped to try to do was – in some of the actions sequences – to create, maybe, what is an old Disney technique: of doing the music first and then have the animators animate to the silhouette of what the music is doing.”39 Williams scored some of the pirate music and the Thomson/Thompson music, among others, “before [he] had anything more than a few little sketches.”40 With the pirate battle scenes, for instance, the music flows constantly and fluidly, the action in the image perfectly timed to certain musical cues – such as when Sir Francis cuts his boat loose of Red Ragan’s boat, and when Red Ragan first appears; likewise, when Red Ragan and Sir Francis fight, their movements are timed to the inflections within the music. Thus, like in E.T., the musical arrangement not only guides the viewer through the narrative, it guides the narrative itself – the music leads and the image follows.

•Dance Partners

Williams is a skillful composer, weaving scores that are not only extreme-

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ly memorable, but also make Spielberg’s movies what they are – Spielberg isn’t Spielberg without Williams. While Williams uses a symphonic orchestra, cre-ating music that is romantic, melodic, and littered with various themes, mo-tifs and leitmotivs, it would be reductive to call Williams neo-classical. The use of the term neo-classical in relation to Williams’ work implies that Wil-liams is, in a manner of speaking, the same as a classical composer in terms of style, approach, and how his music functions in the films he scores. However, as the previous sections have shown, Williams’ partnership with Spielberg problematizes this categorization. There is no denying that Williams’ scores have elements of classical film scores, in as much as Spielberg’s films have elements of classical Hollywood films. What makes Williams distinct is that his music is not subordinate to the films. Though music does at times take a step back and push the story from behind, Williams’ music often runs beside Spielberg’s visual imagery, and sometimes ahead.

Accordingly, Williams and Spielberg work in a partnership where mu-sic is important – not something tacked on at the end for emotional depth – a crucial point of distinction for the pair. Further, Williams’ music can stand out from the image, as a spectacle in itself, and can vary in style from the traditional symphonic orchestra, to jazz, to a rather experimental score (Close Encounters). His music makes characters memorable, and can become a character in itself. Williams’ music can also lead the film, as in E.T.’s final scene and Tintin. This brief summary proves that Williams cannot simply be labeled as neo-classical, when his music is a prominent element in the cre-ation of these narratives – an aspect that stems directly from his partnership with Spielberg. As a musical director, Spielberg gives Williams more freedom with his scores and how they work within his films than normally was given to a classical studio era composer. Thus, a new categorization is required, one that does not limit Williams as a composer to the classical model, nor one that situates him in the contemporary – largely synthesized – model. Thus, I propose a partnership model, one that categorizes a composer based on their relationship to their director. This “model” is limited to director-composer pairings, but this limitation enables the pair to be seen as a whole rather than separate entities – the music and image work together, rather than music being subordinate to the image. In order to properly flesh out this proposed model, a critical analysis of other director-composer pairings is required. For the purposes of this paper, the partnership model allows Williams’ work to be seen, not as “neo-classical”, but as a fluid movement between styles and approaches, where image and music don’t march sequentially, but weave together in a sort of dance.

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ENDNOTES1. Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the

Return of the Classical Hollywood Music Style (Madison: University of Wisconsin Press, 2014), 5,6.2. Kathryn Kalinak, Settling the Score: Music and the Classical Hollywood Film (Madison: University

of Wisconsin Press, 1992), 30.3. Ibid, 79.4. Claudia Gorbman, Unheard Melodies: Narrative Film Music. (Bloomington Indiana University

Press, 1987), 73.5. Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the

Return of the Classical Hollywood Music Style (Madison: University of Wisconsin Press, 2014), 229-232.

6. PICTURESHO, “Steven Spielberg & John Williams Talk Music” (Recorded October 02 2013: YouTube), Web.

7. Sue Vander Hook, Steven Spielberg: Groundbreaking Director. (Minnesota: ABDO Publishing, 2010), 15.

8. Ibid.9. PICTURESHO, “Steven Spielberg & John Williams Talk Music” (Recorded October 02 2013:

YouTube), Web.10. Ibid.11. John Williams, “The Music of E.T.: A Discussion with John Williams.” E.T.: The Extra Terrestrial,

DVD, directed by Steven Spielberg (Universal City, CA: Universal Pictures and Amblin Entertain-ment 2012).

12. Ibid.13. Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the

Return of the Classical Hollywood Music Style (Madison: University of Wisconsin Press, 2014), 127.14. Ibid.15. Jurassic Park, directed by Steven Spielberg (Universal City, CA: Universal Pictures and Amblin

Entertainment, 1993). Film.16. Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the

Return of the Classical Hollywood Music Style (Madison: University of Wisconsin Press, 2014), 123.17. Ibid.18. Ibid, 126.19. Ibid.20. John Williams, “Scoring: Catch Me If You Can.” Catch Me If You Can, DVD, directed by Steven

Spielberg (Glendale, CA: Dreamworks SKG 2012).21. Ibid.22. Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the

Return of the Classical Hollywood Music Style (Madison: University of Wisconsin Press, 2014), 124.23. Claudia Gorbman, Unheard Melodies: Narrative Film Music. (Bloomington Indiana University

Press, 1987), 17, 27.24. Ibid.25. Emilio Audissino, John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the

Return of the Classical Hollywood Music Style (Madison: University of Wisconsin Press, 2014), 34.26. John Williams, “Scoring: Catch Me If You Can.” Catch Me If You Can, DVD, directed by Steven

Spielberg(Glendale, CA: Dreamworks SKG 2012).27. John Williams & Steven Spielberg, “The Making of Close Encounters of the Third Kind.” Close

Encounters of the Third Kind.” Close Encounters of the Third Kind, Directed by Steven Spielberg (Culver City, CA: Columbia Pictures Corporation 2007). DVD

28. John Williams, “Scoring: Catch Me If You Can.” Catch Me If You Can, DVD, directed by Steven Spielberg (Glendale, CA: Dreamworks SKG 2012).

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29. Ibid.30. John Williams, “Tintin: The Score.” The Adventures Of Tintin, DVD, directed by Steven Spielberg

(Culver City, CA: Columbia Pictures and Amblin Entertainment 2012).31. Ibid.32. John Williams & Steven Spielberg, “The Making of Close Encounters of the Third Kind.” Close

Encounters of the Third Kind.” Close Encounters of the Third Kind, DVD, directed by Steven Spie-berg (Culver City, CA: Columbia Pictures Corporation 2007).

33. Ibid.34. John Williams, “The Music of E.T.: A Discussion with John Williams.” E.T.: The Extra Terrestrial,

DVD, directed by Steven Spielberg (Universal City, CA: Universal Pictures and Amblin Entertain-ment 2012).

35. Ibid.36. Ibid.37. Ibid.38. John Williams, “Tintin: The Score.” The Adventures Of Tintin, DVD, directed by Steven Spielberg

(Culver City, CA: Columbia Pictures and Amblin Entertainment 2012).39. Ibid.40. Ibid.

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BIBLIOGRAPHY

The Adventures of Tintin. Directed by Steven Spielberg. Culver City, CA; Columbia Pictures and Amblin Entertainment, 2011. Film.Audissino, Emilio. John Williams’s Film Music: Jaws, Star Wars, Raiders of the Lost Ark, and the Return of the Classical Hollywood Music Style. Madison, Wisconsin: University of Wisconsin Press, 2014.Catch Me If You Can. Directed by Steven Spielberg. Glendale, CA: Dreamworks SKG, 2002. Film.Close Encounters. Directed by Steven Spielberg. Culver City, CA: Columbia Pictures, 1977. Film.E.T: The Extra Terrestrial. Directed by Steven Spielberg. Universal City, CA: Universal Pictures and Amblin Entertainment, 1982. Film.Gorbman, Claudia. Unheard Melodies: Narrative Film Music. Bloomington, Indiana: Indiana University Press, 1987.Indiana Jones and the Raiders of the Lost Ark. Directed by Steven Spielberg. Hollywood, CA: Para mount Pictures and Lucasfilm, 1981. Film.Jaws. Directed by Steven Spielberg. Universal City, CA: Zanuck/Brown Productions and Universal Pictures, 1975. Film.Jurassic Park. Directed by Steven Spielberg. Universal City, CA: Universal Pictures and Amblin Enter tainment, 1993. Film.Kalinak, Kathryn. Settling the Score: Music and the Classical Hollywood Film. Madison, Wisconsin: University of Wisconsin Press, 1992.PICTURESHO. “Steven Spielberg & John Williams Talk Music” Recorded October 02 2013. YouTube October 02 2013. Web.The Poseidon Adventure. Directed by Ronald Neame. Los Angeles, CA: Twentieth Century Fox Film Corporation, 1972. Film.Saving Private Ryan. Directed by Steven Spielberg. Composer. Glendale, CA: DreamWorks SKG, Para mount Pictures and Amblin Entertainment, 1998. Film.Scheurer, Timothy E. “John Williams and Film Music since 1971.” Popular Music and Society. no. 1 (1997): 59-72.Star Wars. Directed by George Lucas. Hollywood, CA: Lucasfilm and Twentieth Century Fox Film Cor poration, 1977. Film. Superman. Directed by Richard Donner. San Francisco, CA: Dovemead Films, 1978. Film.The Towering Inferno. Directed by John Guillermin. Burbank, CA: Warner Bros. and Twentieth Century Fox Film Corporation, 1974. Film. Vander Hook, Sue. Steven Spielberg: Groundbreaking Director. Minnesota: ABDO Publishing, 2010.Willams, John. “Escape/Chase/Saying Goodbye.” E.T.: The Extra Terrestrial: Music from the Original Soundtrack. MCA 2002. compact disc.Willams, John. “The Raiders March (a.k.a. The Indiana Jones Theme).” Raiders of the Lost Ark Soundtrack. PolyGram 1981. compact disc.Willams, John. “Welcome to Jurassic Park.” Jurassic Park: Original Motion Picture Soundtrack. MCA 1993. compact disc.Willams, John, & Spielberg , Steven. “The Making of Close Encounters of the Third Kind.” Close Encounters of the Third Kind.” Close Encounters of the Third Kind. Columbia Pictures Corporation 2007. DVD.Willams, John, & Spielberg , Steven. “Music of Indiana Jones.” Indina Jones: The Complete Adventures. Paramount Pictures and Lucasfilm 2012. DVD.Willams, John. John Williams and Star Wars. The Hollywood Film Music Reader. Edited by Mervyn Cooke. Toronto: Oxford University Press, 2010.Willams, John. “Music and Sound.” Saving Private Ryan. Paramount Pictures 2010. DVD.Willams, John. “The Music of E.T.: A Discussion with John Williams.” E.T.: The Extra Terrestrial. Universal Pictures and Amblin Entertainment 2012. DVD.

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Willams, John. “Scoring: Catch Me If You Can.” Catch Me If You Can. Dreamworks SKG 2012. DVD.Willams, John. “Return to Jurassic Park: The Next Step in Evolution.” Jurassic Park Ultimate Trilogy. Universal Studios 2011. DVD.Willams, John, & Spielberg , Steven. “Editing & Scoring.” War Horse. Universal Studios 2012. DVD.Willams, John. “Tintin: The Score.” The Adventures Of Tintin. Columbia Pictures and Amblin Entertainment 2012. DVD.