Whenever a conversation about the great John Williams scores picks up, it doesn’t take too long for Home Alone to be mentioned. I mean, compositions like “Somewhere in My Memory” and “Star of Bethlehem” helped turn Chris Columbus’ 1990 holiday film into not only one of the best ‘90s movies, but also an all-time great Christmas classic. However, did you know that the Academy Award-winning composer and frequent Steven Spielberg collaborator wasn’t initially involved with the picture? I certainly didn’t.

Well, it turns out that an entirely different yet equally prolific composer was all set to score Home Alone, only to be forced to drop out late in the game because of an animated Disney movie. Here’s how an oft-overlooked Disney Renaissance era movie led to one of the best movie soundtracks of all time.

Bruce Broughton Had To Drop Out Because Of The Rescuers Down Under

Throughout the production of Home Alone, the plan was for Bruce Broughton to score the film. The skilled composer, who was nominated for an Oscar a few years earlier for his work on Silverado, was working on the music side of things until something came up with another project he was working on, Disney’s underrated film The Rescuers Down Under. As director Chris Columbus would later tell EW in 2015, he was getting close to finishing the movie when he received the fateful phone call:

Racing to find a way to fix the situation, Columbus told EW that he got in contact with Steven Spielberg to set up a call with John Williams and see if he’d be interested.

The rest is history, and Williams came on board to create one of the most beloved scores of all time. It's one that elevated the movie to new heights with its sentimentality and netted the composer two more Oscar nominations before it was all said and done.

John Williams Saw Home Alone As An Opportunity To Write Original Christmas Carols

Shortly after the release of Home Alone, John Williams was featured in an Entertainment Tonight segment where he opened up about scoring the movie. In addition to playing melodies from the massively popular film, Williams said the movie gave him an opportunity he’d always wanted:

Williams’ wish came true and he created some of the most enchanting and emotionally stirring Christmas music of all time. All these years later, some of us can’t go a holiday season without not only watching Home Alone, but also listening to the soundtrack on repeat.

If you want to go back and revisit Home Alone, it, along with its 1992 sequel, Lost in New York, are streaming with a Disney+ subscription.

John Williams’ iconic theme from the 1978 movie Superman, directed by Richard Donner, might be my favorite film composition from the maestro. That’s saying a lot. Williams obviously has magnificent titles on his resume, from Jaws and E.T. to Raiders of the Lost Ark, Jurassic Park, and the Harry Potter franchise. I asked Skeleton Crew co-star Jude Law to name his favorite, and it almost broke his brain. But there’s something about the heroic theme for Superman that helps it stand above the rest. And Superman 2025 director James Gunn agrees.

During a recent press event on behalf of the Superman trailer, which heavily references the John Williams theme in the score from John Murphy, I was lucky enough to ask Gunn about his use of the signature Williams composition. Before he elaborated on its use in the upcoming DC movie, Gunn admitted to CinemaBlend:

That has to be a real challenge. The Superman theme is so closely associated with the character. And other Superman movies have tried to hew close to the legacy that is Richard Donner’s film – notably, Bryan Singer’s Superman Returns, which probably tried too hard to match Donner, and never became its own movie.

James Gunn wants his Superman to stand on its own. So, as he continued to explain to CinemaBlend:

Gunn confirmed to us that John Murphy worked for two years on the Superman theme, a piece of which you can listen to right now.

Superman will be a continuation of the DCU, a universe that James Gunn officially launched with the animated series Creature Commandos, which will conclude in January. That series goes a long way toward setting up new characters that we expect to see in upcoming DC movies and shows, including Frank Grillo’s Rick Flag Sr., an antagonist in Superman and Peacemaker Season 2. It’s a very exciting time to be a fan of DC, thanks to to work of James Gunn, Peter Safran, and their collaborators.

As excitement brews for HBO’s upcoming Harry Potter TV series, fans of the Wizarding World have been left speculating how the magical reboot will (hopefully) capture the essence of J.K. Rowling’s beloved books while standing apart from the iconic film franchise. Chris Columbus, who directed the first two Harry Potter films and helped create one of the most successful film franchises to date, recently weighed in on the monumental task awaiting the creators. Honestly, his comments make a ton of sense.

Columbus shared his thoughts with Empire Magazine (via Nerd Informants) on the creative crossroads the series faces, explaining how its relationship to the films could make or break its success. The director, who helped bring Hogwarts to life for millions of fans in the first two of the Harry Potter movies (in order), offered his invaluable perspective on the upcoming project.

And he’s not wrong. The dark look and unique feel of the original films—featuring the late, great Robbie Coltrane as Hagrid, Alan Rickman’s unforgettable Severus Snape, and the timeless music of John Williams—set the benchmark for how fans imagine the Wizarding World. Producers of the series say they intended the upcoming book-to-screen adaptation to be closer in line and more faithful adaptation of Rowling’s books. However, if the series leans too heavily into nostalgia, it risks being seen as derivative. On the flip side, reinventing Hogwarts, the characters, and its iconic themes could alienate loyal fans who’ve spent over two decades cherishing the originals.

However, the veteran Home Alone director also acknowledged the potential advantages the series has in its corner. With more time to explore Rowling’s world, the creators can dive deeper into the stories and characters that didn’t make it into the films. The filmmaker noted:

Let’s pause and appreciate that Columbus said the magic word: Peeves. The mischievous poltergeist, who terrorized students and staff alike in the books, was infamously cut from the movies, much to fans’ disappointment. The idea that Peeves—and other rich details from the books—could finally make their on-screen debut will surely make Potterheads cheer, though they may be skeptical of the forthcoming Harry Potter series.

Still, the shadow of the original series looms large. The HP films didn’t just define a generation; they became a cultural cornerstone, with their impact still being felt in theme parks, spin-offs, and cosplay conventions worldwide. So, only time will tell if the new show, which will be available to stream with a Max subscription, can overcome the original series' cultural impact.

There is no official word yet on casting or how the series plans to tackle these challenges, but one thing is clear: Chris Columbus is right—this is no small task.

As far as I’m concerned, John Williams is not only the greatest living movie composer in today’s Hollywood, but also my favorite of all time. While watching Music by John Williams, the 2024 movie about the prolific composer who’s worked on iconic film scores like Jaws, Star Wars, and Jurassic Park, I kept finding myself smiling and laughing through tears as I looked back on how much his music has meant to me over the years. But then came the Schindler’s List portion of the Disney+ original documentary.

I’m going to be completely honest and tell you all that I wasn’t weeping, I was full-on crying big ugly tears and not able to speak through the overwhelming emotion of this relatively brief yet remarkable section of one of the best movie documentaries I’ve ever seen. But what was it about Williams and his longtime collaborator, Steven Spielberg, talking about the Best Picture Winner that broke me? Come with me as I break down my breakdown.

First Off, Music By John Williams Is An Incredibly Powerful And Moving Documentary

If you haven’t already, watch Music by John Williams, especially if you grew up falling in love with the Academy Award-winning composer’s massive and iconic body of work. But even if you don’t listen to the Harry Potter, E.T. the Extra-Terrestrial, or Indiana Jones scores or have life-long cherished memories of experiencing Williams’ compositions, it’s still an incredibly powerful and moving documentary. The sentimentality throughout the nearly two-hour documentary, which has some remarkably candid moments from the legendary composer, brings new life to some of the best sci-fi movies like Close Encounters of the Third Kind, gripping historical dramas like Amistad, and everything in between.

At the same time, the documentary doesn’t really shy away from tackling important life lessons, especially whenever the focus turns to topics like loss, grief, and the enduring nature of the human spirit. And this is never truer than it is in the section about Schindler’s List, a movie that somehow took one of humanity’s darkest moments and turned it into an unforgettable and mesmerizing cinematic masterpiece.

Steven Spielberg And Kate Capshaw Talk About Hearing The Theme For The First Time, And The Rawness And Emotion Really Broke Me

A little more than one hour into Music by John Williams (right after the Jurassic Park section), the documentary shifts its focus to talking about Schindler’s List and the emotional toll the movie had on Steven Spielberg while directing the picture and John Williams while composing the now iconic score.

There’s one moment in particular where Spielberg and wife, Kate Capshaw, revisit a meeting they had with Williams all those years ago where they first heard early sketches of what would become the theme from Schindler’s List. Capshaw, overwhelmed with emotion, broke down crying recalling the fateful day before Spielberg said something that resonated with me profoundly:

These words, shots of Capshaw weeping, and scenes from Schindler’s List (most notably the young girl in the red coat) all worked together to make me cry like I haven’t in years. It was touching, so cathartic, and so needed. It broke me, but it’ll be a memory I won’t soon forget.

Music by John Williams is currently streaming for anyone with a Disney+ subscription. If you haven’t already, this is an incredible documentary that you need to watch.

Stream Music by John Williams on Disney+.

Steven Spielberg is one of the most prolific directors in the history of cinema, and his impact is far-reaching. On that note, he’s mentored plenty of creatives in his time, and that includes documentarian Laurent Bouzereau. The French director recently helmed Music by John Williams, in which Spielberg is interviewed, and spoke to CinemaBlend about what it was like crafting the film. Bouzereau also explained how a keen lesson from the Jaws helmer proved to be invaluable when it came to tackling tough subject matter with Williams.

Over the years, Laurent Bouzereau has worked closely with the Oscar winner, as he crafted behind-the-scenes documentaries for a number of Steven Spielberg’s best films. Considering that, I couldn’t help but ask Bouzereau about collaborating with the revered movie maker. I specifically asked him if a specific lesson served as a guiding light of sorts for him as he navigated his work on the John Williams-centered doc. Bouzereau went on to discuss one keen piece of guidance that pertains to the art of conversation:

John Williams’ first wife, Barbara Ruick, tragically died at the age of 41 due to a brain aneurysm and, as mentioned above, that’s discussed in the recent 2024 movie release. I’d imagine that when it comes to most subjects, it would be difficult to broach such a topic, let alone with someone as private as Williams. Nevertheless, it would appear that Laurent Bouzereau simply sought to listen and reach the famed composer through his work. Having seen the film myself, I’d say that it’s made all the better by that approach.

The art of listening can’t be understated, and it sounds like the Faye helmer really appreciates having learned that from Steven Spielberg. He went on to further emphasize the importance of paying attention to one’s subjects and how it specifically applied to Music by John Williams:

Laurent Bouzereau’s passion absolutely seeps through his latest documentary, as it serves as a fitting tribute to one of the greatest composers of all time. The filmmaker manages to highlight what makes Williams’ many film scores so special and how specific scenes are bolstered by the music. And, of course, viewers are granted a bit of a look into the five-time Academy Award winner’s personal life. Bouzereau deserves praise for his approach to the production, and I’m glad he kept Steven Spielberg’s wisdom in mind while doing his work.

You can stream Music by John Williams now using a Disney+ subscription. Also available on the platform are some of Williams’ famous feature film credits. That includes The BFG, which he worked on with frequent collaborator and longtime friend Steven Spielberg.

Music by John Williams – a new title streaming this week – provides viewers with an intimate portrait of the prolific composer behind films like Jaws and Schindler’s List. Through his conversations with Williams, director Laurent Bouzereau sheds light on the conductor's personal life and his creative process as well. Bouzereau had many memorable moments working on the documentary, including one he revealed to CinemaBlend – which saw Williams shoot down a request. Yet the living legend’s rationale made so much sense.

I recently had the opportunity to speak with Mr. Bouzereau ahead of the release of his latest doc. During the interview, he regaled me with details on his film as well as fun anecdotes regarding his chats with its main subject. It was the latter that led the Five Came Back helmer to reveal that he asked the celebrated maestro to perform the original pieces of music he concocted for Close Encounters of the Third Kind. But, as Bouzereau explained to me, the now-92-year-old conductor declined for a very specific reason:

One of Steven Spielberg’s best movies, Close Encounters features excellent music, and it’s also marked by a now-legendary five-note motif. In the movie, those tones represent the way in which scientists communicate with a spaceship. The Faye director’s desire for John Williams to play the other versions of the notes is understandable. However, I understand Williams’ hesitance to taint what’s become such a beloved tune. He clearly doesn’t want to impact fans’ view of what was featured in the finished film, and that’s quite wise.

There may be some people who are disappointed that the five-time Oscar winner (who’s enhanced plenty of scenes with his scores) doesn’t perform those notes in the film. However, there’s a silver lining to all of this. As Laurent Bouzereau would explain to me later, the musician did end up delivering on his promise of sharing something else:

John Williams does indeed give an incredible explanation for the notes and, unsurprisingly, it’s incredibly insightful. The same can be said for a lot of the thoughts shared in this production. In addition to displaying Williams’ wisdom, the 2024 movie release also emphasizes just how much he’s impacted so many other musicians. One such person, who’s featured in the doc, is Chris Martin. The Coldplay veteran has a particularly sweet moment in the film, and Laurent Bouzereau described how it came together:

I find it nothing short of wonderful to see the not-quite-retired Mr. Williams receiving his flowers and having his life and career highlighted through a documentary such as this one. Of course, I also admire the fact that, during the process, he didn’t compromise his integrity as an artist – even if it meant having to deny a request from his director. That’s just another reason to respect one of the greatest artists to ever pick up a conductor’s baton.

Music by John Williams is now streamable with a Disney+ subscription. With that same membership, you can also check out Williams’ work in the Star Wars movies, Indiana Jones and the Dial of Destiny and more.

October comes to an end this week and November begins. Not only does that mean Halloween is finally here, it means that all the best streaming services are going through a massive content shuffle. There’s so much upcoming on Netflix that it can easy to get buried under all the new content.

What's coming to Disney+ this week includes one series finale, and on the same day, another new series gets underway. A new season of a popular Netflix TV series also arrives. Here’s a look at this week’s streaming highlights.

New TV

Agatha All Along Finale - October 30 (Disney+)

Agatha All Along is the closest thing to a Season 2 of WandaVision that we will likely ever see, and the show has largely been a worthy successor. Marvel Studios' spookiest production since Werewolf By Night will come to an end this week by dropping the final two episodes on the day before Halloween. It should be a fitting holiday treat, that might have a trick or two up its sleeve before the end.

Wizards Beyond Waverly Place - October 30 (Disney+)

Before Selena Gomez was the star of Only Murders in the Building and also a literal billionaire, she was a Disney kid. As the star of Wizards of Waverly Place, Gomez became a teen idol, and while many who got their start with Disney have run away from that position, Gomez is embracing it, as the executive producer of Wizards Beyond Waverly Place, a new sequel series in which she will also occasionally appear.

The Diplomat, Season 2 - October 31 (Netflix)

In the world of streaming where it seems like getting canceled after one season is the norm for any given series, The Diplomat should be commended for even getting a second season. Perhaps thanks to the star power of Keri Russell, her Emmy nomination or a combination of the two, the show has already been renewed for Season 3, which is as good a reason as any to hold on to that Netflix subscription.

New Movies

Despicable Me 4 - October 31 (Peacock)

While a lot of headlines have sung the praises of Inside Out 2 and Deadpool & Wolverine as the two highest-grossing movies of the year, number three on that list is actually Despicable Me 4. The animated franchise that stars Steve Carrell as a reformed supervillain isn’t the best movie in the franchise by any stretch. However, considering how many people saw the movie in theaters, there are probably going to be quite a few who will want to check it out with their Peacock subscription this week.

Music By John Williams - November 1 (Disney+)

John Williams is, to put it simply, the greatest composer of movie music who has ever lived. The man who gave us the themes to Star Wars and the Indiana Jones movies, as well as so many others, is the subject of the new documentary Music by John Williams. Anybody with a Disney+ subscription can watch this and then sit down and marathon a lot of the movies where his amazing music has appeared.

As we leave Halloween and enter the traditional winter holiday season plenty of thematic content is on the way. If Christmas movies are not what you’re looking for, we’re all really sorry.

Music plays a crucial role in all of our favorite movies and TV shows and most of that music has been written by incredible composers like John Williams, Hans Zimmer, Elmer Bernstein, and many, many more, even the ones not named Williams or Zimmer. But what is each composer's best work? That's hard to pin down and opinions will always vary, but here are a few choice examples of what is the best work by some of Hollywood's best composers.

James Horner - Titanic

Tragedy struck on a June day in 2015 when composer James Horner was killed when the plane he was flying crashed. Luckily Horner left a legacy of amazing soundtrack work that includes Aliens, Glory, Patriot Games, Braveheart, and other award-winning compositions. However, his most famous, for which he won an Academy Award, has to be Titanic.

Ramin Djawadi - Game Of Thrones

Even early in his career, Ramin Djawadi was producing some epic scores. Like, for example, his score for the original Iron Man in 2008. In 2011, however, he created his masterpiece, the theme song and score for Game Of Thrones. Few theme songs in history have been more epic, completely befitting the show.

Bill Conti - Rocky

One of the most famous movie scores of all time has to be from Rocky. Admit it, you are singing it to yourself right now. Not only has it been used in many of the Rocky franchise movies, but it's also been heard countless other times in other media. Nothing gets you psyched up quite like this great score by Bill Conti.

Trent Reznor And Atticus Ross - The Social Network

Trent Reznor, like other great film composures started in rock n roll. Nine Inch Nails sold millions and millions of records before Reznor teamed up with Atticus Ross and began scoring films. His first, and still his best (though they are all great) has to The Social Network.

Ennio Morricone - The Good, The Bad, And The Ugly

Few composers are as iconic as Ennio Morricone. His theme for The Good, The Bad, And The Ugly is just one of many scores he wrote over his long career. While they are all great, it's this one that stands out not just for it's use in the movie it was written for, but for all the other times we've all heard elsewhere.

Henry Mancini - The Pink Panther

This was a tough one for me because Henry Mancini has a few bangers. The theme of the TV show Peter Gunn is one, and "Moon River" from Breakfast at Tiffany's is another. When all is said and done though, it's tough to argue that the theme to The Pink Panther isn't the most iconic of all his wonder works.

John Carpenter - Halloween

John Carpenter not only directed a slasher film classic with Halloween, but he's also responsible for the eerie theme song that has become a classic of its own. It's not the only great score Carpenter has written for one of his movies, in fact, he's scored most of them. Escape from New York is another standout, but none have come close to the cultural impact of Halloween.

Elmer Bernstein - The Magnificent Seven

No one could compose an epic score quite like Elmer Bernstein. If you want something that sounds patriotic, or triumphant, Bernstein is your man. Whether it's a comedy like Stripes, or a blockbuster like The Great Escape, or a Western like the original True Grit, Bernstein could di it all. His most famous, though, comes from one of the best Westerns of all time, The Magnificent Seven from 1960.

Hans Zimmer - Gladiator

Hans Zimmer is one of the all-time great film composers and there are a number of his scores that people might argue belong here. For me though, there is no question what score sits above them all. The music in Gladiator is just perfect in every way. It pings every emotion the movie does wonderfully.

John Williams - Star Wars

Raiders of the Lost Ark. Jurassic Park. E.T. The Extra-Terrestrial. Superman. Harry Potter. Do I need to go on? John Williams stands alone when it comes to the most moving, most famous, and most iconic scores. One score, however, stands above even those legendary works of music. Stars Wars simply wouldn't be the same without the music, full stop.

Nino Rota - The Godfather

Francis Ford Coppola has talked about the influence of legendary Italian director Federico Fellini so it makes sense that he would seek out the composer of the scores of many of Fellini's films. Most of Nino Rota's impressive scores were for Italian movies, but his music for both The Godfather and The Godfather Part II are his most famous, and for good reason. There are many reasons both movies are universally considered two of the best movies ever made, and the music is certainly one of them.

Max Steiner - Gone With The Wind

As one of Hollywood's first major composers, Max Steiner was nominated for a jaw-dropping 24 Oscars, and won three. Oddly, one of the ones he didn't win for is now unquestionably his most famous, the score for Gone With The Wind.

Alan Silvestri - The Avengers

There are a lot of choices with this entry. Personally, my Gen X nostalgia makes my favorite Alan Silvestri score the one from Back To The Future. Of course, there is also Forrest Gump and more recently, Ready Player One, in which he even included a bit of Back To The Future as one of the many easter eggs in that movie. However, when you are responsible for the score of some of the highest-grossing movies of all time with The Avengers movies, that one has to go at the top of the list.

Wendy Carlos - The Shining

Though she's only done a limited amount of soundtracks, avant-garde electronic artist Wendy Carlos has a 100% rate. Tron, The Shining, and A Clockwork Orange are the only films she's written the music for and while it's a tough choice, I put The Shining on this list.

Lalo Schifrin - Mission: Impossible

Argentinian Lalo Schifrin could be described as the "coolest" composer in Hollywood, based on his body of work. Movies like Cool Hand Luke, Bullitt, Dirty Harry, Enter The Dragon, and many others, all contribute to the cool actor. He's also been sampled widely in hip-hop and trip-hop. None of his many award-winning scores can compete with the theme to Mission: Impossible which he wrote for the TV show in the '60s and has become ubiquitous in pop culture.

Monty Norman - James Bond

John Berry is the man most famous for the music in James Bond, but he didn't write the theme. That bit of genius came from Monty Norman, who scored the first Bond film, Dr. No. Later, Barry would claim to have written the theme that has been used in every Bond movie since the beginning, but it was Norman all along (though Barry did rearrange it).

Howard Shore - The Lord of The Rings

Howard Shore's career started in television when he was the first musical director on Saturday Night Live for the first five seasons. He later moved into film scores and while he's had a number of fantastic ones, it's his work in the Lord Of The Rings series that earned him three Academy Awards.

Thomas Newman - The Shawshank Redemption

Composer Thomas Newman got his first big break in movies when he worked alongside John Williams, conducting some of the music Williams wrote for Return Of The Jedi. He must have learned a lot, as he's been one of Hollywood's most in-demand composers ever since. His best work has to be the emotional score for The Shawshank Redemption, one of the many reason reasons that movie is considered one of the best films of the '90s.

Morton Stevens - Hawaii Five-0

Hawaii Five-0 was one of the hippest shows on TV in the late 1960s and that was in large part due to the super cool intro and the theme music by Morton Stevens.

Mike Post - Law & Order

Admit it, your humming the theme to Law & Order right now. It's okay, we all are. Mike Post, wrote the incredibly catchy theme song and is also responsible for some of the most memorable theme songs of all time, including Hill Street Blues, Magnum, P.I. and LA Law, among others. Still, it's this one that most people think of first.

Danny Elfman - The Simpsons

How do you pick just one Danny Elfman score? The answer is, you don't, you go with one of the most recognizable TV theme songs of all time with The Simpsons. Sure, you have the Tim Burton Batman score, or the music from Pee Wee's Big Adventure, or any other number of legendary Elfman scores, but come on, it's The Simpsons!

Bernard Herrmann - Psycho

When you have something like the score to Citizen Cane on your resume, but it's not your most famous work, you are definitely doing something right. Bernard Herrmann worked with many of the best directors in Hollywood's Golden Age, and none more so than Alfred Hitchcock. Herrmann's score for Psycho is one of the most iconic ever put on film.

Harold Faltermeyer - Top Gun

This one came down to two choices, the theme song to Beverly Hills Cop, called "Axel F" and the opening theme to Top Gun. In the end, the soaring guitars and dramatic beat from Top Gun won out as my choice for the great Harold Faltermeyer. His score for Fletch also deserves a nod.

Alfred Newman - How The West Was Won

Full disclosure, the most famous piece of music Alfred Newman ever wrote is the intro/fanfare that accompanies the beginning of all 20th Century Fox movies. Setting that aside, his second most famous work is the iconic score for How The West Was Won, which has been used all over pop culture for years.

Maurice Jarre - Lawrence Of Arabia

Maurice Jarre's most famous works probably depend on what generation is making the choice. Over his incredible career, which stretched out over five decades, he wrote the scores to movies as diverse as Doctor Zhivago, Ghost, and Dead Poet's Society. However, his score for Lawrence of Arabia is the choice here, for obvious reasons. It's as epic as the movie is.

Anne Dudley - The Full Monty

There is no question that the world needs more soundtracks from female composers and Anne Dudley is example A1 in the argument for that. Her work, from American History X to The Crying Game and beyond has been uniformly great. She is also one of the few women to win an Oscar for one of her scores, for 1997's The Full Monty.

Alexander Courage - Star Trek

Alexander Courage might not be the biggest name on this list, but he's responsible for one of the most famous and most-played theme songs of all time. Courage, in addition to other TV work and some movie work, composed the theme song for the original Star Trek series in the 1960s and his music has been used, at least in part, for basically all the Star Trek movies and TV shows.

James Newton Howard - The Hunger Games

James Newton Howard's first movie score was for the cult-classic version of Dune from director David Lynch. He's written dozens of scores since, and while all are great, I'm partial to his work with the Hunger Games trilogy. The music has to be pretty diverse with that story and the score succeeds in every way.

Randy Newman - Toy Story

We all have a friend in Randy Newman. Though he first became famous for his sardonic singer/songwriter work in the 1970s, for many people, he's first known for his work on the Toy Story franchise, including the song "You've Got A Friend In Me" in addition to the scores.

Quincy Jones - Sanford & Son

Quincy Jones is first and foremost known for his incredible music production for the likes of Michael Jackson and other pop stars in the '70s and '80s. But did you know he also wrote the theme song to Sanford & Son? It's an all-time banger of a theme song that people still love to listen to 50 years after the show debuted.

A. R. Rahman - Slumdog Millionaire

Bollywood legend A. R. Rahman isn't as well known in the Western world as he is in his home country of India, and so while I'm sure there are pieces of music by Rahman that are more beloved in India, I have to go with one of his scores I love from Hollywood, which comes down to a choice between Slumdog Millionaire and 127 Hours. While the latter was nominated for an Oscar, the former won one, to go with all the Oscars Slumdog Millionaire won that year.

Rachel Portman - Theme To Chocolat

Rachel Portman became the first woman to win an Oscar for Best Score for Emma in 1996, but her best work came in 2000 for her score to Chocolat starring Johnny Depp. She was nominated for it but missed out when she lost to composer Tan Dun for his work in Crouching Tiger, Hidden Dragon.

Instead of the alternating three-note theme song, would Steven Spielberg’s Jaws have been such a great horror film with a short-but-eerie show tune, or just some over-the-top creepy effects thrown together instead? I don’t even want to begin imagining it. The theme song worked so well to create fear around the monster shark, and for almost half a century, it has become synonymous with suspense. What’s even scarier is the fact the iconic theme almost wasn’t used by Spielberg. Thankfully, John Williams, who has composed other scores in various Spielberg flicks along with the Jaws motif, was able to save the day.

Williams recently described the initial conversation he had with Spielberg when he revealed the theme, and there was one thing about it that turned the director off: it’s simplicity. Practically all of Spielberg’s best movies are larger than life, and if they’re not overwhelming visually, they have emotion-driven storylines that can leave viewers teary eyed. So, it’s easy to see why he thought the minimalistic theme couldn’t keep pace with the epic-ness and danger of Jaws. 

According to Variety, Williams made Spielberg have a change of heart by bringing the three notes to life through an orchestra, showing how terrifying simplicity can truly be. Here’s what the famed composer had to say:

Spielberg has previously confirmed the Jaws theme story, saying he had expected to hear something "almost like outer space under the water." Instead, he got three notes. 

Williams went on to talk about the cultural significance of the boom boom boom, mentioning that if he plays it, audiences laugh, and that “it’s become camp.” Of course, he means this in the best way. It’s something that so many people have grown up with that it’s become ingrained in generations. In fact, it’s probably safe to assume babies are born knowing the Jaws theme before anything else!

Besides Jaws, Williams has not and will not stop making amazing scores for movies. His most recent creation is the score for Indiana Jones and the Dial of Destiny, which Indy fans got to preview early. He’s also been in charge of the scores for nine of the Star Wars movies, which have ranked as some of the best of the franchise. As long as he continues creating and conducting, we’re guaranteed to have scores with the magic only he’s been able to create.

Harrison Ford’s time playing Indiana Jones may be over, but he’ll never be fully able to leave the character behind him. To be fair, this and Han Solo are his most famous roles, so naturally he can only go so long without people mentioning them to him. But as Ford has joked, John Williams’ Indiana Jones theme music also follows him wherever he goes, including his “last colonoscopy.”

The actor shared this amusing experience as part of a profile written by Variety about Williams, who’s been scoring music in movies since the late 1950s, won five Academy Awards over the course of his career and been nominated 49 other times, most recently for his work on 2023’s Indiana Jones and the Dial of Destiny (which can be streamed with a Disney+ subscription). Ford recalled:

While I can’t say it with 100% certainty, this feels intentional. If Harrison Ford is in the operating table, you’re telling me John Williams’ Indiana Jones theme was just coincidentally playing. Sure, there might be a slim chance of that, but I’m more inclined to think one of the surgeons or medical staff in the room at that time deliberately turned it on, much to Ford’s chagrin. Sure it’s one of the most iconic pieces of cinematic orchestral music, but I doubt it’s something he wants to hear as he’s going through this kind of medical procedure.

Ignoring that incident though, Harrison Ford thinks quite fondly of John Williams, calling him a “gracious, gracious guy” later on in the Variety piece. In fact, along with flying planes and going fly-fishing, the man who played Henry Jones Jr. in five movies and a guest appearance on The Young Indiana Jones Chronicles also likes to attend Williams’ scoring sessions for fun, saying:

Even though Harrison Ford is done with the Star Wars and Indiana Jones franchises, my fingers are crossed that he’ll be able to act in at least one more movie that John Williams scores. After all, last December, the composer sounded like he was still interested in making music rather than retire, as had previously been indicated. Here’s a thought: if Williams is looking to contribute to another major franchise, now that Ford is playing Thunderbolt Ross in the MCU, maybe it can be arranged to have Williams score one of the actor’s upcoming Marvel movies, assuming he’s lined up for more appearances after Captain America: Brave New World and Thunderbolts, which I suspect already have composers lined up.

We’ll find out if John Williams takes home the Best Original Score Oscar this year when the 96th Academy Awards air next Sunday, March 10 on ABC; Indiana Jones and the Dial of Destiny’s competition includes American Fiction, Killers of the Flower Moon, Oppenheimer and Poor Things. As for Harrison Ford, he’ll debut as Thunderbolt Ross when Captain America 4 opens on February 14, 2025.

Looking back at the 2023 movie release schedule, even some of the most infamous movies have their silver linings. For supposed flop Indiana Jones and the Dial of Destiny, one such bright spot is the fact that we have yet another score from composer John Williams we’ll be able to obsess over for years to come. That brightness may have just grown a bit shinier though, as in a recent interview, the 91 year old music legend made candid comments about his retirement plans that have us hopeful for new music.

The Comments John Williams Has Made About His Potential Retirement

Speaking with The Sunday Times in a recent interview, the man who gave musical life to E.T., Luke Skywalker, and Dr. Henry Jones Jr. slightly walked back any potential remarks he may have made about retirement. Sounding very much eager to work again, John Williams did have some specific caveats that applied to this music to the ears of the world; which he shared thusly: 

Anyone who still gets a chill when listening to the scores of Jurassic Park and Jaws will tell you that this is incredible news. To have an artist like Williams open to roaming wherever his curiosity leads him sounds like something that benefits everybody. Listening to the composing powerhouse's work on its own is akin to experiencing the movie it belongs to once again, which is the epitome of cinematic scoring.

Though this statement sounds like it opens the door for further John Williams works, we kind of already know that there are certain places this optimism won’t go. Disney+ subscription holders know exactly where I'm going with this, as John would appear to be done and dusted with two of the projects to which he's most prolifically linked.

Back in 2018, John Williams announced that Star Wars: The Rise of Skywalker “rounded out” his work on the galaxy far, far away that helped make him famous. Also, with the maestro’s most closing out the Indiana Jones movies, John’s score for Indiana Jones and the Dial of Destiny is probably as much of a swan song for him as it is for actor Harrison Ford.

So before you get your hopes up for the continuing adventures of Rey Skywalker being accompanied by a full Williams score, think again. However, I think I know one such project that could reel in John Williams’ talents, and it’s something his prolific skills would be seriously cut out for.

John Williams Still Wants To Do A James Bond Score

Going back to a 2022 interview with Classic FM, Maestro Williams flat out admitted that he’d “love to do a Bond score.” I don’t need to tell you how white hot of an opportunity it would be to get a John Williams score into the canon of James Bond movies that have made John Barry and David Arnold into musical stalwarts. 

At the same time, there’s one particular scenario that comes to mind that could turn this prospect into something even bigger. As director Steven Spielberg wanted to direct two different 007 adventures, his entry on the list of helmers that could have done a Bond movie is one of the most prolific. 

Were EON Productions feeling particularly spirited, they could always tap into the desires of director and composer alike, delivering a James Bond movie event for the ages. It feels more likely that Williams would be recruited on his own, it’s still something to think about. And even if Barbara Broccoli and company came knocking, it'd come down to those crucial two pillars: scheduling and interest. 

It's probably a good thing that Bond 26 is a bit farther away than previously thought, as that's more time to craft a case compelling to those factors. In the meantime, fans of John Williams can experience the majesty of his work on Indiana Jones and the Dial of Destiny, as it's currently streaming on Disney+. After which, it's highly encouraged that you seek out the interview in which director James Mangold opened up about working with this timeless legend.

Music is a vital source of energy for any movie, whether it’s a carefully selected soundtrack or a bespoke musical score. In the case of that second option, there are so many moments one can trace back fond memories of pictures like Jurassic Park and James Bond movies, right down to the scene. With that in mind, we’re about to get nostalgic and recall scenes that are dramatically enhanced by their musical scores. 

The Visitor’s Center Showdown - Jurassic Park (John Williams)

The legendary John Williams’ resume of music is nothing short of mythical, especially through his efforts in films such as Jurassic Park. If you’ve never felt a swell of excitement when Roberta the T-Rex swoops in to save the day, then maybe you need to listen to the cue “T-Rex Rescue and Finale” again, just to be sure. 

Arthur Fleck’s Killing Joke - Joker (Hildur Guðnadóttir)

Composer Hildur Guðnadóttir’s score for Joker isn’t a traditional soundscape, but rather an element as off-kilter as its own dark protagonist. When Arthur Fleck (Joaquin Phoenix) tells his infamous killing joke to late-night host Murray (Robert De Niro) the unrelenting tension of melodic elements heard on cues like “Escape from the Train” propel this scene to its fatal, horrific conclusion. 

The Adventures Of Carl And Ellie - Up (Michael Giacchino)

It’s ok if you tear up just reading the words “Married Life,” as Michael Giacchino’s legendary opener for Disney/Pixar’s Up has associated that title with the greatest heartbreak imaginable. As we watch Carl and Ellie Frederickson’s courtship move through the years, the tune carries these dialogue-free scenes with all of the required emotional weight. 

Hiccup And Toothless’ Test Drive - How To Train Your Dragon (John Powell)

Heroes and buddies alike need their theme music, especially when an adventure like the How To Train Your Dragon series is afoot. Through John Powell’s sweeping cue “Test Drive” on the soundtrack of the 2010 franchise starter, we see Toothless and Hiccup (Jay Baruchel) finally teaming up to be the dragon/rider combo that eventually find themselves part of a greater adventure. 

“Avengers Assemble” - Avengers: Endgame (Alan Silvestri)

“Portals” is yet another sterling addition to composer Alan Silvestri’s career as a renowned artist. Starting as a faint glimmer of hope, and building towards Avengers: Endgame’s big moment where Captain America (Chris Evans) gets to finally say “Avengers…assemble!”, you’d be hard-pressed to find someone who doesn’t remember those in-theater reactions we’ve seen through numerous Avengers reaction videos. 

Define Dancing - Wall-E (Thomas Newman)

“Define Dancing” is not only the name of a very important cue that changed during Wall-E’s production, it’s also one of the best moments of the entire picture. As Wall-E and Eve get to know each other through dance, and even begin to get closer to a mutual love, composer Thomas Newman’s blend of electronic and traditional melodies lets the audience share that beautiful weightlessness this budding couple is experiencing. 

“The Name’s Bond…James Bond” - Casino Royale (David Arnold)

The theme to the James Bond movies is as iconic as the character itself, so it’s a touch-balance to know how and where to use Monty Norman and John Barry’s classic tune. In Casino Royale, it was an important 007 cornerstone saved for the end of the film. Watching Daniel Craig’s Bond confront the villainous Mr. White (Jesper Christensen) became even more impressive, thanks to David Arnold’s modern arrangement closing out this origin story with a punch. 

"Ok, Let's Do This One Last Time" - Spider-Man: Into The Spider-Verse (Daniel Pemberton)

Spider-Man: Into the Spider-Verse is a multiversal dramedy that allows more than one Spider-Person to claim themselves as the one and only. So it’s natural that a track named "Only One Spider-Man" would be the basis for the many variations that composer Daniel Pemberton put together to showcase each of these MCU-adjacent heroes. Each time it happens, the laughs grow louder, and the tune never gets any older.

The Shower Scene - Psycho (Bernard Herrmann)

Everybody knows Bernard Herrmann’s short, sharp tune from what’s colloquially known as “the shower scene” in Alfred Hitchcock’s Psycho; and as they should. Not only is the scene signaling the demise of Janet Leigh’s Marion Crane an oft-parodied moment, but that very musical sting, or some imitation of it, is usually along for the ride.

The Bank Heist - The Dark Knight (Hans Zimmer And James Newton Howard)

"Why so Serious?" Acting as the iconic question frequently asked by Heath Ledger’s Joker in The Dark Knight, it’s also the title of the Hans Zimmer and James Newton Howard piece that helps introduce him in the film. Propelling the scene with the sweet guitar riff and percussive pressure needed to welcome us back to Gotham, it’s the unnerving notes played on the violin that tie everything together in an epic example of fear. 

Bear Bath - Paddington (Nick Urata)

As if Paddington wasn't a movie with enough adorable joy packed into its finished product, it has an adorable "give the bear a bath" sequence. With Nick Urata's cue "Bear Bath" playing over this moment of good-natured humor, the whimsy really shines through in this bright and bouncy tune.

Tish And Fonny’s Love Story - If Beale Street Could Talk (Nicholas Britell)

Nicholas Britelll's "Agape" from If Beale Street Could Talk is, quite frankly, love in a song. As it accompanies the recollection of Tish (KiKi Layne) and Fonny (Stephan James) in their early courtship, there's a tenderness that's so moving you're bound to tear up. Seriously, you are going to cry listening to this.

A Very Sweet Introduction - Willy Wonka & The Chocolate Factory (Leslie Bricusse and Anthony Newley)

The main titles to 1971’s Willy Wonka and the Chocolate Factory, on top of looking delicious enough on their own, also happen to double as a menu for Leslie Bricusse and Anthony Newley’s assortment of tunes from the picture. Fudge is rippling and chocolate is churning while audiences get their first taste of “Pure Imagination” thanks to this delicious confection.

The Jupiter 1’s Launch - Lost In Space (Bruce Broughton)

“The Launch” is quite a busy tune from composer Bruce Broughton’s Lost in Space score. As this piece of music is playing while the Robinson family is preparing to make their journey among the stars, the 1998 reboot of the famed ‘60s sci-fi series goes all out with only the most top-notch effects and Matt Le Blanc's Major West as its pilot. All the while, this stirring tune takes the recurring melody that pops up throughout the film and turns it into a most heroic event. 

“Get Off My Plane!” - Air Force One (Jerry Goldsmith)

With one line, and one commanding action, Harrison Ford’s presidential lead in Air Force One saves himself, and the plane. Dispatching of Gary Oldman’s terrorist threat is a well-earned triumph that comes after the cat-and-mouse game that played out before it. And when the moment finally arrives, the movie’s signature Jerry Goldsmith melody kicks in, boosting the patriotism in even the most jaded film viewer.

Emergency Docking With The Endurance - Interstellar (Hans Zimmer)

It’s an honest crime that the track “No Time For Caution” is only on the collector’s edition of Interstellar’s Hans Zimmer score. Not only is it a gorgeous tune on its own, but after watching Matthew McConaughey wrangling an entire space station back into control, you might feel a bit out of breath yourself. Blame those fantastic blaring organs that really set the scene towards the end. 

“You’re the man now, dog!” - Finding Forrester (Terence Blanchard)

As Finding Forrester's protagonist Jamal (Rob Brown) becomes the pupil of reclusive author William (Sean Connery), the process of refining his author’s voice includes score and soundtrack cues. But one of the most powerful is in the scene that launched the meme, as Terrence Blanchard’s score subtly boosts Brown’s typing and Connery’s proclamations of “You’re the man now, dog.”

Kevin Flynn’s Sacrifice - Tron: Legacy (Daft Punk)

One of the most heartbreaking moments on the Tron timeline is the day that Kevin Flynn (Jeff Bridges) sacrificed himself to allow his son Sam (Garrett Hedlund) to return home. Daft Punk’s score for Tron: Legacy gets plenty of merit for its bombastic electronica pieces like “Derezzed” or “The Game Has Changed,” but “Flynn Lives” is the orchestral triumph that still brings fans to tears. 

George And Lorraine’s First Kiss - Back To The Future (Alan Silvestri)

Ok, so “Earth Angel (Will You Be Mine?)” isn’t a track exclusive to Robert Zemeckis’ Back to the Future. However, thanks to composer Alan Silvestri working some melodic magic to heighten the tension, then relief, of George (Crispin Glover) and Lorraine (Lea Thompson) taking this huge step into their futures, a ‘50s pop song and a first kiss become the most important things in the world at that moment. 

Dinner Rush At Gusteau’s - Ratatouille (Michael Giacchino)

Michael Giacchino’s “Dinner Rush” from the Ratatouille score comes at a subtly brilliant moment in the Disney/Pixar classic. As Remy (Patton Oswalt) is running a dinner shift with his fellow rats in the kitchen, the action comes fast and furious; which is reflected in this very tune. A triumphant repeat of “Le Festine’s” melodic signature that almost acts as an indicator that Remy’s realizing, in real time, that his dreams have come true.

Andy Dufrenese’ Shower Of Freedom - The Shawshank Redemption (Thomas Newman)

Some moments are truly unforgettable in a classic like The Shawshank Redemption. One such highlight is the moment that Andy Dufresne (Tim Robbins) breaks out of a sewage tunnel and into the free world. Thomas Newman’s “Shawshank Redemption” theme heralds that moment with such a bittersweet beauty, which ultimately gives way to victorious horns. 

Tony’s Close Call In Monaco - Iron Man 2 (John Debney)

Some of the best moments in music come when you’re invoking other legends of the craft. Iron Man 2’s John Debney gives us an example of that phenomenon with the cue “Mayhem in Monaco,” which plays as Tony (Robert Downey Jr.) first squares up against Whiplash (Mickey Rourke) on an F1 track in Monaco. Close calls, tons of destruction, and a ticking clock are all baked into this tune; but it’s the Jerry Goldsmith-style theme that’s fully realized on the track “I Am Iron Man” that really gives this MCU moment its punch.

The Opera Chase - The Man Who Knew Too Much (Arthur Benjamin/Bernard Herrmann)

 Composed by Arthur Benjamin and arranged by Bernard Herrmann, a certain spot in “Storm Clouds Cantata” is marked for death, as an attempt on a diplomat’s life is set to take place. Watching Jimmy Stewart and Doris Day trying to fend off this attempt in Alfred Hitchcock’s The Man Who Knew Too Much is a pure, wordless thrill - until Day's shrill cry of terror shatters the moment in proper Hitchcockian fashion.

The Throne Room Ceremony - Star Wars (John Williams)

If you didn’t already know this one through watching Star Wars countless times, then maybe riding Disney Parks' various Star Tours attractions has you primed for this next entry. Either way, John Williams' music from the end of A New Hope is one of the most memorable cues from this particular galaxy. Even if the debate over Chewbacca’s lack of a medal was eventually settled in franchise lore, this moment still sticks out.

The Reunion Of Friends - Harry Potter And The Chamber Of Secrets (John Williams)

The franchise theme that recurs in Harry Potter and the Chamber of Secrets gets a bit of an upgrade in John Wililams' "Reunion of Friends." While it sneaks in and starts with its traditional softness, the melody eventually amps up into an elevated version of "Hedwig's Theme." It was so powerful it found its way into the trailer for Harry Potter and the Prisoner of Azkaban, as that extra spark meant "adventure" in this series' musical language.

“Can you hear the music, Robert?” - Oppenheimer (Ludwig Göransson)

Early on in Christopher Nolan’s Oppenheimer, one singular cue fans the flame of scientific discovery and progress in the mind of J. Robert Oppenheimer (Cillian Murphy). Ludwig Göransson’s “Can You Hear The Music” starts off as a soaring melody, the tempo picks up as the imagery gets a bit more intense. Before you know it, it feels like you’re watching and listening to chemical reactions at work, in real time.

“I’m sorry, Wilson!” - Cast Away (Alan Silvestri)

Ever cried over a volleyball before? Cast Away’s limited musical score from composer Alan Silvestri will change that pretty quickly. As Chuck (Tom Hanks) laments the loss of his volleyball friend in the ocean, just as he’s setting off to freedom, the music only helps loosen those tear ducts for this sad parting.

The Indoraptor Rises - Jurassic World: Fallen Kingdom (Michael Giacchino)

A simple musical statement that plunges everything headlong into terror, “World’s Worst Bedtime Storyteller” is a cue that bathes in holy dread. As a choir sings ominously, accompanied by Michael Giacchino’s Jurassic World: Fallen Kingdom cue, the mighty Indoraptor climbs to the top of Lockwood Manor and roars in a scene that feels like something out of the creepiest Universal Monsters movie.

Gotham’s Introduction By Night - Batman: Mask Of The Phantasm (Shirley Walker)

The opening to Batman: Mask of the Phantasm, on a visual level, is merely a tour through the Gotham City skyline at night. However, thanks to Shirley Walker’s powerful main title theme to the film, that tour turns into a hunt for the Batman. He doesn’t appear, but by the time this track is over, you’ll still feel like you’ve visited Gotham City and barely escaped some sort of terror.

The Tunnel Chase - The Italian Job ‘03 (John Powell)

John Powell knows the thrill of scoring speeding cars rather well. Throughout his time on the Bourne films, chase sequences became a stock in trade for his musical skills. But before he gave the world “Bim Bam Smash” from The Bourne Supremacy, Powell delivered an adrenaline rush with The Italian Job’s “Tunnel Run,” which injects a chase through the sewers of L.A. with even more urgency. 

Maximus’ Battle Of Antiquity - Gladiator (Hans Zimmer)

Hans Zimmer loves long cues of sweeping scope and intensity, as you’ll hear in Gladiator’s “Barbarian Horde." Playing during the raging battle where Maximus (Russell Crowe) and his fellow gladiators change historical records through tactics, an action-packed scene became the stuff of legends through the accompanying music helped land Sir Ridley Scott’s action epic in pop culture history.

Darth Vader’s Rampage - Rogue One: A Star Wars Story (Michael Giacchino)

In a sequence that shows off Darth Vader in perhaps his most threatening Star Wars appearance yet, Rogue One: A Star Wars Story includes a short cue called “Hope” that accompanies Vader’s rampage. As a menacing choir sings amidst Michael Giacchino’s threatening, then hopeful, score, the Sith Lord is seen at his most threatening. 

Music makes the images play fonder, and the examples that we've just discussed are only a drop in the bucket of cinema's best moments. So the next time you head to the movies, or flip on one of your old favorites at home, keep your ears and eyes open for moments like these classic showstoppers.

What do all-time great sci-fi movies like Star Wars and Jurassic Park, the Harry Potter film franchise, and quite a few Best Picture winners have in common? If you guessed they are all considered some of the best films of all time, you’d technically be correct, but that’s not the answer we’re looking for. If you guessed they all feature tremendous scores composed by John Williams, you’re in for a real treat. Below is a list of 32 great movies featuring the work of the Academy Award-winning composer, including several of his collaborations with Steven Spielberg.

Star Wars: Episode IV – A New Hope (1977)

It is hard to imagine a world in which anyone but John Williams composed the Star Wars score, and luckily, we don’t have to experience that dark reality. His score, which won him an Oscar, brings so much pomp and circumstance to George Lucas’ epic space opera, and it all starts with the brilliant and iconic “Main Title” sequence. But the real crown jewel is the “Binary Sunset” moment as Luke Skywalker (Mark Hammill) ponders his future.

Jaws (1975)

Steven Spielberg’s Jaws is still considered one of the best movies of all time nearly 50 years after its release, and the legendary blockbuster is made even better thanks to John Williams’ score, which earned the composer an Oscar. The simple yet effective opening theme, with its pounding piano and orchestration, sets the stage for what’s to come spectacularly in addition to providing one of cinema’s scariest moments.

Raiders Of The Lost Ark (1981)

In addition to kicking off the Indiana Jones franchise, Steven Spielberg’s Raiders of the Lost Ark also features one of John Williams’ most well-known tracks: the “Raiders March.” It’s hard not to see Harrison Ford’s beloved character swinging, swashbuckling, and fighting Nazis whenever this composition comes on.

Harry Potter And The Sorcerer's Stone (2001)

Though composers like Patrick Doyle, Nicholas Hooper, and Alexandre Desplat would go on to provide the music for later films in the franchise,  John Williams kicked things off with Harry Potter and the Sorcerer’s Stone. Several of the songs featured in Chris Columbus’ 2001 fantasy film have gone on to become some of Williams’ most popular tracks, including “Hedwig’s Theme.”

Jurassic Park (1993)

The Jurassic Park score, which features some of John Williams' best work, is a tour de force that captures a range of feelings, much like the 1993 dinosaur movie it accompanies. Essentially every track is noteworthy, especially the triumphant main theme and the more subdued “Welcome to Jurassic Park,” which plays during the movie’s more emotional moments.

Schindler's List (1993)

Just like director Steven Spielberg, John Williams pulled double-duty in 1993 with the releases of the huge movies Jurassic Park and Schindler’s List, which would go on to win the Oscar for Best Picture. The violin in the score’s main theme adds a great deal of weight and emotion to this brilliant yet harrowing Holocaust drama.

Home Alone (1990)

In 1990, John Williams got the opportunity to write a score for one of the best Christmas movies of all time, Home Alone, which allowed him to create some of the best tracks of his career. From the outstanding title sequence to the poignant “Somewhere in My Memory,” the compositions hit you right in the heart. Oh, and let’s not forget the epic “Setting the Traps” sequence.

Superman (1978)

The main title march in Richard Donner’s Superman is not only one of John Williams’ best creations, but it’s also in the running for one of the best superhero movie songs ever. It’s so triumphant, pure, and magical. Not even kryptonite could slow this track down. 

Star Wars: Episode I - The Phantom Menace (1999)

Star Wars: Episode I - The Phantom Menace may not be high up in our Star Wars rankings, but George Lucas’ 1999 prequel did give us the epic “Duel of the Fates” track that plays during the film’s final lightsaber fight. The instrumentals are one thing, but the resounding performance from the London Voices is so good you have to let the Sequel Trilogy’s transgressions go.

Saving Private Ryan (1998)

A movie that should have won Best Picture, Steven Spielberg’s Saving Private Ryan featured another superb collaboration between the director and John Williams. The beloved composer starts with the wonderfully constructed “Hymn to the Fallen,” which carries weight and sounds similar to Aaron Copland’s iconic “Fanfare for the Common Man.”

E.T. The Extra-Terrestrial (1982)

Few movies capture the awe and innocence of childhood better than Steven Spielberg’s E.T. the Extra-Terrestrial, and a lot of that has to do with John Williams’ lights-out score. Like, can you imagine the bicycle escape sequence without his composition blaring in the background as Elliott (Henry Thomas) and E.T. fly past the moon?

Star Wars: Episode V - The Empire Strikes Back (1980)

In addition to being considered the best sequel of all time, The Empire Strikes Back also gave the universe one of the franchise’s most recognizable and menacing tracks, “The Imperial March.” In the 40-plus years since the film’s release, John Williams’ additions to the Star Wars score, including “Yoda’s Theme,” have become major parts of the beloved series.

Born Of The Fourth Of July (1989)

Oliver Stone’s heartbreaking chronicling of the life of Ron Kovic (Tom Cruise) in Born on the Fourth of July is made all the more impactful by John Williams’ masterful score. At times beautiful and others gutting, the compositions, like the movie they accompany, perfectly capture the emotions of an idealistic man reborn after being discarded by his country.

Lincoln (2012)

The subtle, somber, and sentimental tones of John Williams’ Lincoln score helped make the 2012 drama about the passage of the 13th Amendment all the more impactful. There are some loud moments, but the soundtrack is carried by those slower and quiet segments, which make the film one of Steven Spielberg’s best movies.

JFK (1991)

Oliver Stone’s 1991 conspiracy/legal drama, JFK, gave us one of John Williams’ best scores up to that point in his career, which is saying a lot considering everything he had done up to that point. There’s a combination of genres featured throughout the soundtrack that add weight and prestige to this twist-filled thriller.

Close Encounters Of The Third Kind (1977)

John Williams’ score for Close Encounters of the Third Kind, a movie that came six months after Star Wars changed the industry, features a lot of the composer’s touchstones, including increasingly intricate anticipatory tracks that build to loud and triumphant orchestrations that hit with so much weight. And then there’s the “Wild Signals” moment when humans and aliens interact.

Catch Me If You Can (2002)

One of the best 2000s movies, Catch Me If You Can also features some of John Williams’ finest work of the 21st century. This is especially true when it comes to the enchanting title sequence with its mid-century animations and an almost jazz-infused orchestration. The rest of the movie about con artist Frank Abagnale (Leonardo DiCaprio) is great, but this opening number is the stuff of art.

The Poseidon Adventure (1972)

In the early 1970s, John William provided the score for The Poseidon Adventure, an incredible disaster film about a capsized ship and a group of passengers as they attempt to reach safety. Just like Gene Hackman’s performance, Williams’ compositions are outstanding throughout the movie.

War Of The Worlds (2005)

When it came time for Steven Spielberg to adapt War of the Worlds into a terrifying big-budget sci-fi thriller, it had to be John Williams sitting in the composer’s chair. The film’s terrifying moments, as well as its more emotional sequences, are made all the better thanks to Williams’ touch.

The Fabelmans (2022)

One of the best movies of 2022, Steven Spielberg’s semi-autobiographical coming-of-age drama, The Fabelmans, was an outstanding addition to the filmmaker’s rich filmography, and his most personal film in years. And who accompanied Spielberg on this journey through his formative years? Well, none other than John Williams.

Memoirs Of A Geisha (2005)

Rob Marshall’s 2005 period drama, Memoirs of a Geisha, may not be the first movie to come to mind when discussing John Williams scores, but this Academy Award winner does feature some great compositions from the legendary composer. The opening track, “Sayuri’s Theme,” named after Zhang Ziyi’s character, combines the East and West to create a unique and sonically pleasing experience.

Fiddler On The Roof (1972)

Considered one of the best movie musicals, Fiddler on the Roof is an epic everyone should enjoy at least once in their life. The story, performances, and production design are all incredible, as is John Williams’ adaptation of the Broadway hit’s wonderful score.

Munich (2005)

Steven Spielberg’s 2005 historical drama, Munich, which dramatized the Mossad assassinations in the fallout of the 1972 Munich Massacre, was another one of the filmmaker’s movies to feature the work of John Williams. The orchestrations, combined with the use of the “wailing woman” singing technique added a heightened sense of drama and urgency to the film’s more intense moments.

Amistad (1997)

John Williams’ work on Steven Spielberg’s 1997 drama, Amistad, a movie that centered on a legal battle after a group of slaves take control of a ship before being recaptured, was enough to earn him another Oscar nomination. However, he would lose out to the powerhouse that was Titanic.

Goodbye, Mr. Chips (1969)

Goodbye, Mr. Chips, Herbert Ross’ 1969 musical starring Peter O’Toole and Petula Clark, is one of John Williams’ earlier films, as well as one that would serve as a taste of what was to come for the composer in the decades that followed.

The Adventures Of Tintin (2011)

In 2011, Steven Spielberg gave the world The Adventures of Tintin, an animated adventure film based on the long-running comic series of the same name. There to help add to the sense of wonder and action found throughout this gem of a movie was John Williams, whose score elevates the story to the next level.

War Horse (2011)

Just like they did in 1993, Steven Spielberg and John Williams teamed up twice in 2011, a collaboration that included War Horse. This remarkable World War I movie has a little bit of everything, including moving instrumentals from the famed composer.

Far And Away (1992)

Ron Howard’s epic drama, Far and Away, follows a couple (played by Tom Cruise and Nicole Kidman) as they leave their native Ireland behind for a chance at a better life in America. The journey is made all the more emotional and adventurous thanks to John Williams and his unforgettable score, one filled with all types of music and movements. 

Empire Of The Sun (1987)

An ‘80s movie that doesn’t get enough love, Empire of the Sun has everything that makes a Steven Spielberg movie great: a wonderful cast led by a young Christian Bale, epic action, emotional drama, and a phenomenal John Williams score. It’s really worth seeking out.

The Long Goodbye (1973)

In 1973, John Williams worked with Robert Altman on the satirical neo-noir crime film, The Long Goodbye, a movie starring Elliott Gould as a private detective who gets wrapped up in the murder of a friend’s wife. Adding intrigue and mystery to this film is Williams’ impressive score.

The Sugarland Express (1974)

The Sugarland Express features a great dramatic turn from Goldie Hawn as a woman who convinces her husband to break out of prison so they can find and retrieve their young son before he can be placed in foster care. The movie was Steven Spielberg’s feature film directorial debut, as well as his first time working with John Williams.

Minority Report (2002)

In 2002, John Williams worked with both Steven Spielberg and Tom Cruise on the sci-fi thriller, Minority Report. This dark yet fun score features some great work by the Oscar-winning composer, including the optimistic closing number, “A New Beginning.”

Though we don’t know if we’ll ever hear another new John Williams soundtrack after the composer hinted that Indiana Jones and the Dial of Destiny may be his final film score, at least we have decades and dozens of movies to revisit for years to come.

The other day, I was on social media, and somebody posted an interesting vs. battle discussion. It was Danny Elfman vs. John Williams, and who was the more legendary composer.  

Now, no disrespect to Danny Elfman (I absolutely adore his work on Beetlejuice, the 1989 Batman movie, The Simpsons’ theme song, and even modern stuff, like the Netflix megahit, Wednesday), but honestly, I wouldn’t put him in the same league as John Williams, who very well just might be the GOAT when it comes to scoring films.  

In fact, I had to wonder, is there anybody who could possibly challenge John Williams when it came to being the best film composer of all time (I mean, this is the dude who freaking scored Star Wars!). And then it hit me. Ennio Morricone! If there was anybody who could go head-to-head against John Williams, it was him, so that’s what I intend to do, by looking at each of their work from a few different categories... 

The Songs Everybody Knows 

Every composer worth their baton has those songs that everybody knows. So, who has the bigger, more versatile collection?  

John Williams’ Songs That Everybody Knows 

Okay, so this category is almost unfair. John Williams has scored the following movies: Superman: The Movie, Star Wars, E.T. The Extra Terrestrial, Jaws, the Indiana Jones films, the first three Harry Potter movies, the first two Jurassic Park movies… and that’s just a sampling! I bet that you could probably hum the main themes to all of those aforementioned movies, which is why many consider John Williams to be the GOAT when it comes to this sort of thing.  

Ennio Morricone’s Songs That Everybody Knows 

Don’t sleep on Ennio Morricone, though! All of Sergio Leone’s westerns were scored by Ennio Morricone, including what may be the most recognizable song of his -- the theme to The Good, the Bad, and the Ugly.  But, there are some other well-known scores for films you may not have realized were by Morricone, like The Thing, The Untouchables, and my favorite Quentin Tarantino movie, The Hateful Eight. That said, since none of these movies was as big as say, Star Wars, or Jurassic Park, well…    

The Songs Everybody Knows Victor: John Williams

John Williams wins this one by a landslide, simply for the fact that his songs were in bigger films. 

The Hidden Gems 

Sure, everybody knows the hits, but who has the bigger collection of hidden gems in their composer jacket?  

John Williams’ Hidden Gems 

Now, I’m not going to just list stuff like Empire of the Sun, or Close Encounters of the Third Kind, because I wouldn’t exactly call those “hidden gems.” They’re just slightly lesser gems. But how about something like the jazzy Cinderella Liberty, or maybe the rousing doom and gloom of The Towering Inferno? Or what about the creepy melody to The Fury? I mean, hot damn. Did this dude ever miss?       

Ennio Morricone’s Hidden Gems 

Okay, so maybe these are not hidden gems to fans of classic old movies, but Once Upon a Time in America (also by Sergio Leone) has one of the most lush and splendid themes of all time. Or what about his work on Cinema Paradiso? What a gorgeous score. The Battle of Algiers? Jeez. And then, you have the theme to The Mission, which is so beautiful! This is tough!    

The Hidden Gems Victor: Ennio Morricone 

John Williams never missed, but when it came to who had/has a deeper collection of hidden gems, I have to give it to Morricone.        

How Their Songs Influence The Movies They’re Attached To 

Sure, a great theme is important and all, but what really matters is whose score is more fully integrated with the movies they’re attached to. So, who has the better overall scores for movies? 

John Williams’ Songs And Their Influence On The Movies They’re Attached To 

Again, this seems like an unfair W for Williams. It’s hard to detach Williams from Star Wars, Jaws, or Harry Potter. In fact, when I wrote my vs. article on Indiana Jones and the Temple of Doom vs. The Last Crusade, I made sure to play both soundtracks, and man, I think I may have given The Last Crusade the edge since I prefer that soundtrack to Temple. Honestly, when you want rousing, awe-inspiring music (and even dour stuff like Schindler’s List, and Saving Private Ryan), John Williams’ scores can really carry the viewer through an experience. 

Ennio Morricone’s Songs And Their Influence On The Movies They’re Attached To    

Ennio Morricone’s songs are sneaky in just how much they really carry you through a narrative. Though there seem to be a lot of parallels in some of his works, I can’t help but think how swept away I was by the scores in movies like Bugsy, Days of Heaven, or even horror flicks like Wolf, as well as one of the worst movies ever, Exorcist II: The Heretic. Seriously, when I really think about it, I think I’ve been transported more with Ennio Morricone’s often haunting scores than any other composer.    

The Songs And Their Influence On The Movies They’re Attached To Victor: Ennio Morricone

This was a tough one as well since it’s hard to imagine movies like Jaws or Star Wars without John Williams’ scores, but here’s my deciding factor: Morricone’s scores even made bad movies – like The Exorcist II: The Heretic, still seem worth watching. And that’s saying something!  

Influence On Other Composers  

A composer’s work is not only important to any one specific film, but also who it has influenced along the way. So, which composer’s influence is broader? 

John Williams’ Influence On Other Composers 

This may be the toughest category, since not every composer has said who inspired them. But Danny Elfman himself called John Williams “The Master” 

It’s also quite evident that songs like The Avengers theme by Alan Silvestri are influenced, at least in some way, by the bombast of John Williams’ scores. In fact, I would say that a great many superhero themes owe something to John Williams, who helped shape the blockbuster with his scores. So, yeah. If you like big budget movies, then John Williams likely helped influence the people behind the music.  

Ennio Morricone’s Influence On Other Composers  

Again, it’s hard to know just exactly who Ennio Morricone might have influenced, but famed composer Hans Zimmer himself said that if not for Morricone and Sergio Leone, he might not have ever become a composer.

And if there are any quiet scores that sound deep and introspective, then Morricone was likely playing in the mind of the composer who produced it. But, again, it’s not nearly as easy to pinpoint Morricone’s influences as it is to Williams’, since blockbusters really are the norm these days.  

Influence On Other Composers Victor: John Williams

I consider myself a film junkie, but I haven’t listened to EVERY score to EVERY movie ever made. But, when it comes to whose sound I feel I hear the most frequently these days, I’m going to go with John Williams. That’s just how I feel. 

Their Legacy 

Ultimately, it’s all about who will have the longest lasting legacy. So, out of these two masterful composers, who will have the longest lasting one?

John Williams’ Legacy

Here’s the thing. Star Wars is bigger than any other franchise ever. That theme alone puts Williams at the top of the heap, but the fact that the themes to Jurassic Park, Indiana Jones, Harry Potter, and Superman are pretty much attached to their characters, well, I just don’t see how John Williams’ legacy won’t outlive us all. 

Ennio Morricone’s Legacy

Yes, the theme to The Good, the Bad, and the Ugly is eternal, and yes, I feel like Morricone’s overall collection may be more impressive than Williams', but I honestly think that even people who aren’t cinephiles will still remember Williams’ themes more than Morricone’s, simply because they’re attached to bigger and broader films. 

The Legacy Victor: John Williams 

It’s impossible to say that anybody has bigger Hollywood scores than Williams. 

The Overall Victor: John Williams

As much as I was rooting for Morricone, I think I have to give it to John Williams for sheer bangers alone. But, what do you think? Are you more Team Morricone? For more news on all things involving cinema, be sure to swing around here often!

Most people would recognize Thomas Newman from his musical work, as a career scoring films like The Shawshank Redemption and Finding Nemo has kept him a Hollywood staple for decades. That being said, film buffs would also mark the Elemental composer as notable for another reason: he belongs to a family dynasty of movie music legends – which is ultimately what led to him being able to work with John Williams on the music for Star Wars: Return of the Jedi (which is celebrating its 40th anniversary this year).

When I sat down to interview Thomas Newman, I asked about how he wound up orchestrating a cue for Maestro Williams just as the Star Wars legacy was hitting its first grand finale. Recounting the story, the composer said,

"Uncle Lionel" is only one of many members who built the Newman family legacy of which Thomas Newman is a part. His father, Alfred, was also a composer and famously created the studio fanfare for 20th Century Fox – a tune that still plays in front of productions from the company’s current incarnation, 20th Century Studios. Meanwhile, Thomas' older brother, David Newman, has scored pictures like Serenity and Ice Age, and cousin Randy Newman helped kick off the Pixar catalog with his scores to films like Toy Story and A Bug’s Life. 

Following in his cousin’s footsteps with 2003’s Finding Nemo, Thomas Newman counts that film as one of the watershed moments in his musical career. But jumping back to 1983, the young composer had not yet written his first major film score. He was looking for his big break, and his family’s association with John Williams led to an opportunity.

Star Wars: Return of the Jedi gave Thomas Newman a crucial starting point before releasing his own first feature film scores in 1984. In a 2015 interview with NPR, the composer revealed that very scene he got to score was in Return of the Jedi. During that anecdote, he talked about this full circle moment that saw him in the Endor sun:

Picturing this scenario is enough to drive anyone into ”2 AM sweats” akin to what Thomas Newman experienced during the scoring of Skyfall. Just imagine being a young composer in a family full of musical legends and you’re given a very important scene to conduct. Keep in mind, this was supposed to be the epic climax to the Star Wars legacy, as it didn’t look like prequels or sequels would ever be in the picture. 

That’s kind of like Alan Silvestri tapping a young music student to conduct Tony Stark’s big death scene in Avengers: Endgame, and it must have felt like it in the moment. So when the big day came, this is presumably the moment where Thomas was put to the test, conducting this cue into movie history: 

Eventually, Thomas Newman would find himself connected to John Williams in another regard, as the 2015 interview place during a special occasion. Williams’ regular collaboration with Steven Spielberg was interrupted at the time by a period of illness, requiring a different composer to step in for 2015’s Bridge of Spies. 

Having such a close connection to John Williams’ sphere of influence probably helped Thomas Newman land on the shortlist for the duties. As one of only three composers to fill in when John Williams was unable to work with Spielberg, Newman occupies a rarified air in his profession, and deservedly so. Yet, as you can read above, and in other recollections he's provided from throughout his career, Maestro Newman is pretty humble about it all. 

For all of his accomplishments, Thomas isn’t a person who takes opportunities for granted. When speaking with him, I asked if there were any sorts of opportunities that he was looking to nab in any other well-established realms. His response was a solid no, as he reflected that he takes the paths offered to him as they come. 

So far, I’d have to say that strategy has served him rather well, and will no doubt continue to do so in the future to come. Four Pixar movies, two James Bond adventures, and a bunch of other legendary musical scores don't just appear out of nowhere. Speaking of which, you can hear Thomas Newman’s latest score at the movies, thanks to Disney/Pixar’s Elemental continuing to occupy the box office top 10. You're also able to stream that album, wherever you choose to enjoy your musical tastes online.

Mention the name Indiana Jones, and the archaeologist’s signature theme song likely will begin playing in your head. The themes composed for Raiders of the Lost Ark and the subsequent Indiana Jones movies rank as the absolute best of composer John Williams. And even though Steven Spielberg isn’t returning to helm Indiana Jones and the Dial of Destiny, it feels like getting Harrison Ford and Williams to return will provide enough of the magic to make the movie’s nostalgia factor kick in. 

During the recent Star Wars Celebration 2023 in London, Indiana Jones and the Dial of Destiny’s director, James Mangold, opened up about getting composer John Williams to return to the franchise. Williams initially said he planned to retire after scoring Mangold’s sequel. But as you can tell by this story, the drive to compose, and surround himself in music, might never go away. Mangold talked about the process of securing Williams, and said:

If the process isn’t broken, why try to fix it, right? James Mangold started talking about putting the finishing touches on the fifth Indiana Jones movie once John Williams started to share some of the original themes that he wrote for The Dial of Destiny. You can hear them in the trailer, as they blend some music of the 1960s (when the action takes place) with the original score. Pair that swelling Williams score with scenes of Harrison Ford in action, and it’s basically a time machine back to our childhoods, when the man in the leather jacket and fedora cracked his whip and took us all on globetrotting adventures. 

We are learning more and more what Indiana Jones and the Dial of Destiny is going to be about. The “dial” of the title is an object that former Nazi Jurgen Voller (Mads Mikkelsen) believes he can use to restore Hitler’s armies. Indy (Harrison Ford) has been chasing it his whole life, but abandoned the search until his goddaughter Helena Shaw (Phoebe Waller-Bridge) returns to his life and pulls him along on what we believe will be his final thrill ride. 

It’s still amazing to see a de-aged Harrison Ford in the trailers for Indiana Jones and the Dial of Destiny, because it shows how advanced the technology has gotten to make older actors look like versions of their younger selves. Mangold also spoke about that process when we talked at Celebration, as he told CinemaBlend: 

I’m sure it was more complicated than that. And we will find out for ourselves when Indiana Jones and the Dial of Destiny opens on June 30. It’s one of many Upcoming 2023 movies we are keeping an eye on, so many sure that you get tickets once they go on sale.  

Warning: SPOILERS for Black Adam are ahead!

After his fight-turned-team-up with the Justice Society of America was finished, Dwayne Johnson’s Black Adam met with a certain Kryptonian superhero. The Black Adam end-credits scene showed Henry Cavill’s Superman paying a visit to Kahndaq to have a chat with the Man in Black, only rather than his DCEU return being accompanied by Hans Zimmer’s theme music from Man of Steel, the latest entry in the DC movies library used the theme that John William composed for Superman: The Movie. A week after Black Adam premiered, Cavill has shared his take on this unique choice of music.

CinemaBlend’s own Sean O’Connell had the opportunity to speak with Henry Cavill on behalf of Enola Holmes 2, with Netflix subscribers being able to see the actor reprising Sherlock Holmes opposite Millie Bobby Brown’s title character starting November 4. As the interview neared its end, Sean asked Cavill what it meant to him to have John Williams’ Superman theme play during his Black Adam appearance, and Cavill answered:

Superman has been a pop culture icon for nearly the entirety of his existence, and there’s no question that Superman: The Movie is one of his most well-known appearances. John Williams’ score is among the many reasons the 1978 movie is still cherished to this day, and as Henry Cavill mentioned, a lot of people in the world will instantly think of the Man of Steel when hearing the triumphant theme’s notes. So although Black Adam takes place in the DCEU, Cavill was fine with this music from a different Superman continuity being included (plus this isn’t the first time a DCEU movie has done this).

However, Henry Cavill also gave Hans Zimmer a shoutout for his stellar composing work on Man of Steel, saying the following words about how that particular Superman theme holds a special place in his heart:

Black Adam marked Henry Cavill’s return to Superman after five years away from the role, and this isn’t the last we’ll see of him in the cape. Earlier this week, Cavill said on social media that what audiences saw in Black Adam is just “just a very small taste of things to come,” adding a few days later that the DC Comics superhero has a “bright future” ahead of him. It’s also been reported that Warner Bros. is looking to spotlight Superman again in a Man of Steel sequel, and Dwayne Johnson has also promised there will come a day when Black Adam and Superman fight on the big screen. The question is, wherever we next see Superman, will we be back to the original Hans Zimmer theme being used, or is WB willing to break out the John Williams theme again?

Once that answer comes, we’ll let you know. Until then, learn what other upcoming DC movies are slated and read our thoughts on what Henry Cavill’s Superman return probably means for his James Bond chances.

While the general public is presumably still a ways off from seeing the first Indiana Jones 5 trailer given that the movie isn’t coming out for another nine months, there are lucky individuals over the last few weeks who’ve been treated to some goodies from Harrison Ford’s final outing as the fedora-wearing, whip-wielding archaeologist. Indiana Jones 5 footage debuted exclusively to D23 attendees this past weekend, and before that, composer John Williams premiered one of the movie’s pieces of music at the Hollywood Bowl. Now director James Mangold has talked about putting the “finishing touches” on Indiana Jones 5 while responding to an inquiry about “Helena’s Theme,” the aforementioned musical piece.

This all started when a fan asked James Mangold on Twitter if he’d convinced John Williams to release “Helena’s Theme” on digital, to which Mangold answered, “All in good time.” This led to another fan urging Mangold to push for “a 2 CD or 3 CD release worth of music for the soundtrack instead of the usual 1 CD 75 minute release,” as according to them, the latter only contains less than half of the music recorded for a movie, which, as they said, “never” does John Williams “music justice.” Mangold said to that person:

So James Mangold is confident that this fan’s wish for a multi-disc Indiana Jones 5 album will be granted,  although this is by no means an officially done deal. As far as Mangold goes though, he’s focused on finishing up the movie itself, which he was announced to be directing in February 2020 after Steven Spielberg decided to set down the helming reins, though he remained involved as a producer. It wasn’t until June 2021 that Indiana Jones 5 began filming, and principal photography concluded in late February. Seven months later, Mangold (who also co-wrote the script with Jez and John-Henry Butterworth) and his team are nearly done piecing Indiana Jones 5 together, and after that the only thing left to do will be to promote the blockbuster closer to its wide release.

Disney and Lucasfilm are still keeping specific plot details about Indiana Jones 5 under wraps, but the proverbial picture has become a little clearer regarding the 2023 movie holds in store. For one thing, the D23 footage revealed that John Rhys-Davies is reprising Indy’s old friend Sallah for the first time since 1989’s Indiana Jones and the Last Crusade. Furthermore, the Helena in “Helena’s Theme” is Phoebe Waller-Bridge’s character, who is Indiana Jones’ goddaughter. The Indiana Jones 5 cast also includes Mads Mikkelsen, Thomas Kretschmann, Boyd Holbrook, Shaunette Renée Wilson, Toby Jones, Antonio Banderas and Olivier Richters, but none of their characters have been officially identified.

Indiana Jones 5 will premiere in theaters on June 30, 2023, so don’t forget to keep checking back with CinemaBlend for more updates about the movie. For now though, you can look at hm reuniting with Temple of Doom co-star Ke Huy Quan at D23, as well as see his interactions with The Marvels’ Brie Larson, Iman Vellani, Teyonah Parris and Nia DaCosta at the same event.

We’ve been waiting a long time for the arrival of Indiana Jones 5, and as things currently stand, Harrison Ford’s reprisal of the fedora-wearing, whip-wielding adventuring archaeologist is a little under 10 months away from hitting theaters. However, during a recent concert at the Hollywood Bowl, John Williams debuted a new theme for the upcoming 2023 movie, and according to the composer, he had permission from James Mangold, Indiana Jones 5’s director, to unveil this new piece of music.

As with the first four Indiana Jones movies, John Williams was brought back to put his musical expertise to good use for Indiana Jones 5, which may end up being the last movie he scores. Along with performing some of his greatest hits at the latest of his Maestro of the Movies concert at the Hollywood Bowl, Williams also debuted the theme music of Phoebe Waller-Bridge’s character in Indiana Jones 5, whom he revealed is named Helena and described as “an adventuress,” “femme fatale” As for why Williams was able to share Helena’s theme (which he called “a kind of lyrical music, like an old movie star”), the composer said this (via YouTuber Charles Ozeas):

Despite his decades in the business and having been cemented as one of the film industry’s most important figures many times over, I imagine John Williams would have caught a lot of flak for deciding to debut this music on his own accord. Fortunately, James Mangold, who took over Indiana Jones 5 directing duties from Steven Spielberg, made this call, though presumably he received permission from the folks at Lucasfilm and Disney beforehand. Since the full Indiana Jones 5 score likely won’t be released until shortly before the movie itself, Indiana Jones fans should consider themselves they were able to hear Helen’s theme music so far ahead of time, whether it was live at the Hollywood Bowl or from the below video.

While it’s also nice to know a little bit about Phoebe Waller-Bridge’s character in Indiana Jones 5, the fact of the matter is that much of this movie is still shrouded in secrecy. In fact, outside of her and Harrison Ford obviously jumping back into action as Dr. Henry Jones Jr., none of the other members of the Indiana Jones 5 cast have had their characters officially identified yet. By the way, that lineup includes Mads Mikkelsen, Thomas Kretschmann, Boyd Holbrook, Shaunette Renée Wilson, Toby Jones, Antonio Banderas and Olivier Richters. That being said, it’s rumored that Indiana Jones 5 sees Mikkelsen playing a Nazi scientist who’s been recruited to aid the United States in its moon landing initiative.

Along with directing Indiana Jones 5, James Mangold wrote the script with Jez and John-Henry Butterworth. We got our first look at Harrison Ford in the movie back in May, and CinemaBlend will continue providing updates about what this blockbuster has in store we we move closer to its June 30, 2023 release.

When Indiana Jones 5 finally makes its way to screens after years of delays it’s going to be a big deal. The long awaited installment of a massively popular franchise will put Harrison Ford back in the fedora for what will almost certainly be the final time. It will be the end of an era. However, it turns out it might also be the end of another era, as Indiana Jones composer John Williams is indicating that the next Indy movie may be his last film score.

Nobody in the history of film has done more with music that John Williams. He’s written themes and scores for well over 100 movies and created some of the most iconic pieces of music for movies from Jaws, to Star Wars, to Harry Potter and, of course, Indiana Jones. He’s the go-to composer for Steven Spielberg. He’s been nominated for 52 Oscars in his career and he won a Grammy for music he wrote for Disneyland. There has never been a career quite like his, but it must end at some point and Williams tells the Associated Press that he’s thinking he’ll make Indiana Jones 5 his final score. Williams says… 

Harrison Ford has not confirmed publicly that Indiana Jones 5 will be his final film. He has a pair of TV projects still in his future, though no other big screen outings are officially in development. Whether or not Indy 5 is Harrison Ford’s last movie, it will mark a significant ending, and John Williams clearly sees that possibility for himself as well.

Having said that, John Williams isn’t quite ready to commit entirely to retiring. The main issue seems to be that Williams, who recently had a birthday and is 90-years-old, doesn’t want to commit the time that a major film score requires. Namely about six months of work according to him. And Williams isn’t claiming he’s going to just stop making music or doing other things. He does have other musical projects in the works. He continues...

The day that John Williams stops writing film scores will certainly be a sad day for movie fans. But that day must come eventually, and Williams has certainly earned retirement. Fans will still have his dozens of film scores, and the movies that include them, to enjoy. If Indiana Jones 5 really is the end for John Williams it will give us yet another reason to look forward to that movie. Indy 5 is set to arrive in theaters almost exactly one year from now, June 30, 2023.

John Williams just turned 90-years-old, and during his career the prolific film composer has created some of the most iconic movie themes in the history of film. However, it’s possible that none is more iconic than the two notes that make up the core of the Jaws theme. It’s so simple that Steven Spielberg admits that when Williams first played him the music, he thought it was a joke.

Considering what the Jaws theme has come to represent today, it’s hard to imagine anything else representing the shark musically, but the fact that so much of the theme is really just two notes has also made it the butt of some jokes. And Steven Spielberg saw it that way at first too. In a behind-the-scenes documentary (via THR) the director of Jaws admits he thought Williams was kidding the first time he played the music for him. Spielberg explained… 

Steven Spielberg and John Williams had worked together one time before Jaws, on Spielberg’s The Sugarland Express, and so the two knew each other. It’s not inconceivable that Williams could have been messing with Spielberg. But he was not, and eventually the director realized that, and also realized just what Williams was going for with the theme.

John Williams is responsible for some of the most memorable movie music ever. From Star Wars to Indiana Jones, from Superman to Harry Potter, you can’t talk about film scoring without talking about John Williams. He has more Oscar nominations than any other living person. He even composed the music that led to the first Grammy win by a theme park.

And those two notes in Jaws are perhaps at the top of the list when it comes to great film scores. Steven Spielberg himself said he was expecting something “weird” and of “another world” and honestly, that’s exactly what he got, it just didn’t arrive in quite the same form he was expecting. These two were clearly on the same wavelength as Williams would go on to score the majority of Spielberg’s movies to this day.

John Williams may be 90-years-old but he’s not done yet. He will return to score the currently in production Indiana Jones 5, assuming it ever comes out, and he’s already on deck to do the music for Steven Spielberg’s upcoming The Fabelmen. This means the greatest composer of movie music will have at least two more chances to blow us away.

As Indiana Jones 5 has continued to come together in the past few years, Harrison Ford has made one thing explicitly clear: he is the only Indiana Jones. While it’d be tough to argue that point, the globe-trotting archaeologist could use an ally or two on his next expedition, couldn’t he? Well, Lucasfilm has begun to fill a few spots. Along with news that John Williams is officially returning to Indiana Jones 5, we’ve learned a Solo: A Star Wars Story star has been cast in a leading role.

Fleabag star and creator Phoebe-Waller Bridge has officially joined Indiana Jones 5 in James Mangold’s upcoming film, per LucasFilm. The comedian and Emmy-winning creative notably voiced L3-37 in the studio’s 2017 Han Solo origin story, and now she’ll be joining the man behind the Star Wars role himself for the 2022 film.

Indiana Jones 5 has been in development over five years, originally with Steven Spielberg on board to continue his streak. Last year, James Mangold replaced him with Spielberg still serving as a producer. The Logan director said this following Lucasfilm’s casting announcement:

Phoebe Waller-Bridge is best known for her work in television on her Amazon Original series Fleabag, which won her three Emmys and a Golden Globe. She is also the creator of BBC’s Killing Eve, which has also received award nods. The British actress has also found roles in Broadchurch, His Dark Materials and served as a writer on the upcoming James Bond film, No Time To Die.

The 35-year-old Solo: A Star Wars Story actress is the first new cast member to be added to Indiana Jones 5 aside from the return of Harrison Ford. The production is reportedly set to begin this summer ahead of a July 29, 2022 theatrical release date. As news of Phoebe Waller-Bridge’s involvement in the film is announced, we’d imagine more casting news will follow suit in the coming months leading up to Harrison Ford suiting up, grabbing his fedora and whip.

Phoebe Waller-Bridge is sure to bring some comedic flair to the project, and it’s exciting to hear about a new character entering Indiana Jones’ orbit for the sequel. Time will tell how Indiana Jones 5 will continue to cast its film, but some former cast members of the series including John Rhys-Davies talking about reprising his role as Sallah and Karen Allen, who played Indiana Jones’ wife Marion also hoping to return to the franchise.

Aside from Indiana Jones 5, Phoebe Waller-Bridge is also set to star with her Solo co-star Donald Glover in a Mr. and Mrs. Smith television series. While we wait for Indiana Jones 5, check out what’s to come this year with CinemaBlend’s 2021 movie release schedule.

Iconic filmmaker Steven Spielberg changed the film world multiple times over his career, including his work on Jurassic Park. New visual effects were debuted, and the dinosaur property has continued to entertain audiences for decades. The Jurassic World trilogy will come to an end with Colin Trevorrow's Dominion, which will also feature the return of the original trio of heroes. The franchise's official social media just wished composer John Williams a happy birthday, and now I'm emotional.

John Williams is a legend in the film world, with his work helping to bring projects like Star Wars, Jurassic Park, and Harry Potter to life. He notably wrote Jurassic Park's iconic theme song, which has been passed down by generations of moviegoers, and adopted into theme park attractions and the Jurassic World movies. As today is Williams' birthday, the franchise's social media took the time to post a message that might get you misty eyed. Check it out.

While the Jurassic Park and Jurassic World movies have both contained plenty of awesome film moments, the clip above is arguably the most iconic of the entire property. In it we see the true magic of the park for the first time, with John Williams' iconic score helping to elevate the moment and make it a beloved piece of theatrical history.

The above video that was shared on Jurassic World's Twitter come from the 1993 original Jurassic Park movie, and features the talents of Sam Neill and Laura Dern-- both of whom will be reprising their roles for Jurassic World: Dominion. Their characters Alan Grant and Ellie Sattler are seeing resurrected dinosaurs in their glory for the first time, and John Williams' iconic song highlights the magic and wonder of their reaction.

John Williams also wrote the music for The Lost World: Jurassic Park, Steven Spielberg's 1996 sequel. Since then other composers have handled the franchise's score, although Williams' iconic theme song always makes its way into each new installment. And it's for this reason that Jurassic World's social media wished the 89 year-old legend a very happy birthday.

The theme song for Jurassic Park is just one of the many iconic music moments that John Williams has brought us over the years. His work on the Star Wars franchise is similarly iconic, as there are a number of beloved recurring melodies that appear in each installment in the galaxy far, far away. The same can also be said for Harry Potter, Superman, and Jaws.

Jurassic World: Dominion will no doubt contain John Williams' theme song, as it brings the six-film narrative to a close. Colin Trevorrow and the cast/crew wrapped the blockbuster after a long shooting schedule and countless COVID tests. The OG trio of stars are uniting with the new cast, as they deal with a world were dinosaurs and humans are living together.

We here at CinemaBlend wish the talented John Williams a very happy birthday as well. Jurassic World: Dominion is currently set to arrive in theaters on June 10th, 2022. In the meantime, check out our 2021 release list to plan your next movie experience.

With Chapter 13, "The Jedi," The Mandalorian delivered arguably its best episode yet, largely thanks to the introduction of Rosario Dawson bringing The Clone Wars' Ahsoka Tano to live-action for the first time. Not only was it one of the coolest and most gorgeous debuts in all of Star Wars-dom, but Ahsoka also dropped a ton of expositive knowledge that fans have been waiting ages for, such as Baby Yoda's real name and his abridged backstory. What's more, her knowledge led to Yoda being specifically referenced for the very first time in the show, though the Jedi Master's name wasn't the only callback to the original trilogy.

Any Star Wars fans who were watching the episode at a louder volume – as opposed to having to keep things relatively quiet in the middle of the night when "The Jedi" first hit streaming – may have noticed something familiar about the background music in that moment. Executive producer, episode director and Ahsoka Tano creator Dave Filoni was pumped that The Mandalorian composer found a way to bring another Yoda element into that moment, saying this to Vanity Fair:

While recognizing that temporary callback to The Empire Strikes Back isn't necessary to enjoy The Mandalorian's info-bomb scene, and also doesn't offer any further insight into the name Grogu, it's definitely an awesome wink-and-nod to fans who could recognize John Williams' Star Wars themes under any and all circumstances. It would have been superb had that scene also set up a deeper specific connection between Yoda and Grogu, I guess we can remain content with Ludwig Göransson's always engaging score.

Dave Filoni also talked about that moment being a more distinct tribute to the character of Yoda himself and all the great minds that came together to bring the wrinkled li'l dude to life. In his words:

For those who want a quick comparison point, or anyone who just wants to go on a mental vacation to Dagobah, you can check out "Yoda's Theme" within the video below.

Yoda almost definitely won't be showing up in person (so to speak) during The Mandalorian's run on Disney+, but that doesn't mean Dave Filoni and Jon Favreau don't have other major Star Wars franchise cameos in mind for future episodes. We're already hoping to get Katee Sackhoff's Bo-Katan back in Season 2 or Season 3 (or even digitally and arbitrarily inserted into Season 1 episodes), and Ahsoka Tano opened up this fictional world even further by also namedropping Thrawn and later advising Mando to make a trip out to the planet Tython.

Baby Yoda is meant to visit the ruins of an old Jedi temple on Tython, where he will presumably make contact with someone else from the Jedi Order, though it remains to be seen who that might be. Not that fans have been speculating like crazy or anything. Who thinks we're going to get a Skywalker reference out of this one? Could Ezra Bridger arrive at some point?

New episodes of The Mandalorian hit Disney+ on Fridays at 3:01 a.m. ET. While waiting to hear more about what's coming to this increasingly exciting universe, be sure to stay tuned to our Fall 2020 TV premiere schedule and our Winter and Spring 2021 TV rundown to see all the new and returning shows popping up soon.

The Mandalorian introduced a number of fresh elements into the Star Wars franchise, one of which was its impeccable score from composer Ludwig Göransson. Creating music is no easy task, especially when doing so for a franchise like Star Wars, which is known for its iconic beats. With this, it was inevitable that fans would compare and contrast his work with that of the great John Williams. But Göransson seems to be taking the comparisons in stride.

Ludwig Göransson, who was recently received an Emmy nomination for his work on The Mandalorian, is well aware that no composer can stack up to John Williams. However, Göransson set a high bar for himself and put plenty of time and effort into constructing every piece of music:

The Oscar-winning composer went on to explain to Deadline that he and his collaborators were quite thoughtful when it came to the relationship between the vast Star Wars universe and the music. Ultimately, they tried to find a balance between three key elements:

The Mandalorian signified a change for the Star Wars series not only because it was the franchise’s first TV series but because it’s also one of the more intimate stories set within the world. Ludwig Göransson’s score helped to capture that subtle feel, yet it was also able to be grant and bombastic when moments called for it.

Within the last several years, Ludwig Göransson has made a name for himself within the realms of film and TV. A frequent collaborator of director Ryan Coogler, Göransson worked with the filmmaker on Fruitvale Station, Creed and Black Panther. He would ultimately score the Oscar for Best Original Score for their third collaboration. His latest work will be heard when Christopher Nolan’s Tenet hit theaters.

Ludwig Göransson definitely isn’t John Williams, and he doesn’t need to be. The rising composer has a unique style all his own, and The Mandalorian has been better for it. We’ll be waiting intently to see what he comes up with for Season 2.

The Mandalorian Season 1 is currently streaming on Disney+, while Season 2 is slated to premiere this fall.

In the history of cinema, there are no two careers more intertwined than Steven Spielberg and John Williams. From The Sugarland Express in 1974 to The Post in 2017, the Academy Award-winning filmmaker and composer have teamed up for some of the most important and influential films. With movies like Jurassic Park and Raiders of the Lost Ark, Saving Private Ryan and Catch Me If You Can, they are in a class above the rest.

All of these movies, while great on their own, are only made better by the legendary John Williams and his approach to scoring nearly 30 different Steven Spielberg projects, many of which are in different genres ranging from science fiction adventures like E.T. and Close Encounters of the Third Kind, and somber period dramas like Schindler's List and Lincoln. Here are 10 of those excellent John Williams Scores in a Steven Spielberg movie.

Jaws (1975)

Steven Spielberg's 1975 answer to the monster genre Jaws is probably remembered just as much for the great John Williams score as it is for the director's masterful way of inserting tension and fear into what is considered the first summer blockbuster. The "dun dun… dun dun… dun dun dun dunnn" of the film's main theme is one of the few pieces of music that you can hear just by reading the text, and that's just the beginning. 

To illustrate how vital the score was to the movie, Richard Dreyfus once played the scene in which his Matt Hooper and Robert Shaw's Quint first attempt to catch the shark, once with no music, and a second time with Williams' instrumentation. The composition guides the audience through the scene and enhances the emotions of the characters, turning it into one of the most memorable moments in movie history.

Close Encounters Of The Third Kind (1977)

The 1977 science-fiction epic Close Encounters of the Third Kind helped cement Steven Spielberg as a master of the genre, and the movie's epic story of humans coming into contact with aliens was only made that more memorable thanks to soaring and sweeping score by John Williams. 

Throughout the entire movie, the score pushes the plot along to the point where the humans finally begin to communicate with the alien mothership, which is another way of inserting Williams' composition into the picture. The "Play The Five Tones" scene is a miraculous piece of filmmaking and orchestration as it starts rather small and hushed before going into a back and forth between the two species before growing into a grand composition that ultimately ends with a chorus of strings growing in intensity as the aliens reveal themselves to the amazement of the humans.

Raiders Of The Lost Ark (1981)

Raiders of the Lost Ark, the first Indiana Jones movie, had it all: Steven Spielberg directing Harrison Ford in a movie written by Lawrence Kasdan from a story by George Lucas and Philip Kaufman, and oh yeah, John Williams composing the score. Like many of the movies where Williams wrote the music, it's hard to picture Raiders without the perfectly timed triumphant horns or sweeping string arrangements as Indy runs for his life whether it be from native tribes to crazed Nazis.

Just watch the "Golden Idol" scene in the prologue of Raiders of the Lost Ark and try not to get excited when you hear the first hints of John Williams' iconic "Raiders March" as the famed archeologist narrowly escapes certain death after jumping in a plan while dodging arrows and spears. It sets the tone of the rest of the film and that has a lot to do with Williams and his uncanny ability to capture the thrill of adventure.

E.T. The Extra-Terrestrial (1982)

Steven Spielberg went back to the science fiction genre five years after the release of Close Encounters with perhaps his most iconic movie of the 1980s with E.T. the Extra-Terrestrial. And who did Spielberg turn to for the film's score? None other than John Williams. Seriously, Williams signature style can be heard all throughout the movie, but nothing really comes close to the iconic "Across the Moon" scene when Elliott (Henry Thomas) and E.T. make their daring escape from a group of government scientists.

Just listen as the orchestration builds up to an epic release just as Elliott yells out in joy as he and E.T. soar past the moon in the night's sky. The music sweeps as the pair of friends soar fly through the sky and make their landing, at which point the tone changes and the song is complete. It's brief, but it leaves you wanting more, which is one of the best characteristics a piece of music can have.

Jurassic Park (1993)

It is hard to imagine a world in which Jurassic Park didn't have the classic score from John Williams. Just, for a moment, try to imagine Dr. Grant's first encounter with a living, breathing dinosaur without Williams' composition building up strength in the background. Just as the brachiosaurus lets out an almost somber and hushed bellow, the string and brass instruments start slowly before building into a triumphant and roaring crescendo. 

The same can be said as the survivors escape the island on a helicopter at the end of the movie. As each character reflects on the adventure they just completed and those who didn't make it out alive, there's only a simple piano composition playing in the background before Dr. Grant (Sam Neill) sees a flock of pelicans, at which point the music soars again, and we are taken back to the real world.

Schindler's List (1993)

Released the same year as Jurassic Park, Steven Spielberg's somber Holocaust drama Schindler's List is one of those movies that is hard to watch multiple times, not because it's a bad movie, but because the subject is just so hard to digest without leaving you gutted. 

The tone of the film is only heightened with the low-key score by John Williams, including the violin-heavy main theme that plays throughout the black-and-white affair. One of the hardest parts of the movie to watch is the scene that features the young girl in the red coat hiding from the Nazi forces forcing the Jewish citizens out of their homes and into concentration camps. The juxtaposition of John Williams' beautiful composition with the tragic images on the screen is one of the best examples of the composer's relationship with Steven Spielberg.

Saving Private Ryan (1998)

There are large sections of Saving Private Ryan that don't feature any music at all, and that was thanks to John Williams who thought that some sections of Steven Spielberg's World War II epic should let what's happening on the screen tell the story. Despite this, Williams wrote one of his best scores for 1998 war film, including the main theme, "Hymn To The Fallen." 

With shades of Aaron Copland's "Fanfare for the Common Man," the main theme of Saving Private Ryan is nuanced, emotional, and epic all at the same time, which is a feat few others could accomplish. Throughout the rest of the movie (whenever there's music), John Williams brings his trademark combination of string arrangements and horn sections to add to the tone of the film.

Catch Me If You Can (2002)

The opening credits to Steven Spielberg's 2002 crime thriller Catch Me If You Can does a perfect job of setting up the rest of the movie with its 1950s-esque the title sequence and imagery that looks like something out of a mid-century spy flick. John Williams' punchy composition, especially with the xylophone introduction and finger snaps, lets the audience know they are in for a fun throwback to the stories of yesteryear. The scoring quickly blossoms into a state of chaos, mirroring the road the movie will take shortly thereafter.

War Of The Worlds (2005)

At this point, Steven Spielberg couldn't make a great science fiction alien movie without calling on his old friend John Williams to score the picture, and that was very much the case for the 2005 War of the Worlds. 

Spielberg's eye and Williams' ear for writing music that fits each of the major scenes better than a glove are both working on overdrive here, and it can best be seen in the scene in which the tripods invade earth and begin disintegrating humans in the streets. The scene starts with everyone staring up in awe as the aliens let out a mechanical roar before unleashing hell on those down below. The score drives, but doesn't overpower what is happening on the screen, a delicate balance on Williams could pull off.

Lincoln (2012)

And then there is John Williams' score in Steven Spielberg's 2012 drama Lincoln, specifically the flashback to the second inauguration of the 16th President of the United States which plays after he is assassinated. The scene starts with a subdued composition for the first minute or so until Abraham Lincoln (Daniel Day-Lewis) says "With malice toward none," at which point the orchestration begins to build up to a fitting ending for such a remarkable film.

As Steven Spielberg said at the AFI 44th Life Achievement Award Gala Tribute To John Williams in 2016, bikes don't really fly, dinosaurs do not walk the earth, and we do not wonder, weep, or believe without the compositions of John Williams. These are just 10 of the scores Williams has made for Spielberg over the years, which is just a small fraction of the composer's body of work.

By now, Star Wars fans likely know that legendary composer John Williams appears in a cameo shot in J.J. Abrams’ saga-ending Star Wars: The Rise of Skywalker. It’s a terrific tip of the hat to an iconic composer who contributed just as much to the series’ success as any director, writer or cast member. Without exaggeration, Williams’ score is a character in the Star Wars legacy… and Williams’ legacy, as it turns out, made it into the scene.

During the latest ReelBlend episode, Debs Paterson spoke with the hosts about her documentary The Skywalker Legacy, which is included as a supplemental feature on the Rise of Skywalker Blu-ray and DVD. And when she talked about being on the set the day that John Williams filmed the cameo, Debs revealed that there are 51 Easter Eggs included in the production design of the scene – one for every Oscar nomination that Williams had received. She told us:

That would be insane. Because for the moment, the only footage we have is IN Paterson’s documentary, where J.J. Abrams is telling John Williams about the tribute. The composer seems incredibly impressed. Can you imagine? 51 Oscar nominations, for one man? Actually, it’s 52 now, as the composer also ended up being nominated for Star Wars: The Rise of Skywalker, though he lost to Hildur Guðnadóttir, composer for Joker.

It’s remarkable that Debs Paterson was able to get that footage for her documentary, as it is, because everything in Star Wars world is cloaked in secrecy. As she tells the ReelBlend guys:

Want to hear the full interview? It’s part of the latest episode of ReelBlend:

Meanwhile, you can get a copy of Star Wars: The Rise of Skywalker today!

Yesterday was a bad day. It’s still hard to sit down and type out the next sentence, which is: Yesterday, the world lost nine people in a helicopter crash, two of them being retired basketball icon Kobe Bryant and his daughter Gianna, also an avid basketball player and fan. More details are breaking about the fatal accident, but it all boils down to those facts and the people who were affected in their wake. People like John Williams and Disney animator Glen Keane, who worked with Kobe on his Oscar-winning short Dear Basketball.

The animator and famous composer recently spoke to the NY Times in the wake of Kobe Bryant’s death, reminiscing about 2017, when the trio worked on the Oscar-winning animated film Dear Basketball. For the production, Keane spent time working with Kobe to feel out the way he moved on the court to creation animation that flowed and moved. He said of their time together:

It was Kobe Bryant who actually approached Glen Keane to animate Dear Basketball. Bryant had seen Duet, an animated short directed by Keane that had been released in 2014. Bryant had written a poem about ending his career that later became Dear Basketball, an animated nod to the sport that he loved and that had defined his life and life’s ambition up to that point.

Later, John Williams came on board the project thanks to Kobe Bryant convincing him as well. His daughters were a big fan of “Hedwigs’ Theme” from Harry Potter, which Williams scored, and Bryant had reached out to the composer before ever asking him on board for Dear Basketball. In a statement, John Williams said about their friendship, built through that working relationship and that deep appreciation of music, that he had gotten a greater understanding of who Kobe was as a person.

If you’ve never seen the short, you can watch the trailer below, which follows young Kobe and his early dreams, his career and finally his body breaking down before he ultimately retired from the game at the end of the 2016 season. The short was released in 2017 and is an expression of all of the emotions and change Kobe experienced in that time.

If you’ve ever seen the animated short, it is a therapeutic watch and told from Kobe Bryant’s point of view. It’s a very human movie to watch, with emotive hand-drawn lines and a story that anyone, even those of us who haven’t made sports our greatest ambition, can understand. Toward its end, Bryant admits it's time to let the sport go, noting,

Dear Basketball ultimately won an Oscar as well as a Sports Emmy Award and an Annie Award and will live on in the wake of Kobe Bryant, a behemoth who, though not perfect, was a great example of striving and reaching for the utmost heights. He will be missed.

SPOILER WARNING: The following article contains spoilers for Star Wars: The Rise Of Skywalker. If you have not yet seen the film, proceed at your own risk!

As the grand finale of the nine-episode Skywalker Saga, Star Wars: The Rise Of Skywalker was expected to reach deep into the franchise canon to execute a conclusion, and that expectation was very much met. Some big questions are answered, some significant arcs are brought to a close, and many characters came back for some final goodbyes.

It’s that last bit that we’re here to talk about in this feature. Not only did director J.J. Abrams manage to bring in some franchise legends, but also big actors in surprising roles and a handful of fun appearances. So let’s dig into it, shall we? Here are all of the cameos we know about in Star Wars: The Rise Of Skywalker so far.

J.J. Abrams (D-O)

Bill Hader and Ben Schwartz were notably brought in to help create the voice for BB-8 in the making of Star Wars: The Force Awakens, but the production didn’t go to outside consultation when it came to making D-O for Star Wars: The Rise Of Skywalker. The droid notably speaks English (much like C-3PO), and while its modulated, the voice you’re hearing belongs to director J.J. Abrams. It marks the first time that he has acted as a character instead of himself since a 2001 episode of Alias in which he had a voice role.

Jodie Comer (Rey's Mother)

Those of you who are fans of the critically-acclaimed series Killing Eve probably got a bit of an extra thrill seeing Star Wars: The Rise Of Skywalker this weekend noticing that Villanelle herself, Jodie Comer, plays Rey’s unnamed mother (opposite actor Billy Howle as Rey’s father). It’s not clear if she is the daughter of Emperor Palpatine, or if that lineage is on her husband’s side, but either way it was fun seeing the Emmy winner in her first blockbuster (and actually only her second movie).

Warwick Davis (Wicket W. Warrick)

Warwick Davis has a long history playing multiple characters in the Star Wars universe (eight to be exact), but for Star Wars: The Rise of Skywalker he returned to the role that began his relationship with the legendary franchise. In 1983 Davis made his feature film debut playing the fuzzy Ewok named Wicket in Star Wars: Return Of The Jedi, and in 2019 he reprised that same role for a quick appearance following Rey’s defeat of the Sith. It’s a quick moment, but a cute one, and gives us an interesting look into the biology of the species (much like Wookiees, it appears that they age very slowly).

Harrison Ford (Han Solo)

Star Wars: The Rise Of Skywalker may have rewritten a lot of what Star Wars: The Last Jedi implemented in the canon, but one fantastic detail that was maintained from Rian Johnson’s film was the idea that Kylo Ren was “haunted” by the spirit of his father, Han Solo, whom he killed in Star Wars: The Force Awakens. J.J. Abrams brought this to life in the new blockbuster, getting Harrison Ford to perform one last scene as the world’s favorite intergalactic smuggler. Abrams even finds a way to reference Solo’s famous “I know” line from Star Wars: The Empire Strikes Back – though this time the context refers to Kylo Ren a.k.a. Ben Solo reembracing the Light Side of the Force.

James Earl Jones (Darth Vader)

As we’ll get into more a bit later, not all of the cameos in Star Wars: The Rise Of Skywalker were in-person, as the film finds a way to include a number of actors in voice-only roles. One perfect example is James Earl Jones, who has a single line toward the beginning of the film as Darth Vader speaking as an imitation performed by Emperor Palpatine. It’s a nice surprise, and Jones’ voice is always amazing to hear… though the much more substantial role he had in Rogue One: A Star Wars Story did make this appearance a tad less exciting.

Denis Lawson (Wedge Antilles)

Star Wars fans spent the majority of the Sequel Trilogy wondering what exactly had become of Wedge Antilles. The skilled pilot was a key part of some of the most important battles between the Rebels and the Empire in the original trilogy, and yet the events of Star Wars: The Force Awakens and Star Wars: The Last Jedi suggested that he had moved on from fighting tyranny when the Rebellion became the Resistance. Just in time for the whole saga to end, though, Star Wars: The Rise Of Skywalker brought back actor Denis Lawson for a surprise appearance in the new film, featured as one of the heroes brought into battle by Lando Calrissian in the ultimate fight against the First/Final Order.

Andy Serkis (Supreme Leader Snoke)

Audiences worldwide were shocked to see Supreme Leader Snoke sliced in half in Star Wars: The Last Jedi given that it seemed he was being set up as the big bad of the Sequel Trilogy – but J.J. Abrams did still find a way for the character to have a minor part in Star Wars: The Rise Of Skywalker. Specifically, much like James Earl Jones as Darth Vader, you can hear Serkis’ voice spoken through the mouth of the Emperor early in the film when the master of the Dark Side is discussing possibilities for the future with Kylo Ren.

Chris Terrio (Colonel Aftab Ackbar)

Did you know that Admiral Ackbar had a son? Did you know that he was a colonel in the Resistance? Well, those are piece of information brought to light in Star Wars: The Rise Of Skywalker, as Colonel Aftab Ackbar makes his first big screen appearance. On screen the character is played by Tom Wilton, who wears the prosthetics necessary to bring the squid-like alien to life, but his voice is provided by none other than Chris Terrio – who co-wrote the film’s script with J.J. Abrams, and like the director couldn’t resist taking a role in the Star Wars universe.

John Williams (Oma Tres)

There are many reasons why Star Wars is a true icon of cinema, but the epic and unforgettable music composed by John Williams most certainly ranks high on the top of the list. As such, it’s only right that he have a small role to play in the actual universe, appearing on screen for the first time since a 1959 episode of the television series Johnny Staccato. He plays Oma Tres (an anagram of “Maestro”), and is hard to miss in the movie: he’s the bartender the camera lingers on when Poe, Rey, Finn and the other heroes visit the watering hole on Kijimi.

All Of The Jedi

Most of the cameos discussed so far are spread throughout the runtime of Star Wars: The Rise Of Skywalker, but one particular sequence jams a bunch of them into the space of just a few seconds. I am, of course, referring to the moment when Rey reaches out with the Force to try and connect with all the dead Jedi of the past while doing battle with Emperor Palpatine. The chorus she hears in response includes the voices of just about every lightsaber-wielding hero we’ve ever seen on the big screen – and some we’ve only seen in animated features. The list includes:

Some of the voices are easier to pick out than others simply because of their recognizability (Samuel L. Jackson, Frank Oz, and Liam Neeson, for example, should click instantly for even casual fans), but the effort on the whole is very impressive. When you go back and watch Star Wars: The Rise Of Skywalker again in the future, see if you can identify each individual voice.

With so many characters sporting helmets and appearing as crazy aliens, we can never be fully sure about all of the cameos in Star Wars movies – and we fully expect that more will be revealed following the publication of this feature. For now, though, hit the comments below to tell us which of all the special appearances is your favorite.

Perhaps you can name every system of planets in the galaxy or explain the “Who shot first?” debate, but I’m willing to bet there are a few bits of trivia from the Star Wars movies that fell down the garbage chute for you. In fact, I have compiled some of the most shocking, intriguing, or just downright ridiculous lesser-known facts about the franchise – which is still ongoing with upcoming Star Wars movies and TV shows on the horizon – here. Read through them and we shall see who the trivia master is.

Luke Skywalker Was Almost A Girl

The release of Star Wars: The Force Awakens saw the epic sci-fi saga led by a female Jedi (Daisy Ridley’s Rey) as the central hero for the first time. However, that was almost the case for the film that started it all.

According to Salon, back in 1975 when Star Wars was still referred to as The Adventures of Starkiller, George Lucas found his second draft of the screenplay to be overcrowded with male characters. With the feminist movement on the rise, Lucas decided to apply a feminine touch to the story by rewriting his protagonist, then called Luke Starkiller, as an 18-year-old woman. That gender swap lasted just a few months until Princess Leia was reincorporated into the preceding draft.

The Iconic Lightsaber Hum Was Created By Accident

The lightsaber has such a brilliantly distinct hum that no young Star Wars fan can resist replicating it during Jedi playtime with friends. Surprisingly, the design of the weapon’s signature sound was purely by mistake. Ben Burtt, the sound designer for most of the Star Wars movies, revealed in an interview found on a laserdisc box set for the original trilogy (via FilmSound.org) that, while he had an idea of how the lightsaber should sound, the actual hum did not come to him until the moment he describes here:

Burtt would later experiment with waving a microphone in front of a speaker playing his new found lightsaber sound to figure out the sound of the weapon’s movement. All it took was a little accidental signal interference to complete the design of one of the most iconic and beloved props in cinematic history.

George Lucas Actually Lost Money Over Star Wars… To Steven Spielberg

These days, a Star Wars movie ruling the box office is a pretty safe bet, but someone who did not believe that at one time was the saga’s own creator, George Lucas. With his friend, Steven Spielberg, having just recently directed the highest grossing film of all time (Jaws), Lucas was positive his next film, the alien invasion movie classic Close Encounters of the Third Kind, was going to be a bigger hit in 1977. The pair put this concept to the test and agreed that if Close Encounters made more money, Lucas would receive 2.5 points from Spielberg’s stake in the film, but if Star Wars became the victor, Spielberg would get the same amount of Lucas’ stake.

While Close Encounters was a surefire hit, grossing around $340 million worldwide, Star Wars earned more than double the earnings about $800 million. Decades later, this bet has cost Lucas millions that have gone straight into Spielberg’s pocket.

Liam Neeson Was Too Big For Star Wars... Literally

While the Star Wars movies are, undeniably, a larger than life franchise, it proved too small for one of its actors. By “too small,” we mean the sets.

According to CBS News, when Liam Neeson joined the cast of Star Wars: Episode I - The Phantom Menace, the production’s live action sets had already been built, failing to accommodate the Irish actor’s 6’4” stature. Thus, an additional $150,000 was spent to rebuild the sets and keep Qui-gon Jin from bumping his head on every archway he passed through.

Carrie Fisher’s Dog Appears In The Last Jedi

Chewbacca was not the only trusted, furry companion on the set of 2017’s Star Wars: The Last Jedi. Eagle-eyed viewers were able to notice that Carrie Fisher’s pet French bulldog, Gary Fisher, whom she took almost everywhere she went, makes a cameo.

The brief, discreet appearance occurs during the sequence taking place at Canto Bight, where Gary can be seen right past Kelly Marie Tran’s Rose Tico, lightly disguised as an alien creature and being held by another, anthropomorphic alien. The cameo was confirmed by director Rian Johnson in a tweet (via Vulture) in response to a fan tweeting a screenshot of the Easter Egg.

The Jar Jar Hate Was Harder On The Actor Than You May Realize

The Star Wars prequels are considered by many as the black sheep of the franchise. One actor, whose character receives a lot of blame for the drop in quality, took the backlash more personally than the typical fanboy troll in 1999 may have realized.

Two decades after the release of Star Wars: Episode I - The Phantom Menace, Ahmed Best, the voice of Jar Jar Binks, acknowledged in a video for Participant the backlash his infamous role received and how he almost took his own life over it. I think we can all agree that no movie role is worth contemplating suicide over, but no character is worth throwing abuse at the actor hired to play them either.

The Ewoks' Odd Connection To The Band Toto

One of the most definitive aspects of the Star Wars movies is John Williams’ exhilarating score. The legendary composer enlisted his son, Joseph Williams, to contribute to the saga’s musical legacy by writing the English lyrics to the Ewoks’ victory song heard at the end of Return of the Jedi.

You might also recognize Joseph Williams from his endurable 1982 hit “Africa.” That’s right: one of the writers of the Ewoks’ victory song is the lead singer of ‘80s rock band, Toto.

A Certain Boy Band Almost Claimed Star Wars Fame, Too

You think that the guy who wrote “Africa” writing lyricsc for the Ewoks is weird? How about the guys who sang “Bye, Bye, Bye” making a Star Wars cameo. By the request of his daughter, George Lucas filmed the members of pop music sensation *NSYNC for a scene in 2002’s Star Wars: Episode II - Attack of the Clones. 

Before you pop in your dusty DVD copy or just log in to your Disney+ subscription to spot where Justin Timberlake shows up, I assure you that your search will come up short. According to Tech Times, just a few months before the release of the second Star Wars prequel, Lucas teased that *NSYNC would make an appearance… and was immediately met with vapid backlash from fans. The director removed the cameo from the final cut before it hit theaters, and the rest is history.

A Terminally Ill Fan Was Able To See The Force Awakens Before He Passed

The 2009 comedy Fanboys takes place in 1998 and follows a group of Star Wars obsessives vying to make sure their friend gets to see a rough cut of the upcoming The Phantom Menace before he succumbs to his cancer. Intriguingly, life would imitate this slice of art during the lead-up to the release of Star Wars: The Force Awakens in 2015.

As The Guardian recalls, an online campaign was launched that year to convince Disney and LucasFilm to grant Daniel Fleetwood his dying wish to see the long-awaited seventh installment of his all-time favorite franchise before he passed from spindle cell sarcoma. After receiving support from many, including Mark Hamill and John Boyega, the campaign proved successful and, after seeing The Force Awakens, Fleetwood died at the age of 32.

You Won’t Find (The Actor Who Plays) Darth Vader At Any Star Wars Events

Lucas has proven himself to be a committed follower to the light side of the Force, and so much so that he officially blacklisted Darth Vader himself. Not James Earl Jones, who provided the voice of the Sith lord, but the actor who shared the iconic Star Wars role with him by wearing the suit, David Prowse.

In 2010, at 75 years old, Prowse announced on his official website (via Daily News) that Lucas had banned him from attending any future official events related to the saga, including fan conventions or cast reunions. This stems from reports that the Star Wars creator was annoyed by the numerous arguments he had with the actor over issues like replacing Prowse’s voice with Jones or Lucas accusing the actor of trying to sabotage the reveal that Vader was Luke’s father before the release of The Empire Strikes Back.

Christopher Walken Could Have Played Han Solo

It is hard to imagine anyone else playing lone outlaw-turned-resistance fighter Han Solo than the incomparable Harrison Ford. It is even harder to imagine someone like, say, Christopher Walken bringing the iconic Star Wars role to life. Yet, it almost happened.

As the Academy Award winner confirmed when speaking to Conan O’Brien, he was considered for the role of Han Solo. Of course, then-carpenter Ford, having worked with Lucas once before in 1973's American Graffiti, landed the role, but it is still a fun idea to imagine the Star Wars movies with Walken’s signature drawl.

Billie Lourd Played Leia In A Rise Of Skywalker Flashback Sequence

The final installment of the sequel trilogy was also a family affair for the Fisher household. In addition to reprising her role as Lt. Connix in 2019’s Star Wars: The Rise of Skywalker, Carrie Fisher’s daughter, Billie Lourd, also had the honor of portraying her mother’s iconic role: Leia Organa.

For a scene in which a younger Luke Skywalker (played once again by Mark Hamill) provides Jedi training to his sister, director J.J. Abrams asked Lourd to stand in for Fisher as the younger Leia. According to Yahoo!, the mere seconds of screentime was achieved by digital imposing Fisher’s face onto Lourd’s body.  

Yoda Was Almost Not A Puppet

Maybe you prefer the Star Wars prequels’ CGI recreation of Jedi master Yoda over the original trilogy’s puppeteering. According to The Wrap, it could have been a lot weirder.

Before Frank Oz was brought on as the voice and one of the puppeteers for Yoda, the filmmakers considered using a trained monkey in a green mask for the role. That was until one of the crew members, who had previously worked with monkeys on the set of 2001: A Space Odyssey, assured the filmmakers, “Look, the monkey’s just going to pull off the mask over and over again. It’s never going to work.”

So, are these the lesser known Star Wars facts you were looking for? Were we the first to shoot off these incredible bits of trivia, or did you reply to each entry with a resounding, “I know”?

The Skywalker Saga has very nearly come to an end. It's pretty incredible, even considering the success of the original Star Wars that things have come this far. While the franchise has certainly come a long way, so has the story. These characters that we know and love were so very different people all those years ago, and even the filmmakers themselves didn't know where things were going to go back then, as composer John Williams readily admits.

At the beginning, there was no guarantee there would ever be more movies, so John Williams says he wrote the musical themes in the first movie with the assumption that we'd never see these characters again. However, not knowing that eventually Luke Skywalker and Princess Leia would eventually be revealed as siblings, Williams saw a very different future for them. According to the composer...

While we don't know until Star Wars: Return of the Jedi that Luke and Leia are siblings, it's made clear in The Empire Strikes Back that Luke and Leia are not going to end up together as Williams had envisioned. Despite a rather unfortunate passionate kiss between Luke and Leia, the romantic relationship that begins is between Leia and Han Solo.

At first glance, one might not think that letting your composer know where the story is going is important, especially when you're not entirely certain the story will ever actually go anywhere at all. However, when it comes to writing movie music, who characters are, and how they relate to each other, actually matters. John Williams tells CBS that, because of his impression of Luke and Leia at the beginning as potentially young lovers, he wrote the music a certain way, then he had to go back and write new character themes because the old ones no longer worked.

One wonders how much, if anything, John Williams was told about where the current trilogy is going. Will any of the themes he's created for our new band of heroes need to be reworked for Star Wars: The Rise of Skywalker? We'll find out when we hear the brand new score on December 20.

When Star Wars: The Rise of Skywalker comes to a close, we won't simply be witnessing the end of one movie, but the closing of a nine film saga, that began over 40 years ago. Needless to say, the expectations of how the movie, and the whole story, will end are incredibly high. While most of us will have to wait until December to see if J.J. Abrams and company have stuck the landing, composer John Williams knows how the movie ends, and he thinks the finale is going to blow us all away.

Over the Labor Day weekend, the five time Oscar winner was conducting his music for an audience when he briefly spoke (via @TerryMatalas) about Star Wars: The Rise of Skywalker. He praised director J.J. Abrams for his work on the film, and while he, of course, gave no details away about the film itself, Williams did give his opinion about how the story ends. He said...

They say it's the journey, not the destination, but when it comes to Star Wars, it will be a little difficult to not focus on how it's all going to end. After everything these characters, both old and new, have been through, fans are going to want to leave the theater feeling satisfied that their time and passion have been well spent. For what it's worth, John Williams, who has been there from the beginning like so many of us, seems to think it will all be worth it.

John Williams scored the first entry of the franchise and has already implied that Star Wars; The Rise of Skywalker will be the end of the franchise for him. He's one of the few people who has truly been around from the beginning who will see Star Wars through to the end. The music of the films is some of the most iconic film scoring ever heard.

Considering that we don't even know what the title of the movie means, it's pretty difficult to guess how the story ends. And of course, while it will bring the Skywalker Saga to a close, it will likely still leave things open for more stories in the future. We know we're going to be getting a lot of Star Wars movies and Disney+ series in the future.

Still, while Star Wars movies will continue, this next film will likely be the end for all but possibly the newest characters introduced in this current trilogy. The story that began with the birth of Anakin Skywalker and Palpatine's plot to take over the galaxy will come to a close, and somehow it seems Palpatine himself will return to be part of how it all ends.

We'll likely get one final trailer between now and when the movie is actually released. Perhaps it will give us a tiny hint of this impressive ending that John Williams has seen.

You can keep your $100 Star Wars Barbie dolls. I'm with Mark Hamill, holding out for this ultimate score. The Luke Skywalker actor, who will be returning for the final saga movie Star Wars: The Rise of Skywalker, always shares great behind-the-scenes intel and other Star Wars updates on social media. He recently shared a fan's suggestion of the Star Wars action figure we should all want -- composer John Williams, in his tux, with his baton essentially as his lightsaber.

I agree, that's a "must have" action figure for any Star Wars fan. Actor Joseph Gordon-Levitt jumped in to reply, "Yes, yes, yes, yes, yes, yes, yes..."

Some fans are wondering if this is real, while others are asking why it hasn't already been made. This image is at least two years old, from when Star Wars Photo Shop posted it on February 8, 2017 in honor of John Williams' 85th birthday.

Composer John Williams, now 87, is a music legend, known around the world for his iconic film scores -- from the Star Wars movies to Jaws, Indiana Jones, Jurassic Park, Harry Potter, Schindler's List, and more. He also scored original music for Disney Parks' Star Wars: Galaxy's Edge land.

John Williams' brother Don Williams, who is also a musician, recently teased what John has ahead of him with Star Wars: The Rise of Skywalker. His words hinted to a long running time for Episode IX, with the movie being "top to bottom music." No complaints here!

It sounds like John Williams might be finished with Star Wars after The Rise of Skywalker. He said completing the nine-film saga "will be quite enough for me."

John Williams is a true hero of the Star Wars galaxy, and one of the only world-famous names to last the duration of the Skywalker saga. As Mark Hamill himself told Variety in early 2018:

We know Lucasfilm is continuing Star Wars after Rise of Skywalker -- with the Game of Thrones showrunners' movies, and The Mandalorian on Disney+, among other projects. But it's truly the end of an era after Episode IX.

However you feel about the new Star Wars movies -- or the prequels, or the original trilogy -- hopefully we can all agree that John Williams' music has been exceptional. Mattel just announced a new line of Star Wars Barbie dolls, and if they add John Williams as the new version of Ken, I might actually consider that $100 price tag.

Do you wish you could SCORE one of these John Williams action figures for yourself? Star Wars: The Rise of Skywalker opens in theaters December 20, as one of the many movies still to come in this busy 2019.

This summer has been an exciting one for the Marvel Cinematic Universe, with Avengers: Endgame and Spider-Man: Far From Home wrapping up Phase Three in an exciting way. But another Disney property will be dominating pop culture this winter: Star Wars. J.J. Abrams' The Rise of Skywalker will arrive this coming December, and one of the composers recently teased Episode IX's runtime.

The great John Williams is known for writing Star Wars' stunning score, and his brother drummer Don Williams has been around for all of the adventures in the galaxy far, far away. Don Williams recently spoke to the work being done on Star Wars: The Rise of Skywalker, and let slip how much music needs to be written for the upcoming blockbuster. He said:

Well, this is exciting. J.J. Abrams has a ton of story to cover throughout The Rise of Skywalker, so its good to hear that he's taking the appropriate time with the upcoming blockbuster. The upcoming blockbuster must wrap up the current trilogy, as well as the Skywalker Saga as a whole. So it shouldn't be a rushed experience.

Don Williams' comments are sure to get the generations of Star Wars fans excited about J.J. Abrams' upcoming blockbuster. Abrams kickstarted the property back up with The Force Awakens, bringing a set of new characters and conflicts to interact with franchise favorites like Han Solo, Luke Skywalker, and Leia Organa. That vision can be completed with The Rise of Skywalker. although just what Abrams has in store for moviegoers is a complete mystery at this point.

Related: Fans Will Be 'Very Satisfied' With Star Wars: The Rise of Skywalker, Daisy Ridley Says

Later in his conversation with Scoring Arts, Don Williams revealed that all the iconic Star Wars musical themes would be present in the Episode IX. Although we might have to keep an ear out for them. As he put it:

Does anyone else have chills? Star Wars movies have always contained epic and iconic music, with various characters getting their own distinct musical themes throughout the decades of filmmaking. And each of those musical moments will reportedly be in Star Wars: The Rise of Skywalker. But the generations of fans are going to have to pay attention to catch them all.

You can see Don Williams' full comments about Episode IX below.

With The Rise of Skywalker hitting theaters in a matter of months, so the post-production process is likely going at full force. This includes John Williams' score, as well as the visual effects and editing process. The pressure is truly on to deliver, as the past eight movies have all led up to this moment.

All will be revealed when Star Wars: The Rise of Skywalker hits theaters on December 20th. In the meantime, check out our 2019 release list to plan your next trip to the movies.

The DC live-action universe has had a fascinating tenure in theaters, full of peaks and valleys. After the MCU revolutionized serialized storytelling, Warner Bros. got in on the action with its own universe, which was born from the success of Zack Snyder's Man of Steel. And while there have been quite a few missteps along the way, DC is currently riding high on the success of Aquaman, as well as the anticipation for David F. Sandberg's upcoming Shazam!

Shazam! will bring a sense of youthful energy to the DC Universe, telling the story about 14-year-old Billy Batson, who acquires powers that transform him into the superhero Shazam. Billy's friend Freddy is a hardcore fan of the DCEU's heroes, especially Superman. A new rumor indicated that John Williams' iconic theme song from the Superman movies would pop up in Shazam! by a character humming the tune. But don't get too excited, as David F. Sandberg shot those rumors down, with:

Another rumor bites the dust. We've got a few more months before Shazam! finally arrives in theaters, so smart money says the director may have to take down a few more rumors before the film is released.

David F. Sandberg is very generous with his time on social media, especially Twitter. The filmmaker regularly uses the site to communicate directly with the fandom, especially the generations of DC moviegoers who can't wait for Shazam to finally appear in live-action. So when a rumor circulated about his upcoming DC film utilizing the beloved John Williams Superman song, minds were blown. Alas, that story was just another rumor.

This rumor about Shazam!'s soundtrack does make sense, considering how full of easter eggs the upcoming blockbuster will be. While it doesn't appear the titular hero will interact with any members of the Justice League, the movie is set within the same cinematic universe. And since it's focused on regular people living in a superpowered world, we'll see how the events of movies like Justice League, Batman v Superman, and Suicide Squad affected the general population.

For Billy's friend Freddy, it's by totally becoming a fanboy for the good guys. That supporting character, played by IT standout Jack Dylan Grazer, will reportedly be the source for much of the film's easter eggs, as his room is filled with superheroic memorabilia and news clippings. Unfortunately, that doesn't mean he'll be humming along to the theme of Superman anytime throughout the course of the movie.

As a reminder, you can hear that iconic theme song below.

It's just so good.

The DC live-action universe definitely hasn't had many iconic theme songs, although the current slate of movie will take the shared universe to new and exciting places. The one musical exception is Wonder Woman's theme, which debuted during the climactic final battle of Batman v Superman: Dawn of Justice. Will Shazam! have its own iconic composition? We'll just have to wait and see.

Shazam! will arrive in theaters April 5th, 2019. In the meantime, check out our 2019 release list to plan your trips to the movies in the New Year.

In a theme park far, far away construction is starting to come together to bring the world of Star Wars to your next Disney Parks visit. As previously announced, Disneyland in summer 2019 and Disney's Hollywood Studios in the fall will soon have a new land called Star Wars Galaxy Edge. Mickey Mouse has called upon legendary composer John Williams to score some original music for the land, performed by the London Symphony Orchestra. Check it out:

Chills anyone? The "Theme from Star Wars Galaxy's Edge" is a perfect addition to the upcoming land at Disney Parks. John Williams has composed the soundtrack for every Star Wars film in the Skywalker saga, with beautiful sweeping melodies and an epic sound to match the space operas. For Williams' to go back to the studio at 86 years old to put his musical signature on the land for Disney is definitely a nice touch. The new theme has hints of the previous Star Wars soundtracks, along with fitting right in with the music you'd hear at the theme park.

The new video posted on the Star Wars Twitter opens with the London Symphony Orchestra at Abbey Road Studios. It then starts to reveal some progress on construction for Star Wars Galaxy's Edge in both locations.

The upcoming land will take place on a never-before-seen planet called Batuu and will feature a street market called Black Spire Outpost, and two rides as detailed by chairman of Disney Parks at D23's Destination D: Celebrating Mickey Mouse today.

Along with this exciting announcement video featuring John Williams' new theme for Disney Parks, the names of the rides were revealed, Millennium Falcon: Smuggler's Run and Star Wars: Rise of the Resistance. The Millennium Falcon ride has guests behind the controls of Han's iconic spacecraft in one of three unique flight crew roles. The ride will also reportedly be the centerpiece of the land and could impact the rest of your time traveling through the land to add to the immersive experience.

Rise of the Resistance puts guests in the middle of an epic battle between the First Order and the Resistance. Star Wars Galaxy's Edge will also have a Cantina, adding alcohol for the first time to Disneyland in California. The experience will include familiar creatures and characters from the Star Wars universe to interact with.

The new Star Wars land is an exciting addition to the parks, even if it might not be possible to move due to the crowds of Star Wars fans ready to experience what Disney Imagineers have thought up. Roaming the land with newly crafted music from John Williams will certainly add to the experience as well. Star Wars Galaxy's Edge comes to Disneyland in summer 2019 and Disney's Hollywood Studios in fall 2019.

Summer season has arrived at the multiplex! Which is strange to say, because Avengers: Infinity War has been out for nearly two weeks now, and with it comes the traditional blockbuster frame. But now that summer officially is beginning, the ReelBlend guys are going to break the upcoming slate down for you on the latest episode of their weekly podcast. Want to download and listen later? ReelBlend is available on iTunes, Spotify, Google Play, or wherever podcasts are served.

This week, the guys kick off with a spirited discussion about the potential Avengers 4 title... and whether they care at all what it's going to be called. The title is important, but mainly, they all feel that once it's revealed, the hype surrounding the potential title will be larger than the impact of the actual reveal.

From there, conversation switches to Solo: A Star Wars Story -- which Jake and Kevin will see this week when doing the press junket in L.A. And then the guys weigh in on the new Childish Gambino video for "This is America," with Kevin nailing a particularly compelling interpretation of what he thinks Donald Glover is trying to say with the clip.

This week's episode is mainly focused on the Summer Movie season, so ReelBlend hosts Sean O'Connell, Kevin McCarthy and Jake Hamilton break the slate down into various categories: Most Anticipated; Least Anticipated; Highest Grossing (not named Avengers: Infinity War); and Indie/Off-the-Radar.

Before they hopped to the John Williams debate, the guys launched an impromptu Unpopular Opinion, because Sean told Kevin he doesn't really like Mad Max: Fury Road... and this melted Kevin's brain.

And as if their minds weren't blown enough, the guys this week used #WilliamsBlend to debate the BEST John Williams score. Listen to this week's episode to see what they chose.

ReelBlend is a LIVE podcast that we do on CinemaBlend's Facebook page. As soon as we are done on Facebook, you can download the latest episode (and all of our past episodes) for FREE on our iTunes page! Visit. Subscribe. Like and comment. Review! Apple loves when you have star ratings and reviews, so if you listened, and you liked it (or even if you didn't), let us know. We also are on Spotify. And Google Play. And basically everywhere that you download podcasts. So download us!

Meanwhile, follow the guys on Social Media! We have an official Twitter feed for the show, so follow @ReelBlend. In addition, follow the guys at @Sean_OConnell, @JakesTakesand @KevinMcCarthyTV. We will be back at it next week, LIVE on CinemaBlend's Facebook page. See you then!

Other than George Lucas himself, there may be no name more closely associated with Star Wars than John Williams. He has written the music for every trilogy the series has created, and when this one ends, he might be done too. In a recent interview, the man with the second most Oscar nominations in the history of cinema says that he looks forward to scoring Star Wars: Episode IX next year, but he seems to think that will be a good place to call it a day. According to Williams...

Of course, that won't be enough for Disney. John Williams goes on to say that the expectation is that Star Wars will go on for years, possibly decades, to come, and that's something he tells KUSC radio that he's very happy about, yet, he's also, apparently, more than happy to let some other composers handle the writing of music.

At this point, while we know that Star Wars will continue past Episode IX, we don't have any idea what form that will take. We know that Rian Johnson is working on a new trilogy that will be disconnected from the rest of the Star Wars movies we've seen. We know the pair behind Game of Thrones is working on new films. We fully expect to see more of the Star Wars Story spinoff films, but which movies will come first and when is totally up in the air. We also don't know if there will be any new films that follow directly on wherever Episode IX leaves things. If there ever is a fourth main trilogy, those are the films that we would expect to see John Williams compose, but it seems that even if they happen, and even if they happen soon enough that Williams could do it, he's not currently planning on it.

As difficult as it is to imagine a Star Wars movie without John Williams music, he, like the characters in the films themselves, has to say goodbye sometime. The end of the current trilogy is a point that makes sense. It is the end of the story in a major way. Besides, it's not like we'll never hear his music in Star Wars again. Many of his themes will continue to be used in Star Wars movies as long as they are being made.

We look forward to hearing the music of Star Wars: Episode IX when it is released December 20, 2019.

John Williams is, quite simply, the greatest movie composer of all time. He's created some of the greatest themes in cinema history and there's nothing quite like watching him bring one to life himself. Recently, Star Wars: The Last Jedi director Rian Johnson posted a video of Williams conducting the opening fanfare of the film exactly one year before the newest entry in the franchise was released in theaters. If you're a serious Star Wars fan, get ready for serious chills. Check it out.

Rian Johnson says it best, because there's no other way to say it. Not only is no introduction to John Williams necessary, I'm not sure one is possible. And once that fanfare starts, nothing else need be said. Rian Johnson posted the video on Twitter earlier this week after Williams received the 51st Oscar nomination of his distinguished career, more than any other human being alive today.

While John Williams has written numerous film scores that have become some of the most recognizable in history, like the scores for Jaws, Superman, and Jurassic Park, it's difficult to argue that any is more well known and instantly iconic as the fanfare from Star Wars. It's the sound that opens every film in the three trilogies and it instantly transports you to the galaxy far, far away.

It's unclear whether what we're listening to actually became part of the film or not. Traditionally, a rough cut of the movie actually runs on the screen in front of the conductor while the music is being performed, and that isn't happening here, so this may have simply been a warm-up. Rian Johnson responds a fan asking about this by saying he wasn't involved in the music decisions because he quite simply doesn't have the ear that John Williams and the others involved in the sound work do.

While John Williams has been nominated for Oscars more times than anybody not named Walt Disney, he's only won the award five times previously, and the only time a Star Wars score won the award was for the very first film back in 1977. Winning the Oscar this time around won't be any easier with some remarkable music from films like The Shape of Water also nominated. We'll find out if Williams can win Oscar number six when the awards are handed out March 4.

There are some names that just synonymous with the Academy Awards. Meryl Streep has been nominated 19 times, but she doesn't hold a candle to the composer of some of the great scores in movie history. This morning when the 2018 Academy Award nominations were announced, John Williams received a nod for Best Original Score for his work on Star Wars: The Last Jedi. The nomination marks his 51st personal nomination, more than any person currently living.

John Williams received his first Oscar nomination in 1967 for Valley of the Dolls and received his 50th nomination two years ago for Star Wars: The Force Awakens. Fittingly, the composer's 51st nomination comes 51 years after the first one. Williams has averaged a nomination every year since the first one, and while he has gone without a nomination in some years, he rarely goes more than two between noms, and has made up for those empty years by being nominated multiple times in other years. In fact, of the five Oscars Williams has actually won, he's beaten himself once. In 1977 his score for Star Wars beat his score for Close Encounters of the Third Kind. His last win was in 1993 for Schindler's List.

While Williams has more Oscar nominations than anybody living, he's got to write a few more award-worthy scores to overtake the guy who has been nominated more than any other person ever. As SFGate points out, Walt Disney holds the record with 59 total nominations. He also holds the record for the most wins with 22.

John Williams has some stiff competition for his 51st nomination. His score for Star Wars: The Last Jedi will go up against Alexandre Desplat for The Shape of Water, Jonny Greenwood for Phantom Thread, Hans Zimmer for Dunkirk, and Carter Burwell for Three Billboards Outside Ebbing, Missouri. Desplat took home the award at the Golden Globes and is likely considered the frontrunner. The field was identical from an individual standpoint, although in that case, Williams was actually nominated for his score for The Post. This is Greenwood's first nomination in the category. Everybody else has been nominated at least once, and both Desplat and Zimmer have previously won the award.

John Williams is 85-years-old but he's not done working yet. He's already on board to write the score for Star Wars: Episode IX, which has to already be considered likely for an Oscar nomination considering the other two entries in the franchise have done the same. He likely won't match the 59 nominations earned by Walt Disney, but sitting in the same club with him, with over 50 nominations, is pretty exclusive company to keep.

The importance of music in Star Wars cannot be understated. The franchise has one of the most iconic compositions of all time and even people who have never seen a Star Wars movie can likely hum the theme. A lot of this can be credited to John Williams, who has composed all eight of the main Star Wars films. His themes are currently playing in Star Wars: The Last Jedi, but he also contributed a little something to Solo: A Star Wars Story. James Powell is composing the score, but Williams revealed that he's working on a theme for the movie, too.

John Williams probably has eternal dibs when it comes to composing a main Star Wars film, and the spin-offs are fair game. Michael Giacchino scored Rogue One: A Star Wars Story and James Powell is composing the score for Solo: A Star Wars Story. However, Powell will be getting a little help from a Star Wars veteran in the form of John Williams. The legendary film composer told Variety that he was writing a theme for the Han Solo-centric prequel, while Powell will be handling everything else music related.

It sounds like John Williams has yet to turn in his contribution to Solo, and revealed that he hopes James Powell and director Ron Howard will be happy with what he wrote. I can't imagine anyone saying to John Williams, "We don't want your Star Wars music, John, but thanks anyway" so it's likely people will be hearing some of Williams' music in Solo.

John Williams has composed the music for eight Star Wars films. He won an Oscar for his work on the original film in 1977, and has been nominated for three of the other seven. Solo will be James Powell's first Star Wars movie, but he has provided the score for a number of films. Powell received an Oscar nomination for his score for the animated How to Train your Dragon. He's also scored a few other animated films, such as Rio, Happy Feet, and the recently released Ferdinand. He also scored films in the Bourne franchise.

Solo: A Star Wars Story will tell the origins of fan-favorite Star Wars character, Han Solo. The film will explore his younger years, revealing how he acquired the Millenium Falcon and met Chewbacca. Aiden Ehrenreich stars in the role originated by Harrison Ford and will be joined by Emilia Clarke, Woody Harrelson, Thandie Newton, and Donald Glover as Lando Calrissian.

You'll finally be able to the music for Solo: A Star Wars Story when the movie arrives in theaters on May 25, 2018. To learn more, visit our comprehensive guide about the spin-off.

John Williams has composed the music for nearly every movie that Steven Spielberg has ever made, and originally, he was going to do the music for Ready Player One as well, but now, that's changed. It appears that Williams' commitments to another Spielberg project will make it too difficult for him to do both. As such, RPO has brought in somebody else to handle the music. It will now be written by Avengers composer Alan Silvestri.

The only movies Steven Spielberg has ever directed with music not done by John Williams are The Color Purple and Bridge of Spies. however, according to Variety, Ready Player One will now become the third film on that list. Interestingly, the reason that Williams has had to bow out is that he's also working on another Spielberg film, The Papers. Due to the fact that the two movies will actually be going through post-production at the same time, Williams can't do both, and so Alan Silvestri has been tapped to take over.

While John Williams was obviously the perfect choice for a composer, considering how much of the story of Ready Player One takes from movies he wrote the score for, Alan Silvestri is another solid candidate for the same reason. Silvestri composed the music for the Back to the Future trilogy, a series which also plays a part in the original novel, as well as other 80s classics like Predator and Who Framed Roger Rabbit.

Ready Player One takes place mostly inside the virtual world of a video game created by a game designer with an obsessive love for all things 1980s. As such, many of the era's movies, video games, and television shows play a part in the story.

Of course, this does leave open the possibility that while we may not get any new John Williams music in Ready Player One, we might still get music that he wrote. Depending on exactly how the various 80s pop culture aspects are integrated into the story, there's a better than average chance we could here some of Williams' previous iconic scores, including music from Raiders of the Lost Ark, or Star Wars.

Why it was decided to keep John Williams on The Papers, and not Ready Player One is not specified, though it was likely simply a decision of timing. The Papers is set to hit theaters later this year and Ready Player One doesn't arrive until March of 2018. Williams likely had already started his work on the former film, and it was best to give the incoming Alan Silvestri more time to work on the latter.

While losing the greatest film composer ever is certainly a blow to Ready Player One the movie has certainly recovered well. We're looking forward to seeing the final product early next year.

One of the things that happens close to the end of a film's post-production is the recording of the score. Star Wars: The Last Jedi has begun making its music and a lot of the cast showed up to watch the event. At this point, John Williams making Star Wars music is an event unto itself. Even those who make the movies get a little excited when it comes time for the master to make his magic. While one would expect director Rian Johnson to be there to oversee the musical score. Mark Hamill and Laura Dern also showed up, just to enjoy the experience.

John Williams is, quite simply, the greatest writer of movie music ever. He's scored some of the most popular films of all time and if his Star Wars music isn't his best, it may very likely be his best known. The opening of all the Star Wars films, save Rogue One, with that epic music playing over the opening text crawl is an iconic part of cinema. If you've never had an opportunity to watch John Williams conduct an orchestra in the performance of his own music, you've missed out. One can only imagine what it's like to watch John Williams do that, but with music that nobody's ever heard before. Laura Dern understood the weight of what she got to see, calling her experience "cinema history."

But just how is the music? None of the folks in attendance gave us a hint as to how the music itself would sound. The closest we got to a description came from Mark Hamill, who said on Twitter that watching John Williams score Star Wars: The Last Jedi gave him goosebumps.

If the score is being recorded, this means that the film is somewhere close to its final version. While music, along with scenes, could still be cut or added between now and the film's December release, Star Wars: The Last Jedi is close enough to done that music is ready for whatever they have. The music will certainly be one of the things we're excited to hear when Star Wars: The Last Jedi is released this December.

Who's the first creative mind you think of when looking back on the entire Star Wars saga? It's probably George Lucas, but I'm confident that for a lot of you, John Williams comes in a close second. After all, not only has Williams scored all of the main Star Wars movies, but his epic music is one of the main reasons why the series has become so popular. Without him, Star Wars just wouldn't feel the same. That's why makes it all the more shocking that after all these decades, Williams has never seen any of the finalized Star Wars movies due to all the time he pours into the scoring process. He explained:

John Williams confessed that he hasn't seen any of the seven Star Wars movies he's scored in an interview with The Mirror. He also preceded these comments by speculating that his music isn't "very memorable." It's safe to say that a lot of people would disagree with that, but as far as not seeing the movies go, that makes sense. With all the time he pours into making the Star Wars music sound perfect and appropriate for each scene, by the end he's had his fill of the project and eager to move on to the next one. Now I can't help but wonder if Williams has missed out on other movies of his that we consider to be classics, like Superman: The Movie, E.T: The Extra-Terrestrial, Jurassic Park, the Indiana Jones series, etc. It'd be a shame, but the man is entitled to do so.

It's worth noting that John Williams hasn't participated in all of the Star Wars movies. Namely, Rogue One: A Star Wars Story was the first live action Star Wars movie that Williams didn't score, with Michael Giacchino handling those duties after Alexandre Desalt had to bow out due to the reshoots altering the post-production schedule. Fortunately, Williams is already confirmed to be involved with Episode VIII, and if all goes well, hopefully he'll be back for Episode IX, too.

If you're looking forward to hearing more of John Williams' soundtrack goodness, Star Wars: Episode VIII opens in theaters on December 15, 2017.

Rogue One is not going to be like your normal Star Wars film. Kathleen Kennedy, the president of Lucasfilm who has been tasked with overseeing the expansion of the franchise, has already revealed that the standalone film won't include a famous scrawl, while it's also the first Star Wars film not to feature a score from the iconic John Williams. His replacement, Michael Giacchino, has opened up about stepping into such gargantuan shoes, while at the same time admitting that around 5% of Rogue One's music comes from John Williams.

Michael Giacchino made this admission while chatting with Entertainment Weekly about his work on Rogue One, while also revealing that John Williams' past work on the likes of Jaws, Superman, Indiana Jones and Jurassic Park inspired his own career as a composer. Talking about the likes of John Williams' Star Wars music in Rogue One, Michael Giacchino explained:

The trailers for Rogue One: A Star Wars Story have already teased just how John Williams' work will feature in the blockbuster, as Michael Giacchino's score sounds eerily familiar to some of the classic music from Star Wars' past. You can hear the similarities for yourself by clicking below and listening, as well as watching, the latest trailer for Rogue One.

Michael Giacchino's own journey to Rogue One: A Star Wars Story hasn't been quite as smooth as John Williams' original hiring back in 1977 for Star Wars: Episode IV -- A New Hope, which simply saw Williams recommended to George Lucas by Steven Spielberg. In fact, Giacchino actually only began to work on Rogue One back in September, when he was asked to replace Alexandre Desplat (Argo, The Grand Budapest Hotel), with scheduling difficulties cited as the reason by Lucasfilm following the extensive reshoots over the summer.

However, this did allow Michael Giacchino's involvement with the new batch of Star Wars films to come full circle, after he made a cameo in The Force Awakens. We'll get to see/hear how he fares on Rogue One when it's finally released on December 16.

Star Wars: Episode VIII may still be over a year away, but that doesn't mean the filmmakers have taken a vacation once filming concluded. It turns out, that there's already a rough cut of the film that has been completed. The news comes from the man responsible for scoring the new film. He says that he's seen an early version of the movie, which is at least complete enough for him to begin putting the music together.

Over the weekend, John Williams returned as the conductor of the Boston Pops Esplanade Orchestra, a position he held for the entire decade of the 80s and the first part of the 90s. He conducted a great deal of his famous film music, including some from the Star Wars films. However, according to MassLive, he informed the assembled crowd at Boston's Tanglewood Music Center that in just a few weeks he would begin his work on Star Wars: Episode VIII, after having seen a rough cut of the film.

For what it's worth, John Williams told the audience that he did not know who Rey's parents are, which could mean a couple of things. Most likely, this information will not be relayed in the new film. However, it's barely possible that a scene like that could have been omitted from the rough cut, simply to prevent people like John Williams from spilling the beans.

Star Wars: Episode VIII had its release date pushed back by half a year after there was concern that the script needed additional work. However, since then, the movie appears to have been traveling at light speed. Filming began early this year but principal photography wrapped less than a month ago. In only a few weeks the editors have apparently put together some sort of complete film, which seems awfully fast. Of course, this rough cut could have an emphasis on the "rough" part, certainly, there are no effects done, that part always takes up the bulk of the post-production period, but, at the rate they're going, it certainly feels like the film could have made its original May 2017 release date.

John Williams reiterated an earlier comment, that part of the reason he wants to continue to score the Star Wars films is because he likes Rey a great deal and doesn't want anybody else writing music for her. We get the impression that he wants to know more about the character in the same way that the rest of us do.

Certainly, we would expect whatever version of the film that John Williams saw to go through a lot of changes before they have a final edit, nevermind the additional post-production work. Having said that, the fact that they already have a starting point seems to imply that either they expect to have a lot of work to do over the next 16 months, or they want to get it all finished well in advance of the December 2017 release date.

There probably isn't much chance of Star Wars: Episode VIII getting pushed back up to its original release date, but maybe having things moving like this means we could get our first trailer, or at least a bloody title, sooner than we thought.

We all love Star Wars. One of the reasons that we all love Star Wars is because of the fantastic music that John Williams created for it. A couple of kids decided to show their appreciation by playing Star Wars music for John Williams himself. He was apparently impressed, as he came outside to listen, and then congratulated the boys on their performance when it was over. Check out the impromptu concert now.

We're sure this is the sort of thing that everybody does at some point, right? You know that you happen to live in the same neighborhood as a famous movie composer, and so, since you also love music, you decide to go serenade him. These kids didn't go with the simple boom box held over their head, though. Bryce Hayashi plays the trumpet and Michael Miller plays the flugelhorn, so they decided to just go ahead and play the Star Wars theme for John Williams themselves on the sidewalk.

Of course, whether or not they even knew John Williams was home is unclear, but about midway through the video you see the door slide open and the composer comes outside. The best part, though, is that it's clear that the boys were so focused on playing the music that they didn't notice Williams was there until they were done. They also apparently didn't realize they were being recorded. At which point, they sort of lose it a bit. Williams seemed to really like what the boys did, he told them he wasn't sure they'd be able to pull it off, but they certainly did.

In over six decades of professional work John Williams has written some of the greatest music in the history of cinema. As a frequent collaborator with the likes of George Lucas and Steven Spielberg, Williams is responsible for the themes to classics including the Indiana Jones series and Jaws. Most recently Williams returned to compose the music for Star Wars: The Force Awakens as well as Spielberg's The BFG. He's expected to handle the score for Star Wars: Episode VIII, Ready Player One, and the next installment of the Indiana Jones franchise as well.

As cool as this was, we'd like to ask all budding musicians to not rush out and go play music in front of their idol's house. They're actual people, with actual lives, and if everybody does this once a day John Williams won't be able to get any work done. The first guys on the internet who do something cool get to have some minor fame, everybody else is just being a copycat.

The music of John Williams is as much a part of the Star Wars mythos as lightsabers and the Force. His themes have become not just the soundtrack to the movies of Steven Spielberg and George Lucas, but of Hollywood in general. After six decades of making movie music, Williams is looking forward to continuing his time in a galaxy far, far, away as he plans to write the music for _Star Wars: Episode VIII _(and possibly beyond). However, the reason he wants to continue apparently has less to do with his legacy, and more to do with Daisy Ridley. He doesn't want anybody else writing her music.

On June 9, John Williams became the first composer to win the lifetime achievement award from the American Film Institute. As part of a retrospective of that lifetime of work, Williams was asked about his plans for the future by Variety. He told them that he plans to do the music for Star Wars: Episode VIII, but, apparently, only because he wants to be the only one who gets to write music for Daisy Ridley.

We can't say we blame John Williams if he's slightly enamored with Daisy Ridley. That's pretty much what happened to the rest of the world when we saw Star Wars: The Force Awakens for the first time. While there's plenty of love for all of the new trio of heroes from The Force Awakens, Rey was by far the most adored of the team. And for what it's worth, Williams wrote some great music for the actress. Go back and listen to "Rey's Theme" or "The Girl with the Staff" from the film's soundtrack. There's some quality work there. When done right and John Williams is the master, music is a big part of what helps get an emotional response from the audience. His music is a big part of the reason we all love Rey right now.

John Williams is, of course, joking, at least a little bit. We have to assume that he feels some sort of ownership of Star Wars music at this point. While he's been the composer of every chapter of the Star Wars saga to date, at some point the baton will need to be handed off. Disney plans to continue making Star Wars movies in perpetuity at this point, so Williams won't be able to do them all. Hopefully, he'll at least be able to finish off the current trilogy.

John Williams has already taken the first step in that regard, as he won't be the composer for Rogue One: A Star Wars Story, although, there have reportedly been some issues behind the scenes as far as that job goes, so it's possible Lucasfilm wishes he was the one doing it. We know we do.

When you think of Indiana Jones, there's a short list of people you automatically recall as key contributors. Steven Spielberg has always been the directing mastermind behind the action serial throwback, with Harrison Ford playing the lead with cocksure charm and rugged wisdom since its inception. But the music, one of the most important and iconic portions of the Jones mythos, has always been written and conducted by the steady hand of maestro John Williams. Well, like clockwork, it's been announced tonight that Williams will be returning for Indiana Jones 5!

During an American Film Institute tribute to six decades of Williams' work, Steven Spielberg himself spilled the beans that the legendary composer would be returning for another spin through the adventures of Dr. Henry "Indiana" Jones Jr. Scott Mantz of Access Hollywood tweeted this news out through his Twitter feed, as he was on hand for tonight's festivities. This marks John Williams' second return to a massive franchise he helped build, the first being last December's Star Wars: The Force Awakens. While Williams' workload has been less prolific than his most active periods, he's always been there for the collaborators and the series that we knew him best for.

Having John Williams on board for Indiana Jones 5 is one of those facts that while you never doubted it for a second, it's nice to hear it out loud, so as to confirm its reality. With the music from Williams' talented mind setting the stage for each Indiana Jones adventure on the big screen, it's hard to imagine anyone else's music taking its place. Sure, there are folks that could very easily write something that sounds very close to his work, but as J.J. Abrams will tell you, if you have the chance to work with the man himself - you don't hesitate even for a second.

John, formerly credited as "Johnny," Williams has been a fixture of film and television music since his debut in 1956, with an episode of Playhouse 90 marking his first musical credit. From that point on, he worked on TV shows like Checkmate and Gilligan's Island, before making the move to film music. In fact, if one were to pinpoint the one gig that defined his career, it'd probably have to be 1975's Jaws, as his work on Steven Spielberg's breakout hit not only seared every note of its iconic tune in the minds of moviegoers for decades to come, it allowed the director to suggest Williams for a project a friend of his was working on. That project happened to be a little film named Star Wars, which would have been stuck with public domain classical music cues scoring the film, if not for the glowing recommendation.

With John Williams being locked in for Indiana Jones 5, we can now turn our minds to speculating what the film will be about, and who will join the holy trinity of the series as they ride off into the adventurous horizon yet again. Indiana Jones 5 dons its fedora and swings into theaters on its whip of excitement on July 19, 2019.

Few movies have musical accompaniment as iconic as the original scores for the Star Wars films. Legendary composer John Williams has remained a constant figure within the franchise for the last forty years, and his work has become instantly recognizable. That being said, a time must come when all masters must step down from his or her craft. Has John Williams decided to give up on scoring Star Wars films? As it turns out, while he hasn't committed to the project, he’s not quite ready to let someone else take the reigns just yet.

According to Making Star Wars, John Williams spoke out about his potential involvement in Rian Johnson’s Star Wars: Episode VIII during a recent event in Philadelphia:

Although he doesn’t provide a concrete, definitive answer, it’s abundantly clear that John Willliams still has some interest in returning to the galaxy far, far away. He hasn’t decided whether or not he wants to commit to another Star Wars movie, but he also has no interest in seeing someone else fill his place. That’s a difficult position for any artist to find himself in, but we will keep our fingers crossed that Williams’ desire to work in the Star Wars universe eventually wins out.

John Williams is arguably one of the people who has had the biggest impact on the Star Wars films. He has had a hand in every single Star Wars movie to date, and his work as a composer even managed to elevate some of the notably duller scenes in the prequels. His work isn’t limited to the Star Wars universe either; over the years he has had a hand in creation of some amazing themes, from Jurassic Park to the Indiana Jones franchise.

That being said, we will have to get used to the notion of John Williams not scoring every Star Wars movie set to hit theaters in the coming years. Aside from the fact that he’s getting older, Disney has so many Star Wars films set to enter production before the end of the decade that it would likely prove impossible for him to personally score all of them. We already know that he has handed off the duties of scoring Rogue One: A Star Wars Story to Alexandre Desplat, so we fully expect that particular film to have a much different feeling than the ones scored by Williams.

All it takes is one note to know that you’re listening to a John Williams track. Just listen to "Binary Sunset" in this iconic scene from A New Hope to instantly be taken to the desert world of Tattooine:

We will keep you posted regarding John Williams’ potential involvement in Star Wars: Episode VIII as more information becomes available to us. Production on the upcoming sequel is currently underway, and the film will hit theaters on December 15, 2017.