91-year-old John Williams is far from retired; he's mulling new concert works and preparing for a series of conducting gigs. “When you finally get to be 90, you think, ‘This is great, I made it.’ It’s wonderful. I recommend it to everybody.”
is far from retired. He is mulling new concert works for leading classical soloists and preparing for a series of conducting gigs in the coming months that will take him from Chicago to Tokyo.Variety
“I felt like I was being invited into an inner-family, close-circle discussion of their lives together,” Williams says of the film. “The fact that Steven was dealing with something so personal, combined with the fact that I knew them both,” referring to Steven’s parents Leah and Arnold Spielberg, who frequently attended recording sessions for Spielberg scores.
Williams says he’s not sure how knowing the real Spielberg parents might have influenced his music for their fictional counterparts in “The Fabelmans.” His theme needed to be “something very gentle, very nostalgic, hopefully a little bit healing,” he says, suggesting that this wistful music could represent the boy’s point of view.
The composer finished recording the score for “Indiana Jones and the Dial of Destiny” on Feb. 10 and, while he suggested last summer that the final Harrison Ford adventure would be the last of his 100-plus film scores, that’s not quite the truth. “It’s certainly got to be an hour and a half of music, maybe more,” Williams estimates. “But I’m quite happy with it. There’s a lot of new material. The old material works very well as a touchstone of memory, but I had great fun, and I have a theme that I’ve written for Phoebe Waller-Bridge, the wonderful actress.” She plays Helena Shaw, reportedly Indy’s goddaughter.
The “Indiana Jones” scores, Williams notes, “are unified by Indy’s theme, and the general style of the film, which is in my mind a kind of action-comedy, because you never take the action seriously. It’s certainly a swashbuckling affair from beginning to end, fashioned more like movies of the ’30s and ’40s where the orchestra is racing along with the action, which you wouldn’t do in contemporary films very much.
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