John Williams Honored by Steven Spielberg, Harrison Ford at AFI Gala

John Williams Honored by Steven Spielberg

“That damn music follows me everywhere,” a heavily bearded Harrison Ford sighed from the Dolby Theater stage during the AFI’s Life Achievement Award presentation to John Williams on Thursday night, having just entered to the strains of the Williams-composed main theme to “Raiders of the Lost Ark.” “They play it every time I walk on the stage. Every time I walk off the stage. It was playing in the operating room when I went in for a colonoscopy.”

The evening’s other tributes were significantly less visceral, but Ford struck on the night’s common theme: the utter ubiquity of Williams’ music both inside and outside of cinemas over the past half century.

With his career having intersected with the work of so many of Hollywood’s brightest names, the dinner (to be broadcast later this month on TNT) was an appropriately starry affair. Collaborators ranging from Steven Spielberg and George Lucas (both sitting flanking Williams at the table of honor) to Drew Barrymore, Tom Hanks, Kobe Bryant, J.J. Abrams, Bryce Dallas Howard and Seth MacFarlane lined up to sing his praises, while Gustavo Dudamel conducted members of the American Youth Symphony in a stirring rendition of Williams’ theme from “Schindler’s List.”

As the first film composer — and indeed, the first non-director or actor — to receive AFI’s lifetime achievement kudo in the award’s 44-year history, Williams recalled the words of Robert Graves, who when told by Queen Elizabeth II that he was the first poet to whom she’d ever conferred an official honor, whispered to her, “yes ma’am, and it’s about time you did.”

Befitting his reputation for modesty, Williams spent most of his acceptance speech praising his collaborators and predecessors, particularly Alfred Newman — whom he called “the finest conductor in Hollywood, until Gustavo (Dudamel) showed up” — and Bernard Herrmann, whom he noted would have been a worthy AFI honoree, “though he probably would have found some excuse not to come.”

The composer philosophized about film music’s place in the classical music firmament (“Beethoven would probably have shunned it, though Wagner would have had a studio up in Burbank”) and shared stories about some of his greatest work, including “writing a quite heated love theme thinking Luke and Leia were lovers” during the first “Star Wars.” Remembering his first time watching a working cut of Spielberg’s “Schindler’s List,” Williams recalled being so moved that he told the director he needed to find a better composer for the film. To which, he claimed, Spielberg replied, “I know, but they’re all dead.”

Spielberg himself reminisced on his 27-film, 43-year history with Williams, sharing a glimpse of Super-8 footage he shot of Williams composing the score for “E.T.” back in 1982. He described Williams’ process, writing alone on a hundred-year-old Steinway piano with a yellow legal pad on-hand, and remembered sitting in Williams’ house when he played him the iconic two-note shark theme for “Jaws.”

“When he played it for me the first time on a piano, he had a big old grin, and I thought he was joking,” Spielberg said. “He wasn’t.”

Speaking of “Star Wars,” Lucas noted it was Williams’ music that helped turn a film “meant to be a fantasy for young people” into a culture-shaking franchise, telling the composer, “You made my life so easy. I had so many ideas for other movies, but I never had to get around to them thanks to ‘Star Wars.’”

Abrams, Lucas’ successor as guardian of the “Star Wars” galaxy, related Williams’ own pet names for him, which include “Baby” and “Angel.”

“‘Oh Angel, I just hope this cue is good enough.’ These are the kinds of preposterous things that John Williams says at his own scoring sessions,” Abrams said. “It’s like he’s never read his own resume. He’s the sweetest superhero of all time.”

Barrymore drew a big laugh out of the composer with her short, ebullient speech; Will Ferrell “conducted” the five-tone theme from “Close Encounters of the Third Kind” with help from Idina Menzel; and Hanks brought some improv energy after he flubbed a line, ad-libbing a few unlikely-to-be-televised remarks.

Yet some of the night’s most appreciative words came from Ford, dyspepsia and all, as he called music “the salt-and-pepper of film, the adjustment to taste at the pivotal moment.” Going back to “Raiders,” Ford introduced a clip of the film’s mournful “Marion’s Theme,” and explained how unusual it was that the theme isn’t first heard upon the character’s first appearance, but rather later on, when Indiana Jones believes her to be dead.

“This is an example of entertainment elevated to the level of art,” Ford said. “John, you’re a genius.”

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    1. rakib says:

      I hope It will be a great moment …….

    2. Anwar Sosa says:

      Thanks for the great review. I hope to catchthe ceremony soon on TNT but you managed to highlight the great moments of the night.

    3. avietar says:

      “Ford introduced a clip of the film’s mournful “Marion’s Theme,” and explained how unusual it was that the theme isn’t first heard upon the character’s first appearance, but rather later on, when Indiana Jones believes her to be dead.”

      Ford, or, more probably whoever wrote his speech, was wrong, and, in fact, his assertion makes no dramatic sense, something that must’ve prompted Spielberg, Lucas and Williams to raise at least one eyebrow apiece. Marion’s theme first appears during the montage depicting her and Indy’s airplane flight from Tibet to Cairo, when the intrepid “Raiders” march segues into brief statement of her theme, nine minutes before the scene Ford cites.

      Lucas, himself, though, was also guilty of mangling film history when he related a well-known story about why a film like Hitchcock’s “Lifeboat” would have music, since it takes place in the titular vessel in the middle of the ocean. As Lucas told it, Hitchcck, himself, asked the question, only to be told by composer Bernard Herrmann that it would come from the same place the camera did. The problem is that the question was posed by a 20th Century-Fox executive TO Hitchcock, who gave the above reply, himself. As for Hermrman, he wouldn’t work with Hitchcock until “The Trouble with Harry” nine years later; though the two men actually did first meet in 1943, the year of “Lifeboat”s release, it was at a social function and had nothing to do with that film’s production.

      • Lee Mastroddi says:

        Actually, you’re wrong as well “aviater.” Marion’s theme first appears when the character is first MENTIONED, inside Indiana’s house when he’s talking to Marcus Brody. This is BEFORE she is actually seen. Ford picked a terrible day to be factually wrong about his most iconic movie.

        • Sage on the Hudson says:

          If you don’t like what I wrote, and may write, “me,” you have absolute freedom not to read it. As such, between the two of us, who’s bereft of “a life” (however you may define it) since you’ve taken a conspicuously pointless effort to criticize a comment that had absolutely nothing to do with you?

          Much of what was said Thursday night at the tribute (I was there) dealt with the declining standards of the art and craft of film-scoring, and how Williams is the last of at least two generations who excelled at it. The clear implication by many of the speakers is that when he’s gone no one, neither the composers, nor the producers that hire them, will know enough, or care, to do it the way Williams does it.

          The same lament can be directed to the declining standards in any endeavor, including writing scripts for tribute banquets. Because some writer didn’t do his or her job, a piece of absurd misinformation’s been perpetrated and perpetuated on an unsuspecting public, one that’ll be out there, on television and the internet, forever. If you think that’s okay, fine. You’ll deserve the world you inhabit.

        • me says:

          Not everything requires this much analysis. Lighten up. Take a chill pill. Enjoy things without dissecting them at every turn.

          In other words, get a life.

        • avietar says:

          You’re quite right. It’s such a brief introduction of the theme that it slipped my mind but, of course, dramatically that’s the logical place to introduce the theme — if not with the first appearance of the character, then with the first mention of her name. That’s why Williams is so good at what he does: he helps TELL the story in music at a level where images and dialogue cannot comfortably, or efficiently go.

          But the overiding point is, of course, that whoever wrote Ford’s speech really needed to A: do the research and, B: know what he or she was talking about.

          The more famous the movie, the more people think they know it, and the better they think they know it. In most cases what follows is nothing more than a fan making a misstatement in casual conversation but, as you point out, here it’s the star of the bloody movie paying tribute to the composer of the bloody movie in the presence of the director and producer of the bloody movie proving that he didn’t bother to double-check the words he was going to speak before it went out to an international television audience.

          To paraphrase Indiana Jones: Inept writers. I HATE these guys.

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