As a lifelong fan and connoisseur of Hollywood history, I can confidently say that few creative partnerships have had as profound an impact on cinematic storytelling as the one between Steven Spielberg and John Williams. From their humble beginnings with The Sugarland Express to the modern-day juggernaut that is the Marvel Cinematic Universe, these two titans of film have consistently pushed the boundaries of what is possible in visual storytelling.
From the get-go, even as a fledgling filmmaker, Steven Spielberg couldn’t resist the captivating charm of John Williams’ musical prowess. It was in 1974 that we, the creative duo, embarked on our lengthy Hollywood journey – one that continues to this day with only rare interruptions. This momentous collaboration, which has left an indelible mark on cinema, commenced with my very first feature film: The Sugarland Express.
In the year that followed, they indeed planned to reassemble for the more memorable film “Jaws,” however, prior to any music being produced, Spielberg previewed the groundbreaking blockbuster with the score Williams had previously composed for a different movie: Robert Altman’s 1972 horror film titled “Images.”
Steven Spielberg on temping Jaws with John Williams’ Images score
During an extensive conversation with author and filmmaker Laurent Bouzereau in his book “Spielberg: The First Ten Years“, the director admitted that the musical score for a certain scene was somewhat experimental, finding it very unsettling. He also expressed his belief that the shark should be disturbing in this context. However, when John Williams saw the film with that score, he called the director chuckling, stating, “No, no, no. It’s not right for this. You’ve made a pirate movie with a frightening shark. It needs to be primitive. It can’t be mysterious or abstract.”
Six weeks down the line, Williams performed the soon-to-be iconic “Jaws” theme (a masterful creation of tension) on the piano for Spielberg. The inexperienced filmmaker admits he anticipated a peculiar and melodious, tonal yet eerie piece, perhaps something to hint at the shark beneath the water’s surface. Instead, what he heard from two fingers on the lower keys was “Dun dun, dun dun, dun, dun, dun …”
Additional Insights on Jaws: The Real Swimmer Turned Shark Advocate Speaks Up and Steven Spielberg Remembers the Famous Scene in Jaws Where a Man Vomited in the Theater During an Early Screening; Jeffrey Voorhees Reflects on His Role as Alex Kintner 49 Years After Filming Jaws
Initially, Spielberg considered the idea too straightforward, but later on, he’s said to have chuckled, thinking Williams was pulling a prank. Upon hearing it again, the concept seemed perfect. Sometimes, the simplest ideas are the most effective, and John had found the movie’s defining note. In my opinion, without that score, the film might not have achieved the same level of success.
The director extols Williams as an exceptional film composer, comparable to Max Steiner (renowned for his work on films like King Kong and Casablanca, among many others that significantly influenced cinema), primarily due to his unique skill in the strategic use of music. He clarifies that instead of using music as a misdirection, as some composers do, Williams preferred for the music in Jaws to genuinely announce the shark’s arrival, rather than serving as a decoy.
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2024-07-31 18:46