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Essay / Research Paper Abstract
This 18 page paper discusses the collaboration of Steven Spielberg and John Williams, why it’s of interest and how Williams’s scores work to enhance Spielberg’s visuals. Bibliography lists 6 sources.
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18 pages (~225 words per page)
File: D0_HVSpbWms.rtf
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Bernard Herrmann, Tim Burton and Danny Elfman), but perhaps no duo has been more successful than that of Steven Spielberg and John Williams. This paper explores the relationship and why
its of particular interest, and analyzes some of the ways in which Williamss scores bring Spielbergs visuals to life. Discussion The collaboration between Spielberg and Williams has been long and
fruitful, but like many such stories, it might never have happened if it werent for pure a series of coincidences. In 1973, Williams was supposed to score Robert Altmans film
California Split; Williamss wife, actress Barbara Ruick had a supporting role in it (Bettencourt, 2007, Part One). But Ruick died unexpectedly of a cerebral hemorrhage during filming, and Williams left
the film (Bettencourt, 2007, Part One). Despite his grief, or perhaps because of it, Williams kept working, writing a score for the Martin Ritt film Conrack, followed by two huge
hits with the disaster films The Poseidon Adventure and The Towering Inferno (Bettencourt, 2007, Part One). Although Inferno earned Williams an Oscar nomination, it was not the film that
brought him to Spielbergs attention; it was "another, much more obscure release that inaugurated the sea change in Williams career" (Bettancourt, 2007, Part One). At the time, Lalo Schifrin was
slated to compose the score for Mark Rydells film The Reivers with Steve McQueen, but his work was rejected and the job went to Williams (Bettancourt, 2007, Part One). His
score for this gentle, charming tale of life in the early 20th century, as well as his work on another Rydell picture, The Cowboys, drew the attention of a young
filmmaker named Steven Spielberg, who was about to direct his first theatrical feature, The Sugarland Express, a "fact-based tragicomedy" (Bettancourt, 2007, Part One). Spielberg wanted a "Copland-esque" sound but Williams
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