Der Komponist John Williams sagt, er habe Filmmusik nie sehr gemocht „

I think there’s a Gary Larson quote where he says he’s not really that into cartoons. I guess just because you can make a thing doesn’t automatically make you a consumer of it.

Jokes on him, because I like his movie music a lot.

If you take the bicycle chase from E.T as a standalone piece, that entire section of music is like a ballet. It’s so insanely well timed, constructed and weaving of all the films themes.

Film music as a genre has only gotten more and more popular with listeners and if anything I think it’s finally being seen for the art form it is.

John Williams has the right to say anything he likes though because he’s one of the best composers period, not just film composer.

The fact it’s functional and artful makes it even more interesting in my opinion.

I get it. I’m a graphic designer and I fucking hate the industry.

I mean he’s not lying. It’s a business not an art form. It can just accidentally generate art

It makes perfect sense if you ask me. He wanted to make film music that he’d actually like!

I briefly worked in the film score industry, and it’s not at all how you dream it to be. Most directors already have a vision in mind, often built around existing music or soundtracks they’ve fallen in love with. A lot of the job ends up being less about creativity and more about recreating a vibe and sometimes outright ripping off other scores to match the mood they’re chasing. I’m not saying it’s always like that, but you have to be very particular about projects if you want it to not feel like a 9 to 5.

I think it’s because most people connect first and foremost to a melody but composers are most interested in the development of the melody, taking the original idea and expanding, complicating, breaking down, recreating the melody. There’s only so much time for that to happen in film music because before long the characters need to start talking again.

John Williams had a historically brilliant ability to create melodies but in his film music he didn’t have the opportunity to development them much (obviously he did a little bit, but not to the extent a 19th century composer would do in a symphony).

He also composed classical concert music, which has been played by the most celebrated orchestras, but that never was as popular as his film music. But I doubt he’s too bothered by all that. He had the opportunity to work at the highest conceivable level in both spaces, collaborating with the most supremely talented artists. Different people will prefer different things.

I’ve always thought that the best, most groundbreaking artists must have just a little bit of contempt for the medium they’re working in. Why else would they strive to be so distinct from what came before them?

Williams has openly said his work is derived from 19th Century symphonic poems and opera. The whole idea of character melodies is from that time or before.

In other words, I don’t think he ever thought of what he was making as new so much as appropriate to the story being told. A job, as the article says.

He also just seems like a guy who just focuses on the music and not the hoopla.

He was conducting the Pops playing the national anthem at a Red Sox game. The announcer kept going over his accolades and he just looked pissed off.