Music by John Williams
Directed by Laurent Bouzereau 
Rated PG
Runtime: 1 hour, 45 minutes
Now streaming on Disney+

by Ryan Silberstein, Managing Editor, Red Herring

Two notes (Jaws). Five notes (Close Encounters of the Third Kind). John Williams’ work is so iconic that you can likely hear the exact notes being referenced here, whether you want to or not. That level of recognition is unparalleled, even before you include Star Wars, E.T., and Indiana Jones. While there are other well known film composers, like Hans Zimmer, Michael Giacchino, and Jerry Goldsmith, Williams’ impact on the popular consciousness is unparalleled. Music by John Williams offers a loving overview of the 92 year old’s career, and this is one subject matter where hagiography feels justified. There is just so much to cover in Williams’ long and storied career that my only real complaint is that this could have been a multi-episode series instead of a film.

One of the most joyous aspects of the documentary are the appearances by Williams’ collaborators. Ron Howard, J.J. Abrams, and Chris Columbus all sing their praises, but the whole documentary could have also focused on the partnership between Williams and Steven Spielberg. Both men exhibit the kind of childlike wonder the latter is famous for in his films, and that is readily evident in their interactions together. Early on in the film, Spielberg bursts into where Williams is being interviewed, as he cannot resist spending more time with one of his favorite people. Hearing them tell stories about their work together is a delight, ranging from the first time Williams played the iconic two notes from Jaws to Williams’ return to his jazz background for Catch Me If You Can. “Johnny,” as Spielberg (and George Lucas) calls him, brings out awe and wonder at magic in the director, just as Spielberg’s work inspires those same feelings in audiences. At one point, Spielberg says that during hard times while shooting a film, he thinks about the recording sessions for the score by John Williams and says it is favorite aspect of making movies. And you believe him, because the sheer delight he exudes around Williams is practically visible to the naked eye, like a small child watching a magician perform. These kindred spirits, when their collaborations are taken together, become a portrait of both men. Their interests, worldviews, and spirits are reflected in Williams’ music for Spielberg’s films, forming a portrait of both men.

But this is not the only reason why I wish the documentary should be longer. Director Laurent Bouzereau’s career was shaped by working with Spielberg on supplementary features for laserdisc releases of Jaws, 1941, Psycho, and others, transitioning into the DVD era by working on supplements for a variety of directors. His most notable work prior to this was the documentary series Five Came Back, produced by Spielberg and based on the exemplary book by Mark Harris. His comfort around these iconic figures is evident, but Bouzereau has also done enough work on many of the films featured to always ensure the focus is on Williams and his process. The film is structured around Williams’ work, and while it offers biological and career details, there is always an emphasis on the process of film scoring. Williams is behind a piano (specifically the one from the Fox studio lot, where he composed a lot of his most iconic work) and will demonstrate ideas and musical concepts while he speaks. There’s more depth here than the typical biodoc, and Williams is such a delightful and enthusiastic subject that I could have spent hours watching this. 

After watching the documentary in order to write this review, I’ve been consumed by revisiting the works of John Williams, another testament to the composer’s work and the joy evident throughout the documentary. If you watch this and want to dive more into film music–especially that of Williams’–I cannot recommend David W. Collins’ podcast The Soundtrack Show enough, which has nurtured my lifelong affection for scores into a much more knowledgeable appreciation. Documentaries rarely feel rewatchable, but I am already looking forward to revisiting this soon and again on February 8 for Williams’ birthday (coincidentally mine as well).