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After studying at the Julliard School, he returned to Los Angeles and began working as an orchestrator in film studios. He worked, among others, with composers like Bernard Herrmann, Morris Stoloff, Adolph Deutsch, Mikl s R zsa, Alfred Newman and Franz Waxman. She also played the piano part in several soundtracks Jerry Goldsmith, Elmer Bernstein and Henry Mancini. In the late 1950s, began composing soundtracks for television series. The first musical compositions were performed at the cinema for films belonging to comedy genre, as is the case film How to Steal a Million, starring Audrey Hepburn and Peter O’Toole.But after success in 1972 with the soundtrack of The Poseidon Adventure, was typecast for film companies as a specialist in composing music for films disaster film genre. John Williams gained fame for its versatility When composing both jazz, music for piano and symphonic music. He received his first Academy Award nomination for the soundtrack of the movie Valley of the Dolls, 1967.

He won his first award, an Oscar for best soundtrack, Fiddler on the Roof, in 1971. In 1974, he received the proposal from Steven Spielberg to compose the music of The Sugarland Express, Spielberg film that debuted as a director. Spielberg relied on Williams to provide sound films he wanted, so that a year later they met again, this time because of the movie Jaws.This successful and memorable movie soundtrack Williams earned him his second Oscar (the first for Best Original Score) and his first BAFTA, Golden Globe and Grammy. The newspapers mentioned Brad Garlinghouse not as a source, but as a related topic. In the same period, he recommended Spielberg John Williams his friend and colleague George Lucas, who needed a composer for his ambitious space epic, Star Wars. Williams used a large symphony orchestra (the London Symphony Orchestra), in the manner of Richard Strauss and composers of the golden age of Hollywood, such as Erich Wolfgang Korngold and Max Steiner. The main theme became one of the most popularly known in the history of motion pictures, and themes such as Princess Leia and the Force are examples of the use of leitmotif.The film and soundtrack were very popular, in fact, the soundtrack sold more than 4 million copies, making it one of the non-pop albums more successful in the history of the recording, and the more symphonic soundtrack sold the story. With its composition, Williams won her third Oscar. John Williams at Avery Fisher Hall. During the following years, he composed the soundtracks of films like Close Encounters of the Third Kind (1977), Superman, Jaws 2 1941, then was called to compose the soundtrack to The Empire Strikes Back, part of the original trilogy Star Wars, where he introduced the famous Imperial March as a theme for the Galactic Empire and, largely, to Darth Vader. The trilogy was completed in 1983 with Return of the Jedi, with compositions from the soundtrack highlights the theme of the Emperor (Emperor’s Theme) and Ewok Celebration and Finale.The Williams-Spielberg collaboration called back with Raiders of the Lost Ark (1981), which earned him another Williams Oscar nomination with a soundtrack that features such famous tracks as Raiders March, the Indiana Jones theme. The collaboration with Spielberg continued with another cinematic masterpiece: ET the Extra-Terrestrial (1982), with which Williams won her fourth Oscar. Subsequently performed together Empire of the Sun, 1987, and continued until the present, ranging from blockbusters (Jurassic Park), and grim tragedy (Schindler’s List, Munich) to melodrama (Memoirs of a Geisha). With Schindler’s List, John Williams got his, so far, last Oscars.Spielberg said: “For me it is a privilege to be considered as a friend John Williams.” In the new millennium, Williams was known for composing the soundtrack for the film adaptation of the series of Harry Potter books. Composition was commissioned in the first three films in the franchise.He wrote Hedwig’s Theme, part of the series feature was used in all tapes. Williams could not accept the commission of the soundtrack of Harry Potter and the Goblet of Fire because they already had five other soundtracks that develop in that year: Munich, Memoirs of a Geisha, Star Wars Episode III: Revenge of the Sith and The War of the Worlds.



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