{"id":4322,"date":"2025-08-28T07:02:33","date_gmt":"2025-08-28T11:02:33","guid":{"rendered":"https:\/\/www.red94.net\/news\/?p=4322"},"modified":"2025-08-27T08:29:49","modified_gmt":"2025-08-27T12:29:49","slug":"i-never-liked-film-music-john-williams-93-ignites-a-2025-industry-debate","status":"publish","type":"post","link":"https:\/\/www.red94.net\/news\/i-never-liked-film-music-john-williams-93-ignites-a-2025-industry-debate\/","title":{"rendered":"\u201cI never liked film music\u201d: John Williams, 93, ignites a 2025 industry debate"},"content":{"rendered":"\n<p>The maestro behind Star Wars and Jaws calls much film scoring \u201cephemeral\u201d\u2014what he meant, who\u2019s reacting, and what changes next.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Why this landed like a thunderclap<\/h2>\n\n\n\n<p>When John Williams\u2014the architect of cinema\u2019s most recognizable themes\u2014says, \u201cI never liked film music very much,\u201d the remark hits with seismic force. Published on August 26, 2025, the 93-year-old composer\u2019s comments reframed how Hollywood talks about its own soundtracks, from their artistic value to their shelf life. Williams contrasted concert works with movie scores, calling most film music \u201cfragmentary\u201d and \u201cephemeral,\u201d a provocation precisely because it comes from the medium\u2019s most decorated ambassador. The statement doesn\u2019t erase his affection for composing; rather, it challenges the industry\u2019s complacency about what qualifies as lasting musical art. It also arrives in a moment when studios, streamers, and awards bodies are re-evaluating budgets, risk tolerance, and what constitutes \u201cevent\u201d craftsmanship. If the standard-bearer says the bar isn\u2019t high enough, expect everyone\u2014from producers and directors to guild voters and music supervisors\u2014to look harder at the music\u2019s narrative purpose, complexity, and staying power.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">What he actually said\u2014and how it reverberated<\/h2>\n\n\n\n<p>In the interview published this week, Williams argued that even \u201cgood\u201d film music usually offers only flashes\u2014an \u201ceight-minute stretch here and there\u201d\u2014and that audiences often love it through nostalgia rather than intrinsic musical heft. He also described film scoring as \u201cjust a job,\u201d a modest framing that jarred precisely because his \u201cjobs\u201d became culture\u2019s permanent soundtrack: from Star Wars and Jaws to E.T., Jurassic Park, Schindler\u2019s List, and Indiana Jones. Early reactions from industry watchers zeroed in on two things: first, the uncomfortable mirror he\u2019s holding up to Hollywood\u2019s output; second, the humility that coexists with the critique. Biographer Tim Greiving emphasized that Williams\u2019s stance isn\u2019t false modesty\u2014he\u2019s genuinely skeptical of film music as concert art, even while taking the craft dead seriously. That tension explains why his words travel: he\u2019s not sniping from the outside; he\u2019s interrogating the form he helped define, asking whether it\u2019s still pushing itself beyond familiar motifs and fan-service catharses.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The numbers that make the critique impossible to ignore<\/h2>\n\n\n\n<p>Strip away the discourse and the r\u00e9sum\u00e9 remains staggering. Williams is the most Oscar-nominated living person with 54 nominations and five wins; he\u2019s also collected dozens of major awards across Grammys, BAFTAs, Emmys, and Golden Globes. He\u2019s written themes that function like global folk songs\u2014melodies instantly legible across generations and languages. Those statistics do more than burnish legacy; they frame the magnitude of this week\u2019s critique. If anyone can separate affection for cinema from a high bar for musical permanence, it\u2019s the composer whose work routinely outlives marketing cycles and format shifts. Measured in cultural effect, Williams\u2019s cues have launched franchises, minted concert tours, and driven billions in downstream value\u2014from box office to theme parks and streaming rewatch spikes. When the genre\u2019s north star argues that the average score lacks concert-hall durability, studios and composers can\u2019t dismiss it as contrarian branding; it becomes a performance note the entire pipeline has to read.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Why fans and composers are split\u2014even if many agree on the diagnosis<\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/www.red94.net\/news\/wp-content\/uploads\/2025\/08\/John-Williams-54-time-Oscar-nominee-knocks-most-film-music-1024x683.jpg\" alt=\"John Williams, 54-time Oscar nominee, knocks most film music\" class=\"wp-image-4326\" srcset=\"https:\/\/www.red94.net\/news\/wp-content\/uploads\/2025\/08\/John-Williams-54-time-Oscar-nominee-knocks-most-film-music-1024x683.jpg 1024w, https:\/\/www.red94.net\/news\/wp-content\/uploads\/2025\/08\/John-Williams-54-time-Oscar-nominee-knocks-most-film-music-300x200.jpg 300w, https:\/\/www.red94.net\/news\/wp-content\/uploads\/2025\/08\/John-Williams-54-time-Oscar-nominee-knocks-most-film-music-768x512.jpg 768w, https:\/\/www.red94.net\/news\/wp-content\/uploads\/2025\/08\/John-Williams-54-time-Oscar-nominee-knocks-most-film-music.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">John Williams, 54-time Oscar nominee, knocks most film music<\/figcaption><\/figure>\n\n\n\n<p>For fans, the comments feel like a gut-check: if the greatest says most film music isn\u2019t concert-grade, are we overrating our nostalgia? Working composers, meanwhile, hear a professional challenge: can they push past temp-track sameness, library-driven palettes, and the streaming-era bias toward wall-to-wall underscore? Supporters of Williams\u2019s view argue that blockbuster scoring often privileges texture and pulse over melody and motif, designing music to be felt but not remembered. Skeptics counter that \u201cmemorability\u201d isn\u2019t the only metric, and that modern hybrid scores can be emotionally surgical without yielding hummable themes. Williams\u2019s long partnership with Steven Spielberg is another flashpoint\u2014proof, say admirers, that deep director-composer collaboration births durable musical storytelling. And yet, even his admirers concede the marketplace increasingly favors shorter schedules, committee feedback, and safer choices. That\u2019s why this debate doesn\u2019t die in a news cycle; it maps onto anxieties about creativity, time, and taste in the algorithm age.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">What changes next: budgets, briefs, and bolder melodies<\/h2>\n\n\n\n<p>No, there\u2019s no legal battle here\u2014just a cultural one\u2014but the practical stakes are real. Expect some studios and prestige labels to make room for more concert-usable suites, longer thematic development, and earlier composer onboarding in the edit. Music supervisors and directors who want their films to feel \u201ccrafted\u201d will pitch longer timelines and fewer late-stage needle-drops. Awards campaigners may nudge toward scores with clear thematic arcs and standalone listening value. And composers aiming to break out of the noise could lean into leitmotif, counterpoint, and acoustic color as differentiators\u2014tools Williams wielded to make story structure audible. None of this means abandoning textural modernity; it means restoring musical architecture as a top-tier value. If the industry takes the critique as a dare rather than an insult, 2026\u2019s most talked-about scores may sound less interchangeable and more like narratives of their own\u2014music that doesn\u2019t just prop up scenes but rewires how we remember them.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">The long view: separating nostalgia from posterity<\/h2>\n\n\n\n<p>Williams\u2019s point isn\u2019t that film music can\u2019t achieve permanence; it\u2019s that the medium\u2019s process too often suffocates it. Concert pieces are written to be the event; film scores are written to serve one. Greatness happens when those missions overlap\u2014when a theme both deepens character and survives the frame. The challenge ahead is structural: giving composers time, trust, and thematic latitude; empowering directors to treat music as story, not spackle; and rewarding audiences for listening, not just feeling. As archives grow and IP cycles spin faster, the scores that endure will be the ones that articulate an idea as clearly as a line of dialogue. That\u2019s the bar the most decorated composer alive just set again\u2014by reminding Hollywood that memorable music isn\u2019t an accident of nostalgia but the product of ambition, craft, and risk.<\/p>\n\n\n\n<p>Sources<br>https:\/\/people.com\/john-williams-composer-never-liked-film-music-very-much-11797252<br>https:\/\/ew.com\/john-william-slams-modern-movie-music-11797588<br>https:\/\/ew.com\/jurassic-world-rebirth-switches-composers-alexandre-desplat-exclusive-11719200<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":18,"featured_media":4327,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"schema_org_data":"","_extracted_celebrities":"","_extracted_movies":"","_extracted_places":"","_extracted_videos":"","_last_enrichment_date":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-4322","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","generate-columns","tablet-grid-50","mobile-grid-100","grid-parent","grid-33"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - 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Morrison","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.red94.net\/news\/#\/schema\/person\/image\/","url":"https:\/\/www.red94.net\/news\/wp-content\/plugins\/generateperf\/images\/icons\/avatar.svg","contentUrl":"https:\/\/www.red94.net\/news\/wp-content\/plugins\/generateperf\/images\/icons\/avatar.svg","caption":"Jessica Morrison"},"description":"Jessica Morrison is a seasoned entertainment writer with over a decade of experience covering television, film, and pop culture. After earning a degree in journalism from New York University, she worked as a freelance writer for various entertainment magazines before joining red94.net. Her expertise lies in analyzing television series, from groundbreaking dramas to light-hearted comedies, and she often provides in-depth reviews and industry insights. Outside of writing, Jessica is an avid film buff and enjoys discovering new indie movies at local festivals.","url":"https:\/\/www.red94.net\/news\/author\/jessica-morrison\/"}]}},"views":29,"_links":{"self":[{"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/posts\/4322","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/comments?post=4322"}],"version-history":[{"count":0,"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/posts\/4322\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/media\/4327"}],"wp:attachment":[{"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/media?parent=4322"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/categories?post=4322"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.red94.net\/news\/wp-json\/wp\/v2\/tags?post=4322"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}