"John Williams"の名言

In his forty-third year William Stoner learned what others, much younger, had learned before him: that the person one loves at first is not the person one loves at last, and that love is not an end but a process through which one person attempts to know another.

In his extreme youth Stoner had thought of love as an absolute state of being to which, if one were lucky, one might find access; in his maturity he had decided it was the heaven of a false religion, toward which one ought to gaze with an amused disbelief, a gently familiar contempt, and an embarrassed nostalgia. Now in his middle age he began to know that it was neither a state of grace nor an illusion; he saw it as a human act of becoming, a condition that was invented and modified moment by moment and day by day, by the will and the intelligence and the heart.

He had come to that moment in his age when there occurred to him, with increasing intensity, a question of such overwhelming simplicity that he had no means to face it. He found himself wondering if his life were worth the living; if it had ever been. It was a question, he suspected, that came to all men at one time or another; he wondered if it came to them with such impersonal force as it came to him. The question brought with it a sadness, but it was a general sadness which (he thought) had little to do with himself or with his particular fate; he was not even sure that the question sprang from the most immediate and obvious causes, from what his own life had become. It came, he believed, from the accretion of his years, from the density of accident and circumstance, and from what he had come to understand of them. He took a grim and ironic pleasure from the possibility that what little learning he had managed to acquire had led him to this knowledge: that in the long run all things, even the learning that let him know this, were futile and empty, and at last diminished into a nothingness they did not alter.

The poets say that youth is the day of the fevered blood, the hour of love, the moment of passion; and that with age comes the cooling baths of wisdom, whereby the fever is cured. The poets are wrong. I did not know love until late in my life, when I could no longer grasp it. Youth is ignorant, and its passion is abstract.

You must remember what you are and what you have chosen to become, and the significance of what you are doing. There are wars and defeats and victories of the human race that are not military and that are not recorded in the annals of history. Remember that while you're trying to decide what to do.

I feel very lucky, and the work that I do doesn't depend on much. If your vision's still good, and your hands - I have no arthritis in my hands, and I play the piano very easily - I don't think there's any reason to deprive oneself of the fun of working. Music is so rewarding.

When we see Rey, we want to hear Rey's theme, and when the Force is referred to or felt, we want to hear the Force theme, and so on. We hope that these references make sense to the fans and make the aural connections that we want them to have.

Any working composer or painter or sculptor will tell you that inspiration comes at the eighth hour of labour rather than as a bolt out of the blue. We have to get our vanities and our preconceptions out of the way and do the work in the time allotted.

Composing music is hard work.

Working in Hollywood for the orchestra world is a very time consuming and laborious job.

I fell in love immediately with Daisy Ridley. She is just a superstar born.

There are occasionally eureka moments - off the top of my head, maybe Darth Vader's theme, you know, the imperial march.

So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it's gratifying to have something you have done linger in people's memories.

I don't make a particular distinction between 'high art' and 'low art.' Music is there for everybody. It's a river we can all put our cups into and drink it and be sustained by it.

As a young pianist in Hollywood, I began orchestrating for others, and I just felt really comfortable doing that.

When you think about Boston, Harvard and M.I.T. are the brains of the city, and its soul might be Faneuil Hall or the State House or the Old Church. But I think the pulsing, pounding heart of Boston is Fenway Park.

I, over the years, have always felt more comfortable if I could go into a projection room and look at a film and not really know what to expect. If you read the script first, you form all kinds of preconceptions about how things look, what the location's like, what the actors are like.

I'm not a frustrated concert composer, and the concert pieces I've done have been a small part of my work. What I've sought there is instruction, variation from the demands of film and relief from its restrictions.

As a youngster, I never dreamed there could be a career actually earning a living writing music.

I was never that into the movies. Never. Even as a youngster. I became interested in movie music only because of the studio orchestras in Hollywood.