Catch Me If You Can (Courtesy of CineMedia Promotions)

"For the first time in our long association, John has composed a score in the idiom of progressive jazz prevalent in the '50s and '60s. Charlie Parker would have been proud.. As John's music matures, he continues to get younger and more daring each day." - Steven Spielberg, from the liner notes to Catch Me If You Can: Original Motion Picture Soundtrack
"This is an interesting deviation for both of us," says Oscar and Grammy winner John Williams of his score and the soundtrack to Steven Spielberg's latest work, the DreamWorks Pictures film "Catch Me If You Can." "It's always fun to deviate from the norm." Catch Me If You Can: Original Motion Picture Soundtrack (due Dec. 10 on DreamWorks Records) marks the 20th Spielberg-directed project for which Williams has composed and conducted music, but it's the first to feature a progressive jazz score. Also produced by Williams, the album is likewise the first Spielberg/Williams collaboration to include source songs, original recordings contemporaneous with the period captured in the film. They include "Come Fly With Me" (sung by Frank Sinatra), "The Christmas Song" (Nat King Cole), "The Look Of Love" (Dusty Springfield), "Embraceable You" (Judy Garland) and "The Girl From Ipanema" (Stan Getz and Joao Gilberto, featuring Antonio Carlos Jobim and Astrud Gilberto).
Oscar nominee Leonardo DiCaprio ("What's Eating Gilbert Grape," "Titanic") and two-time Academy Award winner Tom Hanks ("Philadelphia," "Forrest Gump") engage in a game of cat and mouse in "Catch Me If You Can," under the direction of three-time Academy Award winner Steven Spielberg ("Saving Private Ryan," "Schindler's List"). Frank W. Abagnale (Leonardo DiCaprio) worked as a doctor, a lawyer and a co-pilot for a major airline - all before his 21st birthday. A master of deception, he was also a brilliant forger whose skill at check fraud netted him millions of dollars in stolen funds. FBI Agent Carl Hanratty (Tom Hanks) has made it his prime mission to capture Frank and bring him to justice, but Frank is always one step ahead of him, baiting him to continue the chase. The film also stars Academy Award winner Christopher Walken ("The Deer Hunter"), Golden Globe winner Martin Sheen (TV's "The West Wing"), Nathalie Baye, Amy Adams, James Brolin, Brian Howe, Frank John Hughes and Golden Globe winner Jennifer Garner (TV's "Alias"). It premieres nationally Dec. 25.
"'Catch Me If You Can' is largely set in the early '60s," Williams explains, "and Steven has achieved such a fantastic recreation of the period, from the dress to the cars to the rest of American life, that we wanted to capture the musical tone of the period just as precisely. "Back then, progressive jazz meant something different than it does today. It was the hip, upscale, jazz sound of the time. It was Dave Brubeck. It was Art Pepper and Lee Konitz. In the '40s, Charlie Parker was progressive jazz, and other alto sax players like Pepper and Konitz were the children of Parker. I was even a minor practitioner myself in the late '50s, playing piano with Shelly Manne and on recording sessions. So this is actually a happy, healthy and welcome regression for me." Catch Me If You Can showcases saxophone solos that have been developed beyond what is heard in the film. The soloist is Dan Higgins. "I needed a brilliant player," says Williams, "and Dan is a true bright light on sax." Higgins previously played with Williams at a Hollywood Bowl concert and at the 2002 Academy Awards ceremonies. He is perhaps the most sought-after session sax player in the country. Higgins' extensive credits range from his work with Aerosmith and Christina Aguilera to Natalie Cole, Al Jarreau, Barry Manilow and Luis Miguel. A few of Williams' other scores for Spielberg have also veered from the majestic, large-orchestra timbre that is the composer's signature, including the more intimate chamber orchestra with solo violin of "Schindler 's List" and the broad burlesque of "1941." The "Catch Me If You Can" score, however, might not have taken the direction it did if it hadn't been for the animated sequence that opens the film.
"I always seem to come to the best conclusions later in the creative process," says Williams. "I wrote a lot of material for this film that I didn't use. I kept searching for some key." The key began to emerge when he wrote a piece hinting at progressive jazz, recorded a demo of it and laid it atop a work-in-progress version of that animation. Suddenly, progressive jazz also presented itself for the theme for Abagnale's father, a central composition titled "Recollections (The Father's Theme)." Williams then rearranged its original strings-and-piano incarnation to spotlight alto sax, an instrument that has not been significantly employed in film scoring for years. Soon saxophone formed the musical bedrock for the movie's scam and crime- busting scenes. "Hence the score," says Williams matter-of-factly. "I hope it's witty; it's meant to be tongue-in-cheek." Indeed, an impish sensibility surfaces with the appearance of the source song "Come Fly With Me." Played over an airport scene, the track conjures a time when airline travel was glamorous. Passengers would dress in their Sunday best for a trip to the airport. Flight attendants were called stewardesses. According to Williams, Spielberg personally chose the songs. "In the past, rather than use historical source material, I would create original music in a pastiche style," Williams confirms. "But these songs belong so fully to the mainstream culture of the time that it just made sense to use them."
Nonetheless, Williams made sure his score music echoed the ambience of this material. "When you do a period piece," he says, "you have to be aware that every era has its own favorite harmonic progressions. Yes, there are only 12 semi- tones in Western music, but time and place dictate a great variety in the musical grammar. Tapping that is one of the key tools a film composer uses to create atmosphere." Williams has created aural atmospheres for Steven Spielberg for all but one of his films (1985's "The Color Purple").
Along with the 19 feature films they've done together, Spielberg directed and Williams wrote the music for the documentary "The Unfinished Journey," which premiered at America's Millennium Celebration at the Lincoln Memorial in Washington, D.C., on Dec. 31, 1999. The year 2002 marks three decades of collaboration for the pair. Attests Williams: "Thirty years is remarkable. It's not something you plan; it just evolves. There's a sympathetic match of personalities and shared interests and Steven and I have clearly struck a comfort level. I feel very lucky." Steven Spielberg directed "Catch Me If You Can," from a screenplay by Jeff Nathanson, based on the autobiographical book of the same name by Frank W. Abagnale with Stan Redding. The film is produced by Steven Spielberg and Walter F. Parkes ("Men In Black II," "Gladiator"), with Barry Kemp, Laurie MacDonald, Michel Shane and Tony Romano executive producing. # #
# FOR MORE INFORMATION CONTACT: cinemediapromo@yahoo.com "CATCH ME IF YOU CAN" HOME PAGE: www.dreamworks.com/catchthem DREAMWORKS RECORDS HOME PAGE: www.dreamworksrecords.com

Minority Report (Courtesy of CineMedia Promotions)

LOS ANGELES, May 28, 2002 ? Asked to sum up his very latest commission, composer John Williams - the recipient of five Academy Awards and 19 Grammy Awards - calls it "challenging."

"This film represents a departure for Steven and to some degree for me," says Williams of the Spielberg-directed, Tom Cruise-starring "Minority Report," which premieres nationally June 21. "It's a science-fiction film and an action film and it has elements of film noir. It's also tinged with humor and satire. Then, on top of all that, there's an emotional dimension that's warm and tender. The score has to address all of this."
Based on a story by famed science fiction writer Philip K. Dick, "Minority Report" is set in Washington, D.C., in 2054, a time when police utilize a psychic technology to arrest and convict murderers before they commit their crimes. Tom Cruise plays the head of this Pre-Crime unit and is himself accused of the future murder of a man he has yet to meet.
Typically, Williams rose to the musical challenges presented by the film, composing the score, conducting the orchestra and producing Minority Report: Original Motion Picture Score (DreamWorks Records), released June 18. "Minority Report" is the 18th Spielberg-directed film for which Williams has provided music. In fact, he's done so for all of Spielberg's films except one (1985's "The Color Purple"). This is the 30th year of Williams' association with Spielberg, which started with the director's first major motion picture, "The Sugarland Express" (begun in 1973 and released the following year). The teaming is perhaps the most celebrated in all of film history.

Says Williams: "This kind of longevity is almost unheard of between a composer and director. But Steven is a marvelous collaborator and a marvelous human being. His films are successful not just because he shoots and edits brilliantly, or because he's such a good storyteller, but because his basic humanity always comes through. I have been very fortunate to have worked with him from the start."
Of course, Williams has enjoyed fruitful pairings with other directors as well, among them George Lucas. In fact, Williams plunged into the "Minority Report" score immediately after finishing that for "Star Wars: Episode II - Attack Of The Clones."

Film composers are frequently relegated to writing music based on bits and pieces of a cinematic work in progress. But Williams was able to view a nearly complete version of "Minority Report" before ever penning a note for the score. As a result, he was able to weave together the film's disparate moods in a cohesive manner, as well as undertake something unexpected.
The haunting theme "Visions Of Anne Lively," for example, marries the orchestral and the electronic. "The electronic piece is synched up with the orchestra," Williams explains. "So it becomes a kind of loop that's orchestral but also synthesized. It wafts through the film." Another intriguing variation is represented by the piece "A New Beginning," heard at the end of "Minority Report." "That surprises a lot of people," says Williams. "We've been in a dark, futuristic mode and then, unexpectedly, there's this lyricism reflecting a sense of innocence and hope."
Asked to comment on the creative process that has fueled his work for more than three decades, Williams ventures: "You learn as you go. I write what I can every day and I bring all I have to bear on that daily work. All we owe ourselves is the determination to do our best. Every now and then, unavoidably, I hear something I wrote 30 years ago and I think either, 'That 's pretty good,' or 'I can do better than that,' or 'I should've known better.' Still, those reactions are no different from what I might feel about something I wrote last week. But writing for film is not a job for me; it's an obsession - I become more in love with it the more I do it."

Williams has created many of film's most memorable scores. Nominated for 41 Academy Awards, he won Best Original Score honors for Spielberg's "Schindler 's List" (1993), "E.T. The Extra-Terrestrial" (1982) and "Jaws" (1975). He also garnered statuettes for "Star Wars" (1977) and "Fiddler On The Roof" (1971). Among the films for which he's been nominated are: the Spielberg entries "Close Encounters Of The Third Kind" (1977), "Raiders Of The Lost Ark" (1981), "Indiana Jones And The Temple Of Doom" (1984), "Indiana Jones And The Last Crusade" (1989), "Amistad" (1997), "Saving Private Ryan" (1998) and "Artificial Intelligence: A.I." (2001); a pair of Lucas' other "Star Wars" episodes, "The Empire Strikes Back" (1980) and "Return Of The Jedi" (1983); and Oliver Stone's "Born On The Fourth Of July" (1989), "JFK" (1991) and "Nixon" (1995).

Williams' remarkable discography includes seven gold and two platinum score albums, including recent achievements like "Harry Potter And The Sorcerer's Stone" (gold) and "Star Wars: Episode I - The Phantom Menace" (platinum). Williams has also been recognized with 19 Grammy Awards, not only for films but for the "Olympic Fanfare And Theme" marking the 1984 Los Angeles Games.

Coming up for Williams are scores for "Catch Me If You Can," directed by Spielberg, and "Harry Potter And The Chamber Of Secrets." A spate of additional projects should keep the busiest composer in showbiz occupied well into 2005.

Twentieth Century Fox and DreamWorks Pictures Present A Cruise/Wagner/Blue Tulip/Ronald Shusett/Gary Goldman Production of A Steven Spielberg Film. Starring Tom Cruise, "Minority Report," directed by Steven Spielberg, also stars Colin Farrell, Samantha Morton and Max Von Sydow. Executive producers are Gary Goldman and Ronald Shusett. Producers are Gerald R. Molen, Bonnie Curtis, Walter F. Parkes and Jan De Bont. The screenplay is by Scott Frank and Jon Cohen based upon the short story by Philip K. Dick.

DreamWorks Records is a division of DreamWorks SKG, which was formed in October 1994 by its three principal partners - Steven Spielberg, Jeffrey Katzenberg and David Geffen - to produce live-action motion pictures; animated feature films; network, syndicated and cable television programming; home video entertainment; records; books; toys; and consumer products.

# # # FOR MORE INFORMATION CONTACT:
CineMedia Promotions
cinemediapromo@yahoo.com
http://www.dreamworksrecords.com/minorityreport/

A.I. - Artificial Intelligence (Courtesy of CineMedia Promotions)
NEW YORK, NY - On July 3, Warner Bros. Records will release the accompanying soundtrack to Steven Spielberg’s new film, A.I. Artificial Intelligence. The soundtrack, which was composed, conducted and produced by the multi-Academy Award winner John Williams, also features a duet by Columbia recording artist Lara Fabian and Warner Bros. recording artist Josh Groban.

John Williams has collaborated with Steven Spielberg on almost all of the director’s grandiose epics since the two first met in 1974. His stunning scores often punctuate Spielberg’s scenes so perfectly that image and sound are forever wedded in our memories. From the ominous urgency of “Main Theme and First Victim” heard in Jaws, to the triumphant score of the Indiana Jones trilogy, this amazing duo has collaborated on some of the most memorable films of our time, including Close Encounters of the Third Kind, E.T., Jurassic Park, and Schindler’s List.

Now the Spielberg/Williams juggernaut has reteamed on the summer’s most intriguing blockbuster, the Warner Bros. Pictures/DreamWorks production A.I. The story, written by Spielberg and originated by Stanley Kubrick, follows the journey of a robotic boy, David (the first mechanical being programmed to love), on his search to find acceptance in a world in which the line between human and robot is both terrifyingly vast and profoundly thin. The soundtrack underscores David’s journey from his adopted home to the decadent brilliance and wonderment of “Rouge City” and beyond. As he has done on his previous collaborations with Spielberg, Williams adeptly captures each moment in his complex orchestral net.

Multi-Grammy winner David Foster also contributes to the A.I. soundtrack with the song “For Always,” which was produced and arranged by Foster and performed by Lara Fabian (of 2000’s summer hit, “I Will Love Again”) and wunderkind Josh Groban. Josh’s eagerly anticipated debut CD is scheduled for release on 143/Warner Bros. Records in October 2001.

Industrial metal band Ministry does not appear on the A.I. soundtrack, but the group does make an unforgettable appearance in the film. The band members demonstrate their acting talents as a futuristic rock-metal group in the “Flesh Fair” sequence and perform their new song, “What About Us?” Although the song is not included on the film’s soundtrack, it can be found on Ministry’s Greatest Fits, which will be released by Warner Bros. Records on June 19, 2001.

For more information on the A.I. ARTIFICIAL INTELLIGENCE soundtrack or Josh Groban, contact Beth Krakower, CineMedia Promotions beth@cinemediapromotions.com

Academy Award Nomination
John Williams' score for The Patriot has been nominated for Best Original Score. Congratulations Mr. Williams!!!!

John Williams To Score Harry Potter
It has been confirmed that John Williams is in deed scoring the new Harry Potter film. The film is due out November 16, and Mr. Williams has already written original music for the trailor. The score will be finished this summer and recorded in later summer.

Another Grammy For The Maestro
On February 21, 2001, John Williams took home yet another Grammy for the main theme from the Angela's Ashes soundtrack. Congratulations Mr. Williams, we are all very pleased for you.

The Patriot Release
Today marks the release of the soundtrack and score for John Williams' newest film score, 'The Patriot', which stars Mel Gibson. The score is released today in Canada and the United States and is the 80th film score Williams has written for the siver screen.

The Unfinished Journey on CD
A new John Williams CD will be released this year with various pieces, one of which will be the music, "The Unfinished Journey", from the short film by Spielberg which was shown New Years Eve in Washington. Various excepts from the piece were combined to create "Celebration 2000", which is shorter for concert purposes and was the opener for the John Williams conducted Boston Pops concerts this year in Boston.

Masterpiece Theatre with a Williams Touch
John Williams made the announcement at a Boston Pops concert this week that he will be composing the NEW theme for the show Masterpiece Theatre, to go along with the new style of opening credits. Williams said that the piece will be original music, with a litle hint of the original theme in it. Yo-Yo Ma will be playing cello for it.

Over The Moon News
Roberto Aschieri, author of 'Over the Moon' says an English translation of the book 'might be carried out if he gets the necessary support from those who might be interested in taking the job'. Aschieri also points out that, in any case, 'due to the large amount of pages and scientific analysis, it'll take time'.

John Williams Biography
'Over the Moon', the first book about the life and works of John Williams, has been written in Spanish, Fernando Pereyra reports. The 400-page edition, written by Argentinian film director Roberto Aschieri and Chilean composer Fabrizio de Negri Murillo, includes a detailed biography, an extensive compilation of quotes and opinions by Williams, pictures, sheet music excerpts and in-depth analysis on every Williams score. The new book, already available in Chile, has been approved by Williams himself and will be also distributed Argentina, Mexico and Spain.

Expanded Indiana Jones Soundtrack
The music from the Indiana Jones and the Last Crusade original soundtrack is currently available on three different editions: the original 1989 release (59 minutes), the 'Vol. 2 - The Unreleased Music' bootleg (about 30'), and a less known 'Expanded Edition' bootleg (112 minutes).

James Horner To Compose Jurassic Park 3 Music
As of today, (March 30) it was announced that the music for the up coming film Jurassic Park 3 will not be composed by John Williams. Instead, the soundtrack will be scored by James Horner who composed the music for Titanic. The main theme will be used in the movie but will be adapted by Horner. However, Williams will get credit in the movie for composing the original JP theme. James Horner will be working with director Joe Johnston. I wonder if the missing of Steven Spielberg has anything to do with the absence of John Williams?

Rhino Releases Superman 2-CD set
On February 15, 2000, Rhino Records will release the complete score to Superman on a 2-CD set. The album will feature much previously unreleased material, including unused cues and alternate takes.

Decca To Issue Expanded Jaws Soundtrack
Decca has announced that they will release an album featuring the original soundtrack recording to Jaws later this year. The original Jaws album was actually a contemporaneous re-recording. It is unlcear at this time whether the new CD, produced by Shawn Murphy and Laurent Bouzereau, will also include the contents of the album re-recording. Varèse Sarabande has re-recorded the Jaws score with the Royal Scottish National Orchestra under the direction of Joel McNeely. No release date for either CD has been announced.

Hollywood Bowl Dates
John Williams will conduct two performances of a program entitled "John Williams' Movie Memories" with the Los Angeles Philharmonic at the Hollywood Bowl on Friday, August 18 and Saturday, August 19, 2000. The concerts will feature selections from his film scores.

New Work For Gil Shaham
Continuing a collaboration that has seen them perform together at Tanglewood for the past four summers, John Williams and violinist Gil Shaham will once again share the Koussevitzky Music Shed stage on Saturday, July 8, 2000, as they perform Prokofiev’s Violin Concerto No. 2 and the world premiere of Williams’ TreeSong for violin and orchestra. Williams will also lead the Boston Symphony Orchestra in his early Essay for Strings. The concert will conclude with Tchaikovsky’s tone poem Francesca da Rimini.

Tanglewood Schedule Announced
In addition to the July 8 BSO concert (see above), Williams will lead the Boston Symphony in a performance of his score to The Unfinished journey as the film is projected on giant video screens. Part of the annual Tanglewood on Parade concert, the event takes place on Tuesday, August 1. Williams will also lead the Boston Pops in a "Film Night" on August 5, which will feature some of his own film compositions, as well as a tribute to Stanley Donen and a presentation of excerpts from Louis Milestone’s film The Red Pony, with Aaron Copland's score. Williams and the Pops will present the final orchestral concert of the 2000 Tanglewood season on August 28. As part of the 2000 Festival of Contemporary Music, Williams will serve as a guest lecturer at the Tanglewood Music Center, along with composer Milton Babbitt. Although the Boston Pops schedule at Symphony Hall in May and June has not yet been officially announced, Williams has indicated that for his annual Evening at Pops telecast, he intends to feature music from his score for Angela's Ashes, with narration performed by author Frank McCourt and Yo-Yo Ma as cello soloist.