I read the line "he called me 'baby' once" and almost shot ginger ale out my nose! You need a t-shirt with that line written in Star Wars font overlaying a silhouette of Williams conducting, and you need to wear it at all your book signings. (I'm happy to design it for you--just say the word!)
On a more serious note: this has been such a fascinating read, Tim. It's one thing to write a biography about Williams. But it is quite another to pull up the garage door, so to speak, to show us how this biography came to exist, and to do so in such a narratively compelling fashion. Usually the closest a reader ever gets to the true story about how a book was written is the Acknowledgements page. Thank you for going above and beyond that, letting us tag along on your journey and recounting it with equal parts candor, humor, and passion.
Ha—I don't think I'm brave enough to wear that shirt, but I like your thinking!
Fun fact: these three posts were originally going to BE the Acknowledgments section at the back of the book (obviously it would have been a very long section), but my editors and I decided it just didn't belong there. I knew I wanted to share the story, though, and this Substack has proven to be a very nice platform to do so. Thanks for your thoughtful compliments!
I know I’m a bit late with this comment. I actually read most of your latest post a week ago, but had to read it again tonight and noticed that I didn’t actually finish it the first time around.
I believe your book is going to be something that has never been done before, and never will be done again (regarding the legacy of John Williams). Authorized or unauthorized won’t matter in the long term, as this most likely will be the best (and only) thing we will ever get, with John’s direct involvement — however we want to spin it — and that is something you can and should take credit for. And this will be true come September but years and decades after. I mean the next best thing we will ever be getting in the years to come, will be second hand stories told by John’s family, friends and peers. If they ever feel a need or motivation to do so. And sadly they might not, and even if they do, it will never have the same validation that your book will have in the form of collaborating with John directly.
I also find it fascinating that, if my interpretation is correct — and I’m not a native English speaker — that during your time with John he seems to recognize you (or at least suggests or proposes this) not only as ‘his’ biographer but as ‘the’ biographer or an historian or perhaps in the future as an archaeologist of our favorite genre (film music), and I sincerely hope that you will find motivation to fulfill this, dare I say it, Request he kind of makes.
I believe there are many people like me who appreciate the craft as is, but it is mind blowing to learn the stories about the people and events and timelines behind everything. One could argue that it is none of our business, and tell us to simply go enjoy the tracks of your favorite film scores, and shut up, but I think what you are doing is a gift for everyone, including these humble artists who say they really don’t want an book being written about themselves. Maybe they actually secretly do. Even a little bit. Especially if they realize it’s being done in a very special caring and respectful way. And this is how I feel about you and your project, based on the way you are describing the journey.
This is such a kind and thoughtful comment. Thank you so much!
If nothing else, the book is a rare repository of many of John's thoughts and memories. I hope that the writing and reporting live up to that very special quality, but (setting myself aside) I do agree that it is a gift for everyone because of the fact that he participated in it so fully and generously.
I’ve learned more about what John Williams is like as a person in your three entries to date than I have in my entire life. Your postings confirm that your book will be the most sensitive, informative account of this great composer’s life imaginable. Bravo!
"I had always loved John’s music; now I had fallen in love with John."
What I have discovered from my musical heroes, is that you find that there is more than one reason that these people are successful. Being a great composer is just part of the deal. Another part is being a person that people want to be around. Through the 2025 lens, I cannot imagine Bernard Herrmann getting any work whatsoever. People just wouldn't want to deal with him. But this mix of kindness, class, perfectionism, and a kind of sternness is all part of the mixture of what makes Williams successful. Add to that a musical gift, and you get magic.
Indeed, the quote about artist versus magician/musician. It's a poetic tickle to think about composers as magicians anyway. I mean, it is a kind of slight of hand to take the same old elements and to create something that appears new.
My hope on this last point is that we get some kind of sense of what Williams ideas about art are. I am routinely grossed out by my own bourgeois ideas on the subject..and I cannot stand my own snobbism. Williams seems to have long ago made peace with these things. I'm just the dope who wanted him to write a number of his own symphonies, knowing very well for every proper Williams symphony we might then be missing a film score masterpiece from his catalogue. I'm just wondering what might have been, rather than simply being grateful for what we have.
We all make the decisions we make...I'm just wondering if or how he reconciled his creative life according to his own ideas about art.
Spot on about Herrmann (and other extremely talented composers who burned many bridges during their career, and who would have a very hard time finding work today).
JW has a complicated relationship within himself about the music he wrote for film; in some ways he denigrates it or minimizes it. It was "just an assignment," or more like journalism than writing a novel. André Previn kept begging him to do just as you wished—to step away from Hollywood and write more symphonies and concert works. But I believe those appeals actually spurred John to elevate film music into high art: somehow he found his perfect harmony in bringing serious, symphonist artistry to the craft of film scoring, as well as integrating his more abstract approach in the dozen+ concertos he wrote into his approach to the films with darker and more complex subject matter (but also even in many of the more family-targeted summer movies).
Hopefully the book addresses your curiosity both explicitly and also in its grand narrative!
Maestro Williams isn't just a master of the orchestra and the pencil. He comes across as an institution. The charm, the intellect, the wit and the demeanour of old savant oracle. it's all in there. The kind one would expect in an 90 plus aged man. Thank you for bringing out this side of the man we so love profusely for his musical talent but there is so much more to it. This was all just a tip of the Iceberg. Thank You Tim.
I love how you’re able to let us peek at the man behind the magician. He definitely looks even more endearing, noble and profound than one could imagine. But at the same time, he feels completely relatable and down-to-earth. Not just an impressive artist, but a genuinely good human being.
I enjoy the backstory and the details that seem ordinary (like you taking your coffee and John casually playing the piano). These bonus tidbits make the anticipation for the finished masterpiece even more exciting!
“Thus concludes the backstage saga about how my biography went from unauthorized to… well, still technically unauthorized, but written with John’s complete participation and help and blessing.” Who are we kidding? This may have started off as unauthorized, but now it clearly is authorized, seeing as it has the complete involvement and participation from the man himself, not to mention family, friends, colleagues, actors, and composers inspired by him. It’s so great.
The fact that you will have official promotions for the book on top of the Maestro’s direct involvement with the book itself; I like to think that is authorized. I understand what you are saying, though. You said it yourself, though: John Williams: A Composer’s Life is the first and last word on the great court composer of the cinema age, the musical conductor of our collective memory. Congratulations to you and the Maestro for this remarkable achievement.
The "authorized" question is a complicated one. Technically, because this began as an independent history and *remained* independent (JW never had veto power to censor any of its content or make any demands), it is in a gray zone somewhere in the middle. Honestly, it's the sweet spot for a biographer: independent, but with full participation.
If it's okay with you, I'll start calling this Tuesdays with Tim. Thank you again for another wonderful insight into this man we all love and admire so much.
One thing that has always struck me the few times when I've had the incredible good fortune to be in the presence of artists of John's stature, is the mind behind the art. They all share an inspiring breadth and depth of knowledge about everything outside of their art, and an energy and eagerness to share. Once you experience it, you begin to understand how that knowledge informs their works.
Thanks William. I completely agree about "the mind behind the art." Although it's interesting how some musical geniuses have much "earthier" minds, or aren't terribly articulate in conversation. JW could give lectures at the highest level at a university; it's remarkable.
Thank you for sharing, Tim. The absolute humility in the Maestro is awe-inspiring, and he is loved all the more for it. His active participation, the attention to detail and all your efforts and respect for him. “Spared no expense.” I can’t wait to read more!
I read the line "he called me 'baby' once" and almost shot ginger ale out my nose! You need a t-shirt with that line written in Star Wars font overlaying a silhouette of Williams conducting, and you need to wear it at all your book signings. (I'm happy to design it for you--just say the word!)
On a more serious note: this has been such a fascinating read, Tim. It's one thing to write a biography about Williams. But it is quite another to pull up the garage door, so to speak, to show us how this biography came to exist, and to do so in such a narratively compelling fashion. Usually the closest a reader ever gets to the true story about how a book was written is the Acknowledgements page. Thank you for going above and beyond that, letting us tag along on your journey and recounting it with equal parts candor, humor, and passion.
Ha—I don't think I'm brave enough to wear that shirt, but I like your thinking!
Fun fact: these three posts were originally going to BE the Acknowledgments section at the back of the book (obviously it would have been a very long section), but my editors and I decided it just didn't belong there. I knew I wanted to share the story, though, and this Substack has proven to be a very nice platform to do so. Thanks for your thoughtful compliments!
I know I’m a bit late with this comment. I actually read most of your latest post a week ago, but had to read it again tonight and noticed that I didn’t actually finish it the first time around.
I believe your book is going to be something that has never been done before, and never will be done again (regarding the legacy of John Williams). Authorized or unauthorized won’t matter in the long term, as this most likely will be the best (and only) thing we will ever get, with John’s direct involvement — however we want to spin it — and that is something you can and should take credit for. And this will be true come September but years and decades after. I mean the next best thing we will ever be getting in the years to come, will be second hand stories told by John’s family, friends and peers. If they ever feel a need or motivation to do so. And sadly they might not, and even if they do, it will never have the same validation that your book will have in the form of collaborating with John directly.
I also find it fascinating that, if my interpretation is correct — and I’m not a native English speaker — that during your time with John he seems to recognize you (or at least suggests or proposes this) not only as ‘his’ biographer but as ‘the’ biographer or an historian or perhaps in the future as an archaeologist of our favorite genre (film music), and I sincerely hope that you will find motivation to fulfill this, dare I say it, Request he kind of makes.
I believe there are many people like me who appreciate the craft as is, but it is mind blowing to learn the stories about the people and events and timelines behind everything. One could argue that it is none of our business, and tell us to simply go enjoy the tracks of your favorite film scores, and shut up, but I think what you are doing is a gift for everyone, including these humble artists who say they really don’t want an book being written about themselves. Maybe they actually secretly do. Even a little bit. Especially if they realize it’s being done in a very special caring and respectful way. And this is how I feel about you and your project, based on the way you are describing the journey.
Looking forward to the next episode.
This is such a kind and thoughtful comment. Thank you so much!
If nothing else, the book is a rare repository of many of John's thoughts and memories. I hope that the writing and reporting live up to that very special quality, but (setting myself aside) I do agree that it is a gift for everyone because of the fact that he participated in it so fully and generously.
I’ve learned more about what John Williams is like as a person in your three entries to date than I have in my entire life. Your postings confirm that your book will be the most sensitive, informative account of this great composer’s life imaginable. Bravo!
This is such a high compliment, Steven. Thank you.
Two things:
"I had always loved John’s music; now I had fallen in love with John."
What I have discovered from my musical heroes, is that you find that there is more than one reason that these people are successful. Being a great composer is just part of the deal. Another part is being a person that people want to be around. Through the 2025 lens, I cannot imagine Bernard Herrmann getting any work whatsoever. People just wouldn't want to deal with him. But this mix of kindness, class, perfectionism, and a kind of sternness is all part of the mixture of what makes Williams successful. Add to that a musical gift, and you get magic.
Indeed, the quote about artist versus magician/musician. It's a poetic tickle to think about composers as magicians anyway. I mean, it is a kind of slight of hand to take the same old elements and to create something that appears new.
My hope on this last point is that we get some kind of sense of what Williams ideas about art are. I am routinely grossed out by my own bourgeois ideas on the subject..and I cannot stand my own snobbism. Williams seems to have long ago made peace with these things. I'm just the dope who wanted him to write a number of his own symphonies, knowing very well for every proper Williams symphony we might then be missing a film score masterpiece from his catalogue. I'm just wondering what might have been, rather than simply being grateful for what we have.
We all make the decisions we make...I'm just wondering if or how he reconciled his creative life according to his own ideas about art.
Spot on about Herrmann (and other extremely talented composers who burned many bridges during their career, and who would have a very hard time finding work today).
JW has a complicated relationship within himself about the music he wrote for film; in some ways he denigrates it or minimizes it. It was "just an assignment," or more like journalism than writing a novel. André Previn kept begging him to do just as you wished—to step away from Hollywood and write more symphonies and concert works. But I believe those appeals actually spurred John to elevate film music into high art: somehow he found his perfect harmony in bringing serious, symphonist artistry to the craft of film scoring, as well as integrating his more abstract approach in the dozen+ concertos he wrote into his approach to the films with darker and more complex subject matter (but also even in many of the more family-targeted summer movies).
Hopefully the book addresses your curiosity both explicitly and also in its grand narrative!
Maestro Williams isn't just a master of the orchestra and the pencil. He comes across as an institution. The charm, the intellect, the wit and the demeanour of old savant oracle. it's all in there. The kind one would expect in an 90 plus aged man. Thank you for bringing out this side of the man we so love profusely for his musical talent but there is so much more to it. This was all just a tip of the Iceberg. Thank You Tim.
A very kind and astute comment. Thank you!
This was a real treat, thank you Tim. Absolutely can't wait to read this book!
I love how you’re able to let us peek at the man behind the magician. He definitely looks even more endearing, noble and profound than one could imagine. But at the same time, he feels completely relatable and down-to-earth. Not just an impressive artist, but a genuinely good human being.
I'm glad I was able to convey all of that!
I enjoy the backstory and the details that seem ordinary (like you taking your coffee and John casually playing the piano). These bonus tidbits make the anticipation for the finished masterpiece even more exciting!
“Thus concludes the backstage saga about how my biography went from unauthorized to… well, still technically unauthorized, but written with John’s complete participation and help and blessing.” Who are we kidding? This may have started off as unauthorized, but now it clearly is authorized, seeing as it has the complete involvement and participation from the man himself, not to mention family, friends, colleagues, actors, and composers inspired by him. It’s so great.
The fact that you will have official promotions for the book on top of the Maestro’s direct involvement with the book itself; I like to think that is authorized. I understand what you are saying, though. You said it yourself, though: John Williams: A Composer’s Life is the first and last word on the great court composer of the cinema age, the musical conductor of our collective memory. Congratulations to you and the Maestro for this remarkable achievement.
The "authorized" question is a complicated one. Technically, because this began as an independent history and *remained* independent (JW never had veto power to censor any of its content or make any demands), it is in a gray zone somewhere in the middle. Honestly, it's the sweet spot for a biographer: independent, but with full participation.
If it's okay with you, I'll start calling this Tuesdays with Tim. Thank you again for another wonderful insight into this man we all love and admire so much.
One thing that has always struck me the few times when I've had the incredible good fortune to be in the presence of artists of John's stature, is the mind behind the art. They all share an inspiring breadth and depth of knowledge about everything outside of their art, and an energy and eagerness to share. Once you experience it, you begin to understand how that knowledge informs their works.
Thanks William. I completely agree about "the mind behind the art." Although it's interesting how some musical geniuses have much "earthier" minds, or aren't terribly articulate in conversation. JW could give lectures at the highest level at a university; it's remarkable.
Thank you for sharing, Tim. The absolute humility in the Maestro is awe-inspiring, and he is loved all the more for it. His active participation, the attention to detail and all your efforts and respect for him. “Spared no expense.” I can’t wait to read more!
Thanks John!
You’re welcome. “Good form.”