I didn't even know Williams had been nominated for an Oscar for this. The only instance I had ever heard of of an Oscar nominee beating themselves was Pixar (Soul beating Onward for Animated Feature).
I love how John Williams got put into Hollywood’s hall of fame last year, and for his acceptance speech he totally throws the whole industry into miniature by reminding them the history of orchestral music is several times bigger, and more influential
With all respect, I think I was the perfect age to see Star Wars, at 7 (or was it 8? - my parents were in the process of moving in May 1977, so it would have been only after a new neighbor and friend told us about Star Wars after we settled in; thank God for movies being "held over" in those days!). Anyway, at that age, Star Wars was truly magical. And I was 13 when Return of the Jedi came out, perfect age to deal with more intense and gross situations (Jabba, the Sarlacc, the Emperor torturing and trying to kill Luke, etc.), but also the age when the hormones are firing seeing Princess Leia in the bikini.
This is perhaps the best ever example of how film scoring can drive the emotional tone of a scene. Williams is a master at propelling the narrative forward with music and perfectly expressing both the tension and the wonderous excitement the scene is trying to convey. The only other musical moment from Maestro Williams that delivers a bigger emotional impact, in my opinion, is Cadillac of the Skies from Empire of the Sun. Every time I hear it, it's an almost religious experience that never fails to provoke an emotional reaction from me. The film is amazing, including a very young Christian Bale, but in this rare instance, I actually feel that the visuals of the scene could only ever detract from the most epic of John Williams' cues. Thank you for your always incredible analysis of great music, and especially for the respect and reverence you show for our mutual music hero, John Williams!
For anyone alive in the 70’s it is hard to convey the effect that Close Encounters had on the culture. The five notes were as well known as any pop music of the time. It was a cultural shorthand that pervaded nearly every corner of American society. What a masterpiece!
My dear friend and mentor of 40+ years, Mr. Jim Self, was the tuba player on this soundtrack and voice of the mothership. The interplay between Jim and the oboe soloist when the spaceship lands, is brilliant. As a recording tuba player in Nashville for decades, I have listened to this soundtrack hundreds of times. I can send you a pdf of the tuba part during the reveal of the mothership, if you're interested. Thanks for featuring this! (He was also John Williams' first call tubaist on everything. Star Wars, Hook, both Home Alone movies, and literally thousands of other major motion pictures!
Never seen the movie before, never heard the soundtrack before. However, I play saxophone myself, as a hobby and it's great fun to watch other people enjoy themselves/nerd over music. I absolutely Loved the relentless climax at the end that just kept building and then some. And it's pretty special to see someone leave a comment that actually knows someone that worked on this obviously excrutiacingly beautiful soundtrack. So, thanks
I'm going to be a blubbering mess when John moves on to the next realm. I feel privileged to have been able to experience his music during my lifetime.
The use of "When You Wish Upon A Star" is also thematically primed through dialogue earlier in the movie when Roy Neary's talking about wanting to take his kids to see a re-release of _Pinocchio_ (the movie where that song originated). It's little details like this that make me love _Close Encounters_ so much!
One of the greatest experiences of my life--the movie and the music. I'm 78 and have seen and heard about everything as a music major and musician. Still, these sounds echo in my dreams, Spielberg and Williams captured all baby boomers most intriguing aspirations, to meet another other. Together they have brought all our fantasies true on a big screen.
I think the reason why John Williams won the Oscar for Star wars instead of this is that it's not a soundtrack you could listen to outside of the movie. Within the context of the movie it's absolutely brilliant and in some ways more effective than Star Wars, but it won't sell albums and you're not going to find yourself humming the melody. I don't mean that as a negative though, because that should be the primary goal of a soundtrack, to enhance the movie.
Oh you can definitely listen to it on its own. You just have to be more into dissonant Modern Music. Star Wars is more approachable. Both are equally Great Music pieces though.
I agree but oddly .. i have close encounters, Indiana jones, ET and a couple others on ALBUM (vinyl) and digitally copied to MP3 to my phone. And i listened to the entire albums over and over when i was at a factory paint line. Almost studying them note by note many times. and i LOVE this one. ET and Temple of dooms sound track are above star wars to me personally. Probably because Star wars at this point had been played soo much and covered so much that i grew tired of it lol.
You absolutely can listen to this outside of the movie, it's a much more emotional and complex experience than Star Wars, but I see what you're getting at.
I used to clean my room as a little kid while listening to this movie. I became a musician, prob why I can still follow the music without the movie in m'mellon.
Absolutely JW’s most brilliant work in my opinion. The sophistication and incorporating 20th century composition techniques (Ligeti’s “Atmospheres,” Debussy’s “Prelude…Faun,” etc.) is just exquisite. As a violinist, I was fortunate to play an entire orchestra concert of Williams’ music 11 years ago with John himself conducting. We played everything from ET to Hook to Schindler’s List, and of course “Excerpts from Close Encounters.” This piece got me more than any other, and I could not contain my tears as I was playing the grand climax while looking up and watching the maestro so magnificently leading us all…a visual and musical experience I had dreamed of as a kid ever since watching all those Evening at Pops concerts on PBS. Changed my life.
I'm glad you wrote about performing this spell-binding and enchanting masterpiece --- especially as the composer himself conducted the orchestra!!! It must have been a transcendent moment for you, and I appreciate having this opportunity to experience it --- even if only vicariously! (And I agree with you and Charles @CharlesCornellStudios that it is John Williams's most brilliant work, although his spectacular Olympic Fanfare and Theme is thrilling in its own right. MANY THANKS TO CHARLES for sharing his musical insights about these epic works, and doing so with all of the enthusiasm and passion they deserve! 👏😃
Thank you for mentioning the techniques he incorporated from the other composers. I love how John does that and weaves everything together. Are there any other ones you hear in there that I can listen to? I’m pretty surface level with classical music still. Still digging.
Yep, I'm listening to this (not for the first time) and thinking - the Great Gate of Kiev from Pictures at an Exhibition/Fanfare for the Common Man for some of the interesting chord-sequence choices towards the end, Daphnis et Chloe for the piccolo cues against a shimmering orchestra, influences of Mahler on chord choices. John Williams is so indebted to some of the greatest composers of the European/European-influenced canon, but he weaves it all together so seemlessly and so appropriately to the film. Simply a master composer doing his thing.
Quite a bit of the score you're playing is from the 1980 special edition (from inside the mothership). I love that bit of the score, but I prefer the original cut of the movie because it preserves more of the mystery and wonder.
The five note Close Encounters sequence was the first thing I ever worked out on my own, without sheet music, on a keyboard (electric organ). (I am officially old.) LONG before I was taught Chopsticks or that thing where you knuckle-roll across the black keys.
a little too passionate we think... he does slightly over-egg the manner in which he talks about basic musical chords & structure as though it's a master's degree thesis... it's really not... there are quite a few of us who also know music too... just be mindful of those of us who know music because your disections of simple stuff as over-elaborate and challenging can come across as patronizing.
@@DoubleOProductions Maybe it's deliberate and he's trying to get people hyped so they learn and become like you, enjoying knowing the meat and potatoes
@@DoubleOProductions Lol imagine unironically espousing some shit like this. So fucking patronizing and elitist. "Stop getting excited about what I think is simple music reeeeeeeeee!!!" It's fine to get excited and passionate about this amazing and moving score.
There can be a degree of elitism among some composer types that says John Williams is a good film composer but not a true great. And when I listen to stuff like this, I don't know WHAT those people are talking about. Not only a fantastic score, but some of the best modern composing of our generation! Thank you for bringing your passion and joy to this lovely breakdown!
@@dunstonlion1342I think he means they don’t like John Williams because he ‘makes too much money’ for their liking - i.e. they’re jealous of his success so they put down his greatness. A lot of people put down those who commercialise their skills for some reason! I don’t personally understand it, but it surely must be jealousy. I mean just listen to this!
Agree there is elitism and nearly all stems from the jealousy of the success of film composers (ie they are earning good money for the film work they do) and when it come to 'Art' (I mean that in terms of Music being part of the Arts) there is usually a 'hatred' of comercialisation as 'true art is done for no other reason than art itself' even though all the 'greats' of composing were paid for it. To me that's all just a huge under-playing of film composers' skills. I will say however, comparing this score to say, Rach 2 or 3 (piano concerto) I personally would say that the Rach stuff is more complex, richer etc.. but equally they were written with extremely different aims so not really something you can compare... one with 0 deadline and took years to write, the other with seriously tough and virtually non-negotiable deadlines. A great rebuff to anyone how is snooty about film composers vs 'real' composers... Prokofiev... no elitist would ever say Prokofiev was not a 'real' composer. Then point out he wrote several film scores (Alexander Nevsky - 1938, Ivan the Terrible - 1944, Lieutenant Kije - 1934, and the unreleased Queen Of Spades in 1936). Shostakovich did a lot, Saint-saëns did one, Schoeberg did something called: accompanying music for a film scene op. 34. Point is, anyone being snobby/elitist is ignoring a lot of evidence to the contrary.
Also, composers who write for a lot of film do have to create a bit of a repertoire of building blocks to allow them to write a LOT of Music and I think the elitists see repeated use of similar themes and motifs across multiple films as a sign that they can only write music by repeating previous works (John Williams has his 'infamous' 5th jumps in melodies, Indiana Jones theme has crossover with Superman theme etc..) which just is such a simplistic way to look at everything.
I was 12 in 1977. I remember getting the Close Encounters LP shortly after seeing the movie. I got a kick out of playing the 5 note "conversation" tones on my mom's organ. The whole movie score was magnificent. It was also great background music when I was out on the back porch stargazing with my telescope in the evenings. Wow, what great days those were!
I think the Wish Upon a Star citation is there because Richard Dreyfuss’s character realises his dream when he gets with the aliens and a the begining of the movie he wants to go to the movies with his family to see Pinnochio and is frustrated because noone cares. Wish upon a star melody represents his inner child
13:13 - The ship taking off, the music is so perfect. Does it make anyone else tear up, or even cry? This was so long ago, but even as a child - I love this music, so powerful
This is one of my favorite John Williams soundtracks to date. This last piece of this movie not only tugs at my heartstrings, it squeezes my heart ever so gently and then releases it. The way he conducts the London Symphony Orchestra so gingerly during this scene brings tears to my eyes. I love how he weaves in When You Wish Upon a Star into his score. It hearkens back to when Roy's wife called him Jiminy Cricket from Disney's Pinocchio. I can't imagine a better composer for this movie. It's like his music was inevitable.
In the movie, Roy Neary had noticed that "Pinnochio" was playing in the theatre, and wanted to take his family to it, introducing them to something he loved as a child. They chose "Goofy Golf", apparently a mini-golf attraction as something to do, instead.
Its operatic - Wagnerian almost. So emotional. Takes you on a complete journey. I loved listening to this soundtrack on cassette tape as a kid in the 80's and I loved listening to Charles's enthusiastic analysis. Simply gorgeous! ❤️👏
Reminds me of Mahler's finale to his second symphony. John was trying, just like Mahler was to depict something so magnificent and transcendent -- to be resurrected is to not only leave the clutches of the earth (grave) but also this world. So I know he (Williams) was probably drowning in Mahler's Resurrection Symphony.
This was the academy award winner in my book. Star Wars deserved it too, don’t get me wrong. But the score for Close Encounters is truly special in a way that resonates with the innermost part of our souls. For me, it’s so powerful that it’s nearly a religious experience. Truly incredible.
Whoa... if you at all like film you should watch it. I'd say it's a bit divisive. It's one of my favourite films of all time. On the other hand a brother of mine absolutely detests it. 😃
It's the film I'm most likely to name as my favorite when someone asks. It's a film that defies your expectations at every turn, and is full of so many beautiful moments, sometimes filled with wonder, sometimes with eerie dread. It was a miracle movie with Spielberg, Williams, and cinematographer Vilmos Zsigmond all arguably doing career best work. Plus Francois Truffaut in his only English speaking acting role! Treat yourself and set aside an evening to watch this masterpiece.
It’s a slow burn but definitely a phenomenal movie. I’ve rewatched it many times and every time I notice something new and clever. But the music and light show in the last 30 min is worth the price of admission alone.
I saw this movie in a small movie theater, before sound systems were much good, when it was first released. The best you could count on was "loud, but not too loud". Everyone had dropped jaws and shaking shoulders from crying. The score wrecked us. This is when I started looking for composer names on movies, and John Williams remains a favorite, because of Close Encounters.
I still struggle to hold it together at that point, even with all the commentary in this video I was on the verge of crying. Every single time, after the huge build up that massive release of tension just punches the feelings so hard. Such an amazing score.
Close encounters is more sophisticated, but I just gotta go with the E.T. flying theme. I dont know how you cant hear that and beam from ear to ear. The entire final sequence of that film, the 15 minute escape/chase/saying goodbye cue, it's just to die for. Tears, every time.
I was really hoping he’d cover The Conversation from Close Encounters because I think there’s SOOOO many musical goodies in it. However, I’m incredibly happy he looked at my favorite Williams score!!! Absolutely in love with this movie’s underrated but no less important message, music and feel.
@@juandesalgado I think per the soundtrack on the album it’s called that but I personally call it the conversation only because the film version of it has some differences to the album.
@@hthbellcaptain - On my album, purchased in 1978 it’s 08 The Conversation. The End Title also sounds a bit different compared to what we hear in this video…especially at the very end. Record companies, always messing with things. lol
That choir around 3:30 is taken straight out of Gustav Holst's "Neptune" from The Planets suite. John Williams really wears his inspiration on his sleeves sometimes and I love it.
The genius of this score is how it so seamlessly combines straight up horror movie music with whimsical family movie fairy tale wonder. It makes you excited, enthralled, in awe, elevated, emotional, creeped out, anxious and thrilled all at the same time, which speaks in two ways to me. Firstly, this cacophony of emotions is probably exactly what you would feel encountering extraterrestials. Secondly, this movie never fails to make me feel like a child again, and the score is likely at the center of it.
I think the "finale" sequence could be an amazing symphonic poem. That melody is so warm, breathtaking... I love Star Wars' music, but Close Encounters is in another level.
One that I absolutely love that I don’t see mentioned often is Hymn to the Fallen from Saving Private Ryan. It’s obvious from the outset that it’s not something that Williams wrote merely as a theme for the movie, but as a tribute to all who died in the Second World War. First time I ever heard it was live at the Hollywood Bowl, and I’ll never forget it.
Just subscribed to Charles channel. I am now 55 and almost every time I hear a john Williams score I cry. It’s true Genius. I love the analysis. John Williams music is true Symphonic! This is the first thing I’ve seen on this channel. Will you look at Schindler’s List? Such a song book to go through. Well done and fabulous…. All the best from a wet UK
on a side note, a lot of the movie ideas were inspired by stories from Project Blue Book, and had J. Allen Hynek (who was the scientific advisor/investigator for that project) on staff as an advisor, who also makes a cameo at the end as one of the guys in white lab coats - (has a goatee, glasses and a pipe).
As a music teacher I must say this end suite is one of the best - if not the best - of all times in cinema history. I had the privilege of seeing the very first exibition of this movie here in Rio de Janeiro (Brasil) NO ONE left the theatre during the end music, and when it ended the audience applauded for 5 minutes. That's the power of John William's music. UNFFORGETABLE !!
I'm learning music and you have really showed me how every chord is based on a scale. The little runs you do when presenting a chord is precious. Don't ever stop doing that.
I saw this film in 1977 in the Cine Karim in Brasilia. When the credits started rolling as the mothership rose into space the entire theater stood up and applauded. It was the only time I saw a movie get a standing ovation.
I’ve never seen Close Encounters and never heard its soundtrack. I was mind blown after watching this video… my God! What a composition!!! John Williams NEVER fails to deliver high caliber soundtracks to movies! That’s why he’s the GOAT!!!! 🔥🔥👏
My wife and I had the opportunity to see John Williams conduct the Cleveland Orchestra playing some of his works in 2018. It was unforgettable. We're thankful to have had such a privilege.
As a child who loved this movie, my parents bought the soundtrack on vinyl, including a disco version of the main theme as a single. Used to play this quite loudly sitting in a darkened room. Miss those days
I first saw this movie by myself; 1978 before the Oscars for the year 1977. All sorts of emotions were active as I love Classical Music, Science Fiction, good story telling and the actors that offered a portrayal of possible reality. It reinforced my desire for a response to "Beam me up, Scott." Those FIVE notes affected me in a way I didn't expect. As I listened during this video, the same emotions were triggered - the same wonder of potential discovery. It always offered a CALM and a sense of possibility. Close encounters of the best kind! Thanks for this review!
I saw this movie AND Star Wars at age 11, bought the soundtrack albums for both, but the only sheet music I bought was for Close Encounters. I was in my fourth year as a piano student, and I asked my (awesome, awesome) teacher in Lehigh Valley, PA to help me develop an abbreviated arrangement (using all the themes) to play at a recital at school. I've rarely been more proud. This is hands-down my favorite Williams score and still gives me the major feels every time I hear it. The way it is not only integrated into the film, but literally integral to it... the deep shades of Debussy and other Romantic impressionist composers... the use of dissonance to create an air of constant mystery... it's just a complete masterpiece. Thank you for this lovely breakdown and tribute. Brought a little tear to my eyes!
Charles, you may have been geeking out over this but it had me in tears. Something intangible just gets me when I hear this. It's been a while since my last experience of it which maybe account for the emotion. But this piece strikes me as sublimely beautiful and with a message I can't quite put my finger on. Loved your commentary. Thanks.
Thanks for the reminder of how much this kicks ass. I knew how much Holst influenced Star Wars, but forgot all the other post-Romantic composers that inspired his other scores. It’s brilliant and deserves more attention. Thank you for that.
The C major chord over an F# major chord isn't too unheard of. It's called the Petrushka Chord, which was a polytonal theme used for Igor Stravinsky's ballet "Petrushka".
Man, you’ve made my day. Everything about this masterpiece intrigues me. This the best theme from the best movie ever - I saw it 3 or 4 times in a week just after it was released and loads of times since. My brother and I sometimes swap dialogue to impress each other - Roy Neary: “Who are you people!?”, Lacombe “Monsieur Neary, I envy you…” Lacombe “Zey belong here more zan we!”. Congratulations on being willing and able to transpose the resolution and end title music on your piano - I can understand your emotional response! Regards, Vic, Whitchurch, England
The first album I EVER bought with my own money at the age of 9 was the CE3K soundtrack. I was so ga-ga for this movie, and their use of synths in it is what turned me onto electronic music which has been a big part of my life for nearly 50 years now. The "When You Wish Upon A Star" is also a callback to the beginning of the movie where Roy Neary wants to take his kids to see Pinocchio because he loved it as a kid. There is also a little Pinocchio music box on his table in that scene. It's brilliant to tie that all together with the wonder of his youth with the wonder he's experiencing now.
No one can write adventure, suspense, wonder or romance like John Williams. That said, the soundtrack that stopped me in my tracks was Schindler's List. I can't even hear that violin theme without filling up with tears. He captured the horror, loss and weight of the Holocaust in those notes, but also a sense of hope. We're so fortunate to have been on the planet when these incredible soundtracks were written. Also there's an amazing clip from Inside The Actors Studio where James Lipton points out that Steven Spielberg's father was a computer engineer, his mother was a pianist. They divorced when he was young. In Close Encounters the humans and aliens communicate using technology and music in the film. Spielberg is so moved by this observation, as if it's something that he'd never consciously thought of before.
At about 3:09, I've always figured that the guys running back away from the scene have realized that they've got a job to do that they dropped during the excitement, or that they DESPERATELY need to hit the bathroom. At 6:30 , when you enthuse about the inclusion of "When You Wish Upon a Star", you need to remember that early in the movie, Roy Neary wanted to take his family to see "Pinnochio" in the theater, wanting to share with his own children a movie he had loved as a child.
Holst's works (Primarily The Planets) are the key to so many of the sci-fi films of the 70s and beyond, simply because we didn't really have any other examples of music that were so directly tied to 'space' to begin with, so it's only natural that the modern composers would look back to previous ones that had ANY ties into the space genre. Just as these works now inspire current generations in turn.
Yeah the choir is uncanny. He did use a lot of Holst for Star Wars as well so it makes sense. In this one I also hear Jupiter, mainly in all the buildup after the "main melody".
@@pendaco I don't recall there being a lot of Holst in Star Wars. There's the blockade runner cue and the death star exploding cue that sound like bits of Mars. Do the other planets make an appearance?
The Close Encounters score is my absolute favorite John Williams composition. It’s the only one that can stir me to tears; it evokes a very primal sense of wonder and discovery of the unknown.
This and AI are two of John Williams' most interesting, complex, and dare I say spiritual scores. This may be a spicy take to some, but I've always preferred this to Star Wars, as much as I love Star Wars.
John Williams has written some monumental film scores. 'Schindler's List' is one of the most emotional scores for me because of the context. But 'Close Encounters' never fails to create an in me intense feeling of hope. This score is definitely my favorite of all his film work.
The main theme for E.T. is also very moving and otherworldly, with a similarity to the beauty of the score for Close Encounters. Amazing breakdown, so freaking emotional, bravo!
Always love these videos, I play piano, but only learn the songs I want to play. I've never learned how to read sheet music or play chords. But the way you break things down, always amazes me. Great Video!
Couldn't agree more! The wonder of discovery is what made this movie my favorite from a young age. John made me emote and fall in love with it. Thank you, John! And thank you, Charles, for letting your passion for this music move me to tears and remind me of the grandeur of this score.
THIS MOVIE IS SO UNDERRATED. I honestly think its spielbergs best film. Everytime I watch it, I cant stop thinking about it for days. It brings tears to my eyes not out of sadness or joy, but out of sheer wonder. I cant think of any other movie that makes me feel such a profound sense of awe and beauty
This score has always brought me to tears. Very few pieces of brilliance in composing and performance have the same effect on the emotional sub conscience I experience when listening to this monumental creation.
Saw Close Encounters in the theater on Christmas Day when I was a kid in 1977. Got the soundtrack on 8 track back then as well. The first record album I owned was the soundtrack to Jaws which I saw in the theater Summer '75. I was never the same since. I remember wanting to see Close Encounters because it was made by "the guy who directed Jaws" and John Williams composed the score. I saw all the classic movies scored by John Willliams in the theater from the mid to late 70's. Earthquake, The Towering Inferno, Jaws, Star Wars, Close Encounters and Superman. Still have my Jaws and Superman album and Close Encounters on 8 track from back then. What a streak of films to see then as a kid. I feel lucky I was able to see all of them when they were originally released in theaters.
John Williams was famous for taking ideas from other composers, such as Holst and Star Wars. With Close Encounters, the orchestra plays around the introductory theme from Ravel's Daphnis et Chloe (3:21), the celesta colors from Stravinsky's Firebird Ballet (4:17), the chord Charles heard at 5:20 is known as the Petrushka chord from Stravinsky. An inspired composer is a good composer, great composers steal. John Williams, you are one of a kind brilliant.
I would love to hear you talk about “Wild Signals” from the same movie! One of the most complicated orchestral pieces I’ve ever heard in my life. It’s amazing
I saw the John Williams suites at the Houston symphony and it was glorious! They played so much of the score for Close Encounters and a bunch of the Star Wars stuff too. If you ever get a chance to see a full 85+ piece symphony play his work, be prepared to be stunned and mesmerized.
Some of my lesser known favourites are: Hook - Presenting The Hook - The Never-Feast Indiana Jones And The Last Crusade (basically any piece with the grail theme) - The Penitent Man Will Pass Star Wars - Across The Stars Home Alone - The House Finally, it would be great if you could do similar treatments for other contemporary composers work. For example, Basil Poledouris, particularly Conan (The Search, The Orgy, Riders Of Taramis) and Robocop (Across The Board), and Jerry Goldsmith, particularly Star Trek (The Enterprise) and Supergirl (Overture).
Across the stars is one of my fave ones. It's kind of looping up for 3 times (I think) and then bridge is used to return to the original key. It's like A A^ A^^ B A Sorry for being unable to explain it better with the set of words I have.
This could have been written by Tchaikovsky or one of the other Russian composers. But it was John freaking Williams. He will go down as one of the greatest composers of all time.
I Feel John Williams really returned to the feel of this score with Return of the Jedi, it has so much more in common with this sound than it does the other Star Wars films. I loved seeing how excited you got in this one Charles, you can tell you're breaking down something you truly love.
13:25 to 17:40 - I can't stop watching it, your clear excitement and love for this is palpable, just a joy to watch and brought a tear to my eye - and a really great demonstration of how beautiful that part of the score is - it's exquisite. Made my day, thank you.
It was so joyful to see the look on your face as you blissed out on Close Encounters! My favorite John Williams score (this week): Prisoner of Azkaban, and two cues. "Buckbeak's Flight", and "A Window to the Past". The chord progressions in both simple in the sense like they sound like they've always been there, ready to be snatched out of the air, even though we never knew them before. Who knew a recorder could sound so beautiful, melancholic, and haunting as in "A Window to the Past"?!
I absolutely love watching you nerd out on music -- I often do the same thing (although my ability to hear chords is not nearly as developed as yours). I can relate to how you feel when you hear something so well developed and beautiful! Keep up the good work!
These maybe aren’t my absolute favorite John Williams’ themes, but I really love Scherzo for Motorcycle and Orchestra, and the Far and Away theme. I especially like how when Williams had a violin solo, he often got Itzak Perlman to play for the soundtrack, as he did in Far and Away and Schindler’s List.
Close Encounters, Star Wars, and E.T. Are a bit like William’s alien trinity. Each one unique and great in its own way. Would love to hear you go through some of the tracks from E.T., there are so many expressive and anthemic pieces, I think it’s possibly his best overall soundtrack. If not, it’s definitely up there in contention.
I've been in love with this soundtrack since I saw the movie in the theater at age 10, and a friend bootlegged a copy of it on cassette. (Hi fellow seniors!) There's so much to this: the absolute wonder in the finale, the pursuit scenes up the mountain, and even in the stark creepy scenes early on when the child goes missing, and we don't yet know the alien's intentions. It got me involved in modern classical music. Thanks for sharing this!
This is one of Williams' underrated scores and I love it. The James Bond film Moonraker used it for a door code and I was amazed years later when I learned where it came from.
i was about to comment exactly this, i instantly recognized that door code in the video thumbnail. and actually it was right now that i was amazed just like you when i learned where it came from. what a fantastic score ... how can it be that i still have not seen this movie yet oO
100 years from now, composers will still be studying this score. It's phenomenal. It's my desert island JW soundtrack. I can't think of a single score by any composer that covers so much range from fear, anxiety, tension, mystery, wonder, awe, majesty, and transformation.
Seeing a video where someone geeks out over the score to my lifelong favorite film that I geek out over all the time? That's the best Valentine I could hope for!
I think when we get the alien reveal the cacophony, mixed with the awed faces is more of a wonder and confusion, witnessing a rare, never-seen-before occurrence. It's not scary music, but it makes you share the same first-time wonder with the people on screen- an unknown territory. Richard Dreyfuss is one of the best actors of that time, and I don't think we need more than what we get on screen to share that feeling with him, as he depicts it to perfection.
There is several scores where John Williams dont borrow from other classical works. Close Encounters, Schindlers List, J.F.K., A Geishas memoares, Sugarland Express, Jane Eyre, Saving private Ryan,
Jane Eyre! You are the only other person I’ve ever seen who knows about it. The first time I heard the suite I immediately bought the score. You sir are a true Williams connoisseur!
This is one of my Top 5 Williams' scores. I break out the soundtrack CD every couple of months. This was probably mentioned already, but the interpolation of "When You Wish Upon A Star" was a remnant of the original cut (that was initially not in theaters) where Richard Dreyfuss' character Roy Neary is identified as kind of a man-child Disney kid. The family tension comes when he is required to "grow up" for his wife and kids, but then the UFOs divert his attention and he starts to obsess about them. "When You Wish Upon A Star" was meant to point to his wanderlust. Those scenes were reinstated when the Extended Edition was released in the theaters a year later with Columbia Pictures demanding additional scenes at the end to show more of the spaceship - a nod to the impact Star Wars had made on the culture. The final music cue to go over the scene extensions is quite a bit different from that of the original theatrical cut. While I did NOT need to see more of the mothership, I am grateful the scene was extended because I feel the final musical piece is that much better. Even if I don't listen to the full score, I always listen to that final piece. No, I do not know why this score isn't talked about more often. Alternate topic - would love to get your take on David Shire's mostly electronic score for 2010: The Year We Make Contact.
I'd recommend the theme from Angela's Ashes, or the theme from The Book Thief. Both are absolutely beautiful and emotionally moving themes by John Williams
I have loved John Williams for a long time and Close Encounters is one of me favourite scifi films. The way you have broke this score down means I will never hear this piece in the same way ever again. I'm so glad I found this. Oh man, my vocal coach say I have a real enthusiasm for music but you take it to a whole new level. I have never heard anyone sound so in love with music. Thank you, ❤🎼🎶
my favorite John Williams piece is by far Duel of the Fates. The amount of masterful work that went into it is one of the reasons why I absolutely love it.
You are the first person that gets beside themselves on hearing music and breaking it down. I showed this video to my wife and she said Oh man there's 2 of them LOL
Caption the "I have arrived" alien at 3:02 GO-->
Is that Mr. Burns?
Nice chord
Me when I beat my older sibling in mariokart Wii (specifically coconut mall)
One piece opening 26 full reaction, bro it's a crazy fun ride. Ngl
@@JanStrojil Nice Call-Back...LOL 'Homer' making that Crop-Circle!
John Williams losing the Oscar to himself is so John Williams
I didn't even know Williams had been nominated for an Oscar for this. The only instance I had ever heard of of an Oscar nominee beating themselves was Pixar (Soul beating Onward for Animated Feature).
No problem, it just added to his record of having the second most nominations, second only to Walt Disney. A fantastically talented man.
I love how John Williams got put into Hollywood’s hall of fame last year, and for his acceptance speech he totally throws the whole industry into miniature by reminding them the history of orchestral music is several times bigger, and more influential
I'm looking everywhere for a video this and struggling
@@trumpetqueen963 My mistake, 2016. His acceptance speech for the 44th AFI Life Achievement Award.
I was 23 years old in 1977. You made me melt down in tears. What a wonderful time to be alive and see all these great movies being released.
With all respect, I think I was the perfect age to see Star Wars, at 7 (or was it 8? - my parents were in the process of moving in May 1977, so it would have been only after a new neighbor and friend told us about Star Wars after we settled in; thank God for movies being "held over" in those days!). Anyway, at that age, Star Wars was truly magical. And I was 13 when Return of the Jedi came out, perfect age to deal with more intense and gross situations (Jabba, the Sarlacc, the Emperor torturing and trying to kill Luke, etc.), but also the age when the hormones are firing seeing Princess Leia in the bikini.
Honestly there really isn't anything like this nowadays. Makes me cry every single time.
I was born in 1977 😌
This piece of music literally brings tears to my eyes every time I hear it. Invokes the deepest emotion. Pure genius.
Mee too!!🥹🥹🥹🥹🥹
Amazing music, ❤❤❤amazing film!!❤❤❤
This is perhaps the best ever example of how film scoring can drive the emotional tone of a scene. Williams is a master at propelling the narrative forward with music and perfectly expressing both the tension and the wonderous excitement the scene is trying to convey.
The only other musical moment from Maestro Williams that delivers a bigger emotional impact, in my opinion, is Cadillac of the Skies from Empire of the Sun. Every time I hear it, it's an almost religious experience that never fails to provoke an emotional reaction from me. The film is amazing, including a very young Christian Bale, but in this rare instance, I actually feel that the visuals of the scene could only ever detract from the most epic of John Williams' cues.
Thank you for your always incredible analysis of great music, and especially for the respect and reverence you show for our mutual music hero, John Williams!
For anyone alive in the 70’s it is hard to convey the effect that Close Encounters had on the culture. The five notes were as well known as any pop music of the time. It was a cultural shorthand that pervaded nearly every corner of American society. What a masterpiece!
My dear friend and mentor of 40+ years, Mr. Jim Self, was the tuba player on this soundtrack and voice of the mothership. The interplay between Jim and the oboe soloist when the spaceship lands, is brilliant. As a recording tuba player in Nashville for decades, I have listened to this soundtrack hundreds of times. I can send you a pdf of the tuba part during the reveal of the mothership, if you're interested. Thanks for featuring this! (He was also John Williams' first call tubaist on everything. Star Wars, Hook, both Home Alone movies, and literally thousands of other major motion pictures!
Never seen the movie before, never heard the soundtrack before. However, I play saxophone myself, as a hobby and it's great fun to watch other people enjoy themselves/nerd over music. I absolutely Loved the relentless climax at the end that just kept building and then some. And it's pretty special to see someone leave a comment that actually knows someone that worked on this obviously excrutiacingly beautiful soundtrack. So, thanks
That is the best piece of music on the soundtrack.
@@douglasmagowan2709 Absolutely!
Awesome story!!! I love the conversation between the oboe and the tuba!
@@Nightowl427272 It's such wonderful writing by John Williams! And, Jim's tuba performance is spectacular!
I'm going to be a blubbering mess when John moves on to the next realm. I feel privileged to have been able to experience his music during my lifetime.
Same…
Ditto
By Calliope and all the Muses, by Orpheus and all the goddesses and gods of music, John Williams will live through his music forever
It’s definitely going to be a mental health day
I think about that from time to time and I have to fight back tears.
The use of "When You Wish Upon A Star" is also thematically primed through dialogue earlier in the movie when Roy Neary's talking about wanting to take his kids to see a re-release of _Pinocchio_ (the movie where that song originated). It's little details like this that make me love _Close Encounters_ so much!
Oh wow! I’ve seen the movie many times and I totally missed that! lol
Great observation!
@@Nightowl427272 you can hear a music box playing it during that scene, and his wife (RIP Terry Garr) calls him "Jiminy Cricket" to get his attention.
@@MobiusBandwidth 🤯
One of the greatest experiences of my life--the movie and the music. I'm 78 and have seen and heard about everything as a music major and musician. Still, these sounds echo in my dreams, Spielberg and Williams captured all baby boomers most intriguing aspirations, to meet another other. Together they have brought all our fantasies true on a big screen.
I haven't seen this film in decades and those five sets of notes in a row still give me full body chills.
I recall back in 2007, Daft Punk used the 5-note motif to signal the start of the show on their Alive tour. People went nuts.
@@SilentGlovesThat sounds like it would be rad as hell!
And I loved the usage of that 5 note bit in the next year’s James Bond movie. The whole audience erupted!
I think the reason why John Williams won the Oscar for Star wars instead of this is that it's not a soundtrack you could listen to outside of the movie. Within the context of the movie it's absolutely brilliant and in some ways more effective than Star Wars, but it won't sell albums and you're not going to find yourself humming the melody. I don't mean that as a negative though, because that should be the primary goal of a soundtrack, to enhance the movie.
Oh you can definitely listen to it on its own. You just have to be more into dissonant Modern Music. Star Wars is more approachable. Both are equally Great Music pieces though.
I agree but oddly .. i have close encounters, Indiana jones, ET and a couple others on ALBUM (vinyl) and digitally copied to MP3 to my phone. And i listened to the entire albums over and over when i was at a factory paint line. Almost studying them note by note many times. and i LOVE this one. ET and Temple of dooms sound track are above star wars to me personally. Probably because Star wars at this point had been played soo much and covered so much that i grew tired of it lol.
You absolutely can listen to this outside of the movie, it's a much more emotional and complex experience than Star Wars, but I see what you're getting at.
I used to clean my room as a little kid while listening to this movie.
I became a musician, prob why I can still follow the music without the movie in m'mellon.
Yeah, I wouldn’t hum/ know any song in CE3K except for the five key notes
Absolutely JW’s most brilliant work in my opinion. The sophistication and incorporating 20th century composition techniques (Ligeti’s “Atmospheres,” Debussy’s “Prelude…Faun,” etc.) is just exquisite. As a violinist, I was fortunate to play an entire orchestra concert of Williams’ music 11 years ago with John himself conducting. We played everything from ET to Hook to Schindler’s List, and of course “Excerpts from Close Encounters.” This piece got me more than any other, and I could not contain my tears as I was playing the grand climax while looking up and watching the maestro so magnificently leading us all…a visual and musical experience I had dreamed of as a kid ever since watching all those Evening at Pops concerts on PBS. Changed my life.
I'm glad you wrote about performing this spell-binding and enchanting masterpiece --- especially as the composer himself conducted the orchestra!!!
It must have been a transcendent moment for you, and I appreciate having this opportunity to experience it --- even if only vicariously! (And I agree with you and Charles @CharlesCornellStudios that it is John Williams's most brilliant work, although his spectacular Olympic Fanfare and Theme is thrilling in its own right. MANY THANKS TO CHARLES for sharing his musical insights about these epic works, and doing so with all of the enthusiasm and passion they deserve! 👏😃
What a wonderful experience for you! Thanks for sharing with us!
Thank you for mentioning the techniques he incorporated from the other composers. I love how John does that and weaves everything together. Are there any other ones you hear in there that I can listen to?
I’m pretty surface level with classical music still. Still digging.
Yep, I'm listening to this (not for the first time) and thinking - the Great Gate of Kiev from Pictures at an Exhibition/Fanfare for the Common Man for some of the interesting chord-sequence choices towards the end, Daphnis et Chloe for the piccolo cues against a shimmering orchestra, influences of Mahler on chord choices. John Williams is so indebted to some of the greatest composers of the European/European-influenced canon, but he weaves it all together so seemlessly and so appropriately to the film. Simply a master composer doing his thing.
When the mothership “conversation” happens, as a tuba guy, that is the most epic part of that film. Jim Self did a stellar job with that performance.
Yes!
Yeah and when the conversation goes into double time, that tuba is tight. Love the woodwind too.
Quite a bit of the score you're playing is from the 1980 special edition (from inside the mothership). I love that bit of the score, but I prefer the original cut of the movie because it preserves more of the mystery and wonder.
The five note Close Encounters sequence was the first thing I ever worked out on my own, without sheet music, on a keyboard (electric organ).
(I am officially old.)
LONG before I was taught Chopsticks or that thing where you knuckle-roll across the black keys.
Love the mothership conversation. I was wondering if the conversation ever showed up anywhere or gets “translated” anywhere in the score.
I've never seen Charles so excited and passionate about a score before! It's infectious.
a little too passionate we think... he does slightly over-egg the manner in which he talks about basic musical chords & structure as though it's a master's degree thesis... it's really not... there are quite a few of us who also know music too... just be mindful of those of us who know music because your disections of simple stuff as over-elaborate and challenging can come across as patronizing.
Way too much... bordering on obnoxious
@@DoubleOProductions Maybe it's deliberate and he's trying to get people hyped so they learn and become like you, enjoying knowing the meat and potatoes
Around 19:00 or so, I wondered if Charles needed some "alone time" with the music.
@@DoubleOProductions Lol imagine unironically espousing some shit like this. So fucking patronizing and elitist. "Stop getting excited about what I think is simple music reeeeeeeeee!!!" It's fine to get excited and passionate about this amazing and moving score.
Just watching you geek out over something I also geek out over makes me so happy! Adore John Williams…
There can be a degree of elitism among some composer types that says John Williams is a good film composer but not a true great. And when I listen to stuff like this, I don't know WHAT those people are talking about. Not only a fantastic score, but some of the best modern composing of our generation! Thank you for bringing your passion and joy to this lovely breakdown!
He makes too much money for them.
I literally cannot figure out what you mean by this@@Menntok
@@dunstonlion1342I think he means they don’t like John Williams because he ‘makes too much money’ for their liking - i.e. they’re jealous of his success so they put down his greatness.
A lot of people put down those who commercialise their skills for some reason! I don’t personally understand it, but it surely must be jealousy. I mean just listen to this!
Agree there is elitism and nearly all stems from the jealousy of the success of film composers (ie they are earning good money for the film work they do) and when it come to 'Art' (I mean that in terms of Music being part of the Arts) there is usually a 'hatred' of comercialisation as 'true art is done for no other reason than art itself' even though all the 'greats' of composing were paid for it.
To me that's all just a huge under-playing of film composers' skills.
I will say however, comparing this score to say, Rach 2 or 3 (piano concerto) I personally would say that the Rach stuff is more complex, richer etc.. but equally they were written with extremely different aims so not really something you can compare... one with 0 deadline and took years to write, the other with seriously tough and virtually non-negotiable deadlines.
A great rebuff to anyone how is snooty about film composers vs 'real' composers... Prokofiev... no elitist would ever say Prokofiev was not a 'real' composer. Then point out he wrote several film scores (Alexander Nevsky - 1938, Ivan the Terrible - 1944, Lieutenant Kije - 1934, and the unreleased Queen Of Spades in 1936). Shostakovich did a lot, Saint-saëns did one, Schoeberg did something called: accompanying music for a film scene op. 34.
Point is, anyone being snobby/elitist is ignoring a lot of evidence to the contrary.
Also, composers who write for a lot of film do have to create a bit of a repertoire of building blocks to allow them to write a LOT of Music and I think the elitists see repeated use of similar themes and motifs across multiple films as a sign that they can only write music by repeating previous works (John Williams has his 'infamous' 5th jumps in melodies, Indiana Jones theme has crossover with Superman theme etc..) which just is such a simplistic way to look at everything.
I was 12 in 1977. I remember getting the Close Encounters LP shortly after seeing the movie. I got a kick out of playing the 5 note "conversation" tones on my mom's organ. The whole movie score was magnificent. It was also great background music when I was out on the back porch stargazing with my telescope in the evenings. Wow, what great days those were!
I think the Wish Upon a Star citation is there because Richard Dreyfuss’s character realises his dream when he gets with the aliens and a the begining of the movie he wants to go to the movies with his family to see Pinnochio and is frustrated because noone cares. Wish upon a star melody represents his inner child
John Williams losing to John Williams for an Oscar sounds like the only acceptable way for John Williams to not win an Oscar
13:13 - The ship taking off, the music is so perfect. Does it make anyone else tear up, or even cry? This was so long ago, but even as a child - I love this music, so powerful
This is one of my favorite John Williams soundtracks to date. This last piece of this movie not only tugs at my heartstrings, it squeezes my heart ever so gently and then releases it. The way he conducts the London Symphony Orchestra so gingerly during this scene brings tears to my eyes. I love how he weaves in When You Wish Upon a Star into his score. It hearkens back to when Roy's wife called him Jiminy Cricket from Disney's Pinocchio. I can't imagine a better composer for this movie. It's like his music was inevitable.
Well said!
In the movie, Roy Neary had noticed that "Pinnochio" was playing in the theatre, and wanted to take his family to it, introducing them to something he loved as a child. They chose "Goofy Golf", apparently a mini-golf attraction as something to do, instead.
Its operatic - Wagnerian almost. So emotional. Takes you on a complete journey. I loved listening to this soundtrack on cassette tape as a kid in the 80's and I loved listening to Charles's enthusiastic analysis. Simply gorgeous! ❤️👏
Reminds me of Mahler's finale to his second symphony. John was trying, just like Mahler was to depict something so magnificent and transcendent -- to be resurrected is to not only leave the clutches of the earth (grave) but also this world. So I know he (Williams) was probably drowning in Mahler's Resurrection Symphony.
@@esjel9804Same here. It has Mahler and Holst influences.
I always love Charles's passion and excitement for showing us his favourite movie scores, it makes me happy to see
This was the academy award winner in my book. Star Wars deserved it too, don’t get me wrong. But the score for Close Encounters is truly special in a way that resonates with the innermost part of our souls. For me, it’s so powerful that it’s nearly a religious experience. Truly incredible.
I have never seen Close Encounters of the Third Kind, but I got to see John Williams conduct this with the SF Symphony last year and it *blew me away*
Oh you should watch it. It's pretty subversive. Like it feels like it should be this horror thriller
Whoa... if you at all like film you should watch it.
I'd say it's a bit divisive. It's one of my favourite films of all time. On the other hand a brother of mine absolutely detests it. 😃
the movie was terrible
It's the film I'm most likely to name as my favorite when someone asks. It's a film that defies your expectations at every turn, and is full of so many beautiful moments, sometimes filled with wonder, sometimes with eerie dread. It was a miracle movie with Spielberg, Williams, and cinematographer Vilmos Zsigmond all arguably doing career best work. Plus Francois Truffaut in his only English speaking acting role! Treat yourself and set aside an evening to watch this masterpiece.
It’s a slow burn but definitely a phenomenal movie. I’ve rewatched it many times and every time I notice something new and clever.
But the music and light show in the last 30 min is worth the price of admission alone.
I saw this movie in a small movie theater, before sound systems were much good, when it was first released. The best you could count on was "loud, but not too loud". Everyone had dropped jaws and shaking shoulders from crying. The score wrecked us. This is when I started looking for composer names on movies, and John Williams remains a favorite, because of Close Encounters.
Man when that theme hits at 13:40 your joy is contagious. Love it!
I still struggle to hold it together at that point, even with all the commentary in this video I was on the verge of crying. Every single time, after the huge build up that massive release of tension just punches the feelings so hard. Such an amazing score.
Close encounters is more sophisticated, but I just gotta go with the E.T. flying theme. I dont know how you cant hear that and beam from ear to ear. The entire final sequence of that film, the 15 minute escape/chase/saying goodbye cue, it's just to die for. Tears, every time.
I was really hoping he’d cover The Conversation from Close Encounters because I think there’s SOOOO many musical goodies in it. However, I’m incredibly happy he looked at my favorite Williams score!!! Absolutely in love with this movie’s underrated but no less important message, music and feel.
Seconded
(P.S: I think the title of the piece is "Wild signals")
@@juandesalgado I think per the soundtrack on the album it’s called that but I personally call it the conversation only because the film version of it has some differences to the album.
Me too. I think the connection made through music would be really interesting
Steven Spielberg: “The alien ship communicates through music, so go nuts with it.”
John Williams: “Psychedelic tuba concerto, got it.”
@@hthbellcaptain - On my album, purchased in 1978 it’s 08 The Conversation.
The End Title also sounds a bit different compared to what we hear in this video…especially at the very end. Record companies, always messing with things. lol
That choir around 3:30 is taken straight out of Gustav Holst's "Neptune" from The Planets suite. John Williams really wears his inspiration on his sleeves sometimes and I love it.
Good point!
Spot on ,I thought that a soon asI heard it
The genius of this score is how it so seamlessly combines straight up horror movie music with whimsical family movie fairy tale wonder. It makes you excited, enthralled, in awe, elevated, emotional, creeped out, anxious and thrilled all at the same time, which speaks in two ways to me. Firstly, this cacophony of emotions is probably exactly what you would feel encountering extraterrestials. Secondly, this movie never fails to make me feel like a child again, and the score is likely at the center of it.
A very Insightful and beautifully written comment. 😊
Well said
I think the "finale" sequence could be an amazing symphonic poem. That melody is so warm, breathtaking... I love Star Wars' music, but Close Encounters is in another level.
It’s….. otherworldly…….
One that I absolutely love that I don’t see mentioned often is Hymn to the Fallen from Saving Private Ryan. It’s obvious from the outset that it’s not something that Williams wrote merely as a theme for the movie, but as a tribute to all who died in the Second World War. First time I ever heard it was live at the Hollywood Bowl, and I’ll never forget it.
Just subscribed to Charles channel. I am now 55 and almost every time I hear a john Williams score I cry. It’s true Genius. I love the analysis. John Williams music is true Symphonic! This is the first thing I’ve seen on this channel. Will you look at Schindler’s List? Such a song book to go through. Well done and fabulous…. All the best from a wet UK
Close Encounters is so amazing. Music being a core part of the plot is also just stunning.
on a side note, a lot of the movie ideas were inspired by stories from Project Blue Book, and had J. Allen Hynek (who was the scientific advisor/investigator for that project) on staff as an advisor, who also makes a cameo at the end as one of the guys in white lab coats - (has a goatee, glasses and a pipe).
As a music teacher I must say this end suite is one of the best - if not the best - of all times in cinema history. I had the privilege of seeing the very first exibition of this movie here in Rio de Janeiro (Brasil)
NO ONE left the theatre during the end music, and when it ended the audience applauded for 5 minutes. That's the power of John William's music.
UNFFORGETABLE !!
I'm learning music and you have really showed me how every chord is based on a scale. The little runs you do when presenting a chord is precious. Don't ever stop doing that.
I saw this film in 1977 in the Cine Karim in Brasilia. When the credits started rolling as the mothership rose into space the entire theater stood up and applauded. It was the only time I saw a movie get a standing ovation.
You sir, made an old man very happy today. Thank you for this!
I’ve never seen Close Encounters and never heard its soundtrack. I was mind blown after watching this video… my God! What a composition!!! John Williams NEVER fails to deliver high caliber soundtracks to movies! That’s why he’s the GOAT!!!! 🔥🔥👏
My wife and I had the opportunity to see John Williams conduct the Cleveland Orchestra playing some of his works in 2018. It was unforgettable. We're thankful to have had such a privilege.
As a child who loved this movie, my parents bought the soundtrack on vinyl, including a disco version of the main theme as a single. Used to play this quite loudly sitting in a darkened room. Miss those days
I had that 45 disco single when I was a kid. Played it over and over.
Me too! Bought the sheet music as a 10 year old, but there were too many big chords going by too fast, unfortunately
I first saw this movie by myself; 1978 before the Oscars for the year 1977. All sorts of emotions were active as I love Classical Music, Science Fiction, good story telling and the actors that offered a portrayal of possible reality. It reinforced my desire for a response to "Beam me up, Scott." Those FIVE notes affected me in a way I didn't expect. As I listened during this video, the same emotions were triggered - the same wonder of potential discovery. It always offered a CALM and a sense of possibility. Close encounters of the best kind! Thanks for this review!
I saw this movie AND Star Wars at age 11, bought the soundtrack albums for both, but the only sheet music I bought was for Close Encounters. I was in my fourth year as a piano student, and I asked my (awesome, awesome) teacher in Lehigh Valley, PA to help me develop an abbreviated arrangement (using all the themes) to play at a recital at school. I've rarely been more proud. This is hands-down my favorite Williams score and still gives me the major feels every time I hear it. The way it is not only integrated into the film, but literally integral to it... the deep shades of Debussy and other Romantic impressionist composers... the use of dissonance to create an air of constant mystery... it's just a complete masterpiece. Thank you for this lovely breakdown and tribute. Brought a little tear to my eyes!
Charles, you may have been geeking out over this but it had me in tears. Something intangible just gets me when I hear this. It's been a while since my last experience of it which maybe account for the emotion. But this piece strikes me as sublimely beautiful and with a message I can't quite put my finger on. Loved your commentary. Thanks.
Thanks for the reminder of how much this kicks ass. I knew how much Holst influenced Star Wars, but forgot all the other post-Romantic composers that inspired his other scores. It’s brilliant and deserves more attention. Thank you for that.
The C major chord over an F# major chord isn't too unheard of. It's called the Petrushka Chord, which was a polytonal theme used for Igor Stravinsky's ballet "Petrushka".
I believe that John Williams is known throughout many Galaxies.
Man, you’ve made my day. Everything about this masterpiece intrigues me. This the best theme from the best movie ever - I saw it 3 or 4 times in a week just after it was released and loads of times since. My brother and I sometimes swap dialogue to impress each other - Roy Neary: “Who are you people!?”, Lacombe “Monsieur Neary, I envy you…”
Lacombe “Zey belong here more zan we!”. Congratulations on being willing and able to transpose the resolution and end title music on your piano - I can understand your emotional response! Regards, Vic, Whitchurch, England
The first album I EVER bought with my own money at the age of 9 was the CE3K soundtrack. I was so ga-ga for this movie, and their use of synths in it is what turned me onto electronic music which has been a big part of my life for nearly 50 years now.
The "When You Wish Upon A Star" is also a callback to the beginning of the movie where Roy Neary wants to take his kids to see Pinocchio because he loved it as a kid. There is also a little Pinocchio music box on his table in that scene. It's brilliant to tie that all together with the wonder of his youth with the wonder he's experiencing now.
No one can write adventure, suspense, wonder or romance like John Williams. That said, the soundtrack that stopped me in my tracks was Schindler's List. I can't even hear that violin theme without filling up with tears. He captured the horror, loss and weight of the Holocaust in those notes, but also a sense of hope. We're so fortunate to have been on the planet when these incredible soundtracks were written.
Also there's an amazing clip from Inside The Actors Studio where James Lipton points out that Steven Spielberg's father was a computer engineer, his mother was a pianist. They divorced when he was young. In Close Encounters the humans and aliens communicate using technology and music in the film. Spielberg is so moved by this observation, as if it's something that he'd never consciously thought of before.
You seriously had me laughing, cheering and crying watching you describe this!!
At about 3:09, I've always figured that the guys running back away from the scene have realized that they've got a job to do that they dropped during the excitement, or that they DESPERATELY need to hit the bathroom.
At 6:30 , when you enthuse about the inclusion of "When You Wish Upon a Star", you need to remember that early in the movie, Roy Neary wanted to take his family to see "Pinnochio" in the theater, wanting to share with his own children a movie he had loved as a child.
I can hear Gustav Holst's "Ode to Death" in so many movie productions...
Holst's works (Primarily The Planets) are the key to so many of the sci-fi films of the 70s and beyond, simply because we didn't really have any other examples of music that were so directly tied to 'space' to begin with, so it's only natural that the modern composers would look back to previous ones that had ANY ties into the space genre. Just as these works now inspire current generations in turn.
I love Ode to Death. A beautiful take on a Walt Whitman poem that was in commemoration to the death of Abraham Lincoln
Yeah the choir is uncanny. He did use a lot of Holst for Star Wars as well so it makes sense. In this one I also hear Jupiter, mainly in all the buildup after the "main melody".
I hear "The Planets".
@@pendaco I don't recall there being a lot of Holst in Star Wars. There's the blockade runner cue and the death star exploding cue that sound like bits of Mars. Do the other planets make an appearance?
13:30 Sends chills down my spine every single time I hear it
Chills...I have chills. It amazing. It's magic.
Wow, what an amazing piece. I‘ve never seen this movie and was not aware of this score but now this makes me want to go watch it right now!
The Close Encounters score is my absolute favorite John Williams composition. It’s the only one that can stir me to tears; it evokes a very primal sense of wonder and discovery of the unknown.
This and AI are two of John Williams' most interesting, complex, and dare I say spiritual scores. This may be a spicy take to some, but I've always preferred this to Star Wars, as much as I love Star Wars.
John Williams has written some monumental film scores. 'Schindler's List' is one of the most emotional scores for me because of the context. But 'Close Encounters' never fails to create an in me intense feeling of hope. This score is definitely my favorite of all his film work.
The main theme for E.T. is also very moving and otherworldly, with a similarity to the beauty of the score for Close Encounters. Amazing breakdown, so freaking emotional, bravo!
I have always thought this film to be very underrated, with the music being interrogated, it brings yet another dimension.
Always love these videos, I play piano, but only learn the songs I want to play. I've never learned how to read sheet music or play chords. But the way you break things down, always amazes me. Great Video!
Couldn't agree more! The wonder of discovery is what made this movie my favorite from a young age. John made me emote and fall in love with it. Thank you, John!
And thank you, Charles, for letting your passion for this music move me to tears and remind me of the grandeur of this score.
THIS MOVIE IS SO UNDERRATED. I honestly think its spielbergs best film. Everytime I watch it, I cant stop thinking about it for days. It brings tears to my eyes not out of sadness or joy, but out of sheer wonder. I cant think of any other movie that makes me feel such a profound sense of awe and beauty
This score has always brought me to tears. Very few pieces of brilliance in composing and performance have the same effect on the emotional sub conscience I experience when listening to this monumental creation.
Saw Close Encounters in the theater on Christmas Day when I was a kid in 1977. Got the soundtrack on 8 track back then as well. The first record album I owned was the soundtrack to Jaws which I saw in the theater Summer '75. I was never the same since. I remember wanting to see Close Encounters because it was made by "the guy who directed Jaws" and John Williams composed the score. I saw all the classic movies scored by John Willliams in the theater from the mid to late 70's. Earthquake, The Towering Inferno, Jaws, Star Wars, Close Encounters and Superman. Still have my Jaws and Superman album and Close Encounters on 8 track from back then. What a streak of films to see then as a kid. I feel lucky I was able to see all of them when they were originally released in theaters.
John Williams was famous for taking ideas from other composers, such as Holst and Star Wars. With Close Encounters, the orchestra plays around the introductory theme from Ravel's Daphnis et Chloe (3:21), the celesta colors from Stravinsky's Firebird Ballet (4:17), the chord Charles heard at 5:20 is known as the Petrushka chord from Stravinsky. An inspired composer is a good composer, great composers steal. John Williams, you are one of a kind brilliant.
I would love to hear you talk about “Wild Signals” from the same movie! One of the most complicated orchestral pieces I’ve ever heard in my life. It’s amazing
I saw the John Williams suites at the Houston symphony and it was glorious! They played so much of the score for Close Encounters and a bunch of the Star Wars stuff too. If you ever get a chance to see a full 85+ piece symphony play his work, be prepared to be stunned and mesmerized.
Some of my lesser known favourites are:
Hook
- Presenting The Hook
- The Never-Feast
Indiana Jones And The Last Crusade (basically any piece with the grail theme)
- The Penitent Man Will Pass
Star Wars
- Across The Stars
Home Alone
- The House
Finally, it would be great if you could do similar treatments for other contemporary composers work. For example, Basil Poledouris, particularly Conan (The Search, The Orgy, Riders Of Taramis) and Robocop (Across The Board), and Jerry Goldsmith, particularly Star Trek (The Enterprise) and Supergirl (Overture).
flight to never land is another amazing one from Hook
Across the stars is one of my fave ones. It's kind of looping up for 3 times (I think) and then bridge is used to return to the original key. It's like A A^ A^^ B A
Sorry for being unable to explain it better with the set of words I have.
This could have been written by Tchaikovsky or one of the other Russian composers. But it was John freaking Williams. He will go down as one of the greatest composers of all time.
I love the melody that begins the credits music for ET. I love the way it is used throughout the film.
I Feel John Williams really returned to the feel of this score with Return of the Jedi, it has so much more in common with this sound than it does the other Star Wars films. I loved seeing how excited you got in this one Charles, you can tell you're breaking down something you truly love.
13:25 to 17:40 - I can't stop watching it, your clear excitement and love for this is palpable, just a joy to watch and brought a tear to my eye - and a really great demonstration of how beautiful that part of the score is - it's exquisite. Made my day, thank you.
John Williams tapped into the fantastic world of Bernard Herrmann's use of the Mediant Thirds relationship. Love it!
It was so joyful to see the look on your face as you blissed out on Close Encounters! My favorite John Williams score (this week): Prisoner of Azkaban, and two cues. "Buckbeak's Flight", and "A Window to the Past". The chord progressions in both simple in the sense like they sound like they've always been there, ready to be snatched out of the air, even though we never knew them before. Who knew a recorder could sound so beautiful, melancholic, and haunting as in "A Window to the Past"?!
I absolutely love watching you nerd out on music -- I often do the same thing (although my ability to hear chords is not nearly as developed as yours). I can relate to how you feel when you hear something so well developed and beautiful! Keep up the good work!
These maybe aren’t my absolute favorite John Williams’ themes, but I really love Scherzo for Motorcycle and Orchestra, and the Far and Away theme. I especially like how when Williams had a violin solo, he often got Itzak Perlman to play for the soundtrack, as he did in Far and Away and Schindler’s List.
Close Encounters, Star Wars, and E.T. Are a bit like William’s alien trinity. Each one unique and great in its own way. Would love to hear you go through some of the tracks from E.T., there are so many expressive and anthemic pieces, I think it’s possibly his best overall soundtrack. If not, it’s definitely up there in contention.
I've been in love with this soundtrack since I saw the movie in the theater at age 10, and a friend bootlegged a copy of it on cassette. (Hi fellow seniors!) There's so much to this: the absolute wonder in the finale, the pursuit scenes up the mountain, and even in the stark creepy scenes early on when the child goes missing, and we don't yet know the alien's intentions. It got me involved in modern classical music. Thanks for sharing this!
This is one of Williams' underrated scores and I love it. The James Bond film Moonraker used it for a door code and I was amazed years later when I learned where it came from.
i was about to comment exactly this, i instantly recognized that door code in the video thumbnail. and actually it was right now that i was amazed just like you when i learned where it came from. what a fantastic score ... how can it be that i still have not seen this movie yet oO
@@Jenairaslebol27merde I only recently watched it on Amazon a few months ago because I had digital credits. It's under $5 to rent.
You're kidding! A James Bond movie? Will wonders never cease! That's freaking awesome! 😁😁😁
100 years from now, composers will still be studying this score. It's phenomenal. It's my desert island JW soundtrack. I can't think of a single score by any composer that covers so much range from fear, anxiety, tension, mystery, wonder, awe, majesty, and transformation.
If it's C Major against F# Major, that is known as the Petrushka Chord. John Williams was in good company borrowing from Mr. Stravinsky.
“Where dreams are born” from A.I, the theme from “Catch me if you can”, the track “father and son” from Jaws are all overlooked and my favorites
Seeing a video where someone geeks out over the score to my lifelong favorite film that I geek out over all the time? That's the best Valentine I could hope for!
I feel the same way!
I loved that the Bond film Moonraker (made 2 years later) paid tribute to Williams' theme as the door code.
I think when we get the alien reveal the cacophony, mixed with the awed faces is more of a wonder and confusion, witnessing a rare, never-seen-before occurrence. It's not scary music, but it makes you share the same first-time wonder with the people on screen- an unknown territory.
Richard Dreyfuss is one of the best actors of that time, and I don't think we need more than what we get on screen to share that feeling with him, as he depicts it to perfection.
Is anyone else getting a reply of a "James Cornell Telegram" account saying you have "won a prize"?
@@Welkins Yes, don’t pay attention to it, these are scammers.
Thank you @@AuroraRoz
This was one of the best reaction videos I've ever watched. I was totally blown away, by this, and the most wondrous movie and scoring ever😮😊
There is several scores where John Williams dont borrow from other classical works. Close Encounters, Schindlers List, J.F.K., A Geishas memoares, Sugarland Express, Jane Eyre, Saving private Ryan,
Jane Eyre! You are the only other person I’ve ever seen who knows about it. The first time I heard the suite I immediately bought the score. You sir are a true Williams connoisseur!
This is one of my Top 5 Williams' scores. I break out the soundtrack CD every couple of months.
This was probably mentioned already, but the interpolation of "When You Wish Upon A Star" was a remnant of the original cut (that was initially not in theaters) where Richard Dreyfuss' character Roy Neary is identified as kind of a man-child Disney kid. The family tension comes when he is required to "grow up" for his wife and kids, but then the UFOs divert his attention and he starts to obsess about them. "When You Wish Upon A Star" was meant to point to his wanderlust.
Those scenes were reinstated when the Extended Edition was released in the theaters a year later with Columbia Pictures demanding additional scenes at the end to show more of the spaceship - a nod to the impact Star Wars had made on the culture. The final music cue to go over the scene extensions is quite a bit different from that of the original theatrical cut. While I did NOT need to see more of the mothership, I am grateful the scene was extended because I feel the final musical piece is that much better. Even if I don't listen to the full score, I always listen to that final piece.
No, I do not know why this score isn't talked about more often.
Alternate topic - would love to get your take on David Shire's mostly electronic score for 2010: The Year We Make Contact.
This movie was my childhood. I'm only 21, but this movie was one of the movies I would consistently rewatch.
This is my absolute favorite film cue. I loved watching how you enjoyed taking your viewers through this piece! Great show every time!
I'd recommend the theme from Angela's Ashes, or the theme from The Book Thief. Both are absolutely beautiful and emotionally moving themes by John Williams
I have loved John Williams for a long time and Close Encounters is one of me favourite scifi films. The way you have broke this score down means I will never hear this piece in the same way ever again. I'm so glad I found this. Oh man, my vocal coach say I have a real enthusiasm for music but you take it to a whole new level. I have never heard anyone sound so in love with music. Thank you, ❤🎼🎶
I absolutely love your enthusiasm and passion in these videos. Such an emotional piece of music. 😊
His enthusiasm brings out another level
my favorite John Williams piece is by far Duel of the Fates. The amount of masterful work that went into it is one of the reasons why I absolutely love it.
You are the first person that gets beside themselves on hearing music and breaking it down. I showed this video to my wife and she said Oh man there's 2 of them LOL
😊👍