Route Resolved ✅
Package: @imdb/name
Pattern: /name/[nconst]
Params: {"nconst":"nm0002354"}
SSR Data
{
"nconst": "nm0002354",
"name": {
"id": "nm0002354",
"nameText": {
"text": "John Williams"
},
"birthDate": {
"dateComponents": {
"year": 1932,
"month": 2,
"day": 8
}
},
"deathDate": null,
"bio": {
"plainText": "As one of the best known, awarded, and financially successful composers in US history, John Williams is as easy to recall as John Philip Sousa, Aaron Copland or Leonard Bernstein, illustrating why he is \"America's composer\" time and again. With a massive list of awards that includes over 52 Oscar nominations (five wins), twenty-odd Gold and Platinum Records, and a slew of Emmy (two wins), Golden Globe (three wins), Grammy (25 wins), National Board of Review (including a Career Achievement Award), Saturn (six wins), American Film Institute (including a Lifetime Achievement Award) and BAFTA (seven wins) citations, along with honorary doctorate degrees numbering in the teens, Williams is undoubtedly one of the most respected composers for Cinema. He's led countless national and international orchestras, most notably as the nineteenth conductor of the Boston Pops Orchestra from 1980-1993, helming three Pops tours of the US and Japan during his tenure. He currently serves as the Pop's Conductor Laureate. Also to his credit is a parallel career as an author of serious, and some not-so-serious, concert works - performed by the likes of Mstislav Rostropovich, André Previn, Itzhak Perlman, Yo-Yo Ma, Gil Shaham, Leonard Slatkin, James Ingram, Dale Clevenger, and Joshua Bell. Of particular interests are his Essay for Strings, a jazzy Prelude & Fugue, the multimedia presentation American Journey (aka The Unfinished Journey (1999)), a Sinfonietta for Winds, a song cycle featuring poems by Rita Dove, concerti for flute, violin, clarinet, trumpet, tuba, cello, bassoon and horn, fanfares for the 1984, 1988 and 1996 Summer Olympics, the 2002 Winter Olympics, and a song co-written with Alan Bergman and Marilyn Bergman for the Special Olympics! But such a list probably warrants a more detailed background...\n\nBorn in Floral Park, New York on February 8, 1932, John Towner Williams discovered music almost immediately, due in no small measure to being the son of a percussionist for CBS Radio and the Raymond Scott Quintet. After moving to Los Angeles in 1948, the young pianist and leader of his own jazz band started experimenting with arranging tunes; at age 15, he determined he was going to become a concert pianist; at 19, he premiered his first original composition, a piano sonata.\n\nHe attended both UCLA and the Los Angeles City College, studying orchestration under MGM musical associate Robert Van Eps and being privately tutored by composer Mario Castelnuovo-Tedesco, until conducting for the first time during three years with the U.S. Air Force. His return to the states brought him to Julliard, where renowned piano pedagogue Madame Rosina Lhevinne helped Williams hone his performance skills. He played in jazz clubs to pay his way; still, she encouraged him to focus on composing. So it was back to L.A., with the future maestro ready to break into the Hollywood scene.\n\nWilliams found work with the Hollywood studios as a piano player, eventually accompanying such fare such as the TV series Peter Gunn (1958), South Pacific (1958), Some Like It Hot (1959), The Apartment (1960), and To Kill a Mockingbird (1962), as well as forming a surprising friendship with Bernard Herrmann. At age 24, \"Johnny Williams\" became a staff arranger at Columbia and then at 20th Century-Fox, orchestrating for Alfred Newman and Lionel Newman, Dimitri Tiomkin, Franz Waxman, and other Golden Age notables. In the field of popular music, he performed and arranged for the likes of Vic Damone, Doris Day, and Mahalia Jackson... all while courting actress/singer Barbara Ruick, who became his wife until her death in 1974. John & Barbara had three children; their daughter is now a doctor, and their two sons, Joseph Williams and Mark Towner Williams, are rock musicians.\n\nThe orchestrating gigs led to serious composing jobs for television, notably Alcoa Premiere (1961), Checkmate (1960), Gilligan's Island (1964), Lost in Space (1965), Land of the Giants (1968), and his Emmy-winning scores for Heidi (1968) and Jane Eyre (1970). Daddy-O (1958) and Because They're Young (1960) brought his original music to the big theatres, but he was soon typecast doing comedies. His efforts in the genre helped guarantee his work on William Wyler's How to Steal a Million (1966), however, a major picture that immediately led to larger projects. Of course, his arrangements continued to garner attention, and he won his first Oscar for adapting Fiddler on the Roof (1971).\n\nDuring the '70s, he was King of Disaster Scores with The Poseidon Adventure (1972), Earthquake (1974) and The Towering Inferno (1974). His psychological score for Images (1972) remains one of the most innovative works in soundtrack history. But his Americana - particularly The Reivers (1969) - is what caught the ear of director Steven Spielberg, then preparing for his first feature, The Sugarland Express (1974). When Spielberg reunited with Williams on Jaws (1975), they established themselves as a blockbuster team, the composer gained his first Academy Award for Original Score, and Spielberg promptly recommended Williams to a friend, George Lucas. In 1977, John Williams re-popularized the epic cinema sound of Erich Wolfgang Korngold, Franz Waxman and other composers from the Hollywood Golden Age: Star Wars: Episode IV - A New Hope (1977) became the best selling score-only soundtrack of all time, and spawned countless musical imitators. For the next five years, though the music in Hollywood changed, John Williams wrote big, brassy scores for big, brassy films - The Fury (1978), Superman (1978), 1941 (1979), Raiders of the Lost Ark (1981) ... An experiment during this period, Heartbeeps (1981), flopped. There was a long-term change of pace, nonetheless, as Williams fell in love with an interior designer and married once more.\n\nE.T. the Extra-Terrestrial (1982) brought about his third Oscar, and The River (1984), Empire of the Sun (1987), The Accidental Tourist (1988) and Born on the Fourth of July (1989) added variety to the 1980s, as he returned to television with work on Amazing Stories (1985) and themes for NBC, including NBC Nightly News with Tom Llamas (1970). The '80s also brought the only exceptions to the composer's collaboration with Steven Spielberg - others scored both Spielberg's segment of Twilight Zone: The Movie (1983) and The Color Purple (1985).\n\nIntending to retire, the composer's output became sporadic during the 1990s, particularly after the exciting Jurassic Park (1993) and the masterful, Oscar-winning Schindler's List (1993). This lighter workload, coupled with a number of hilarious references on The Simpsons (1989) actually seemed to renew interest in his music. Two Home Alone films (1990, 1992), JFK (1991), Nixon (1995), Sleepers (1996), Seven Years in Tibet (1997), Saving Private Ryan (1998), Angela's Ashes (1999), and a return to familiar territory with Star Wars: Episode I - The Phantom Menace (1999) recalled his creative diversity of the '70s.\n\nIn this millennium, the artist shows no interest in slowing down. His relationships with Spielberg and Lucas continue in A.I. Artificial Intelligence (2001), the remaining Star Wars prequels (2002, 2005), Minority Report (2002), Catch Me If You Can (2002), and a promised fourth Indiana Jones film. There is a more focused effort on concert works, as well, including a theme for the new Walt Disney Concert Hall and a rumored light opera. But one certain highlight is his musical magic for the world of Harry Potter (2001, 2002, 2004, etc.), which he also arranged into a concert suite geared toward teaching children about the symphony orchestra. His music remains on the whistling lips of people around the globe, in the concert halls, on the promenades, in album collections, sports arenas, and parades, and, this writer hopes, touching some place in ourselves. So keep those ears ready wherever you go, 'cause you will likely hear a bit of John Williams on your way."
},
"bioHtml": "As one of the best known, awarded, and financially successful composers\nin US history, John Williams is as easy to recall as\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0815971/\">John Philip Sousa</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0178716/\">Aaron Copland</a> or\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0077086/\">Leonard Bernstein</a>, illustrating why he\nis "America's composer" time and again. With a massive list of awards\nthat includes over 52 Oscar nominations (five wins), twenty-odd Gold\nand Platinum Records, and a slew of Emmy (two wins), Golden Globe\n(three wins), Grammy (25 wins), National Board of Review (including a\nCareer Achievement Award), Saturn (six wins), American Film Institute (including a Lifetime Achievement Award) and BAFTA (seven wins)\ncitations, along with honorary doctorate degrees numbering in the\nteens, Williams is undoubtedly one of the most respected composers for\nCinema. He's led countless national and international orchestras, most\nnotably as the nineteenth conductor of the Boston Pops Orchestra from\n1980-1993, helming three Pops tours of the US and Japan during his\ntenure. He currently serves as the Pop's Conductor Laureate. Also to\nhis credit is a parallel career as an author of serious, and some\nnot-so-serious, concert works - performed by the likes of\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0744626/\">Mstislav Rostropovich</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0006238/\">André Previn</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0674221/\">Itzhak Perlman</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0530901/\">Yo-Yo Ma</a>, <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm1204186/\">Gil Shaham</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0805451/\">Leonard Slatkin</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0408986/\">James Ingram</a>, Dale Clevenger, and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0068310/\">Joshua Bell</a>. Of particular interests\nare his Essay for Strings, a jazzy Prelude & Fugue, the multimedia\npresentation American Journey (aka The Unfinished Journey (1999)), a\nSinfonietta for Winds, a song cycle featuring poems by\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0235534/\">Rita Dove</a>, concerti for flute, violin,\nclarinet, trumpet, tuba, cello, bassoon and horn, fanfares for the\n1984, 1988 and 1996 Summer Olympics, the 2002 Winter Olympics, and a\nsong co-written with <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0074732/\">Alan Bergman</a>\nand <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0004750/\">Marilyn Bergman</a> for the Special\nOlympics! But such a list probably warrants a more detailed\nbackground...<br/><br/>Born in Floral Park, New York on February 8, 1932, John Towner Williams\ndiscovered music almost immediately, due in no small measure to being\nthe son of a percussionist for CBS Radio and the Raymond Scott Quintet.\nAfter moving to Los Angeles in 1948, the young pianist and leader of\nhis own jazz band started experimenting with arranging tunes; at age\n15, he determined he was going to become a concert pianist; at 19, he\npremiered his first original composition, a piano sonata.<br/><br/>He attended both UCLA and the Los Angeles City College, studying\norchestration under MGM musical associate\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0886828/\">Robert Van Eps</a> and being privately\ntutored by composer\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0005997/\">Mario Castelnuovo-Tedesco</a>,\nuntil conducting for the first time during three years with the U.S.\nAir Force. His return to the states brought him to Julliard, where\nrenowned piano pedagogue Madame Rosina Lhevinne helped Williams hone\nhis performance skills. He played in jazz clubs to pay his way; still,\nshe encouraged him to focus on composing. So it was back to L.A., with\nthe future maestro ready to break into the Hollywood scene.<br/><br/>Williams found work with the Hollywood studios as a piano player,\neventually accompanying such fare such as the TV series\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051301/\">Peter Gunn (1958)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0052225/\">South Pacific (1958)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053291/\">Some Like It Hot (1959)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053604/\">The Apartment (1960)</a>, and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056592/\">To Kill a Mockingbird (1962)</a>,\nas well as forming a surprising friendship with\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0002136/\">Bernard Herrmann</a>. At age 24, "Johnny\nWilliams" became a staff arranger at Columbia and then at 20th\nCentury-Fox, orchestrating for\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000055/\">Alfred Newman</a> and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0006213/\">Lionel Newman</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0006323/\">Dimitri Tiomkin</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000077/\">Franz Waxman</a>, and other Golden Age\nnotables. In the field of popular music, he performed and arranged for\nthe likes of <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0198954/\">Vic Damone</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000013/\">Doris Day</a>, and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0413810/\">Mahalia Jackson</a>... all while courting\nactress/singer <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0749539/\">Barbara Ruick</a>, who became\nhis wife until her death in 1974. John & Barbara had three children;\ntheir daughter is now a doctor, and their two sons,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0930990/\">Joseph Williams</a> and Mark Towner\nWilliams, are rock musicians.<br/><br/>The orchestrating gigs led to serious composing jobs for television,\nnotably <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054513/\">Alcoa Premiere (1961)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053491/\">Checkmate (1960)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057751/\">Gilligan's Island (1964)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0058824/\">Lost in Space (1965)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0062578/\">Land of the Giants (1968)</a>,\nand his Emmy-winning scores for\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0063051/\">Heidi (1968)</a> and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0065911/\">Jane Eyre (1970)</a>.\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0052719/\">Daddy-O (1958)</a> and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0053641/\">Because They're Young (1960)</a>\nbrought his original music to the big theatres, but he was soon\ntypecast doing comedies. His efforts in the genre helped guarantee his\nwork on <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0943758/\">William Wyler</a>'s\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0060522/\">How to Steal a Million (1966)</a>,\nhowever, a major picture that immediately led to larger projects. Of\ncourse, his arrangements continued to garner attention, and he won his\nfirst Oscar for adapting\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0067093/\">Fiddler on the Roof (1971)</a>.<br/><br/>During the '70s, he was King of Disaster Scores with\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0069113/\">The Poseidon Adventure (1972)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0071455/\">Earthquake (1974)</a> and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0072308/\">The Towering Inferno (1974)</a>.\nHis psychological score for <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0068732/\">Images (1972)</a>\nremains one of the most innovative works in soundtrack history. But his\nAmericana - particularly\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0064886/\">The Reivers (1969)</a> - is what caught\nthe ear of director <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000229/\">Steven Spielberg</a>,\nthen preparing for his first feature,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0072226/\">The Sugarland Express (1974)</a>.\nWhen Spielberg reunited with Williams on\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0073195/\">Jaws (1975)</a>, they established themselves as\na blockbuster team, the composer gained his first Academy Award for\nOriginal Score, and Spielberg promptly recommended Williams to a\nfriend, <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000184/\">George Lucas</a>. In 1977, John\nWilliams re-popularized the epic cinema sound of\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0006157/\">Erich Wolfgang Korngold</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000077/\">Franz Waxman</a> and other composers from the\nHollywood Golden Age: <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0076759/\">Star Wars: Episode IV - A New Hope (1977)</a>\nbecame the best selling score-only soundtrack of all time, and spawned\ncountless musical imitators. For the next five years, though the music\nin Hollywood changed, John Williams wrote big, brassy scores for big,\nbrassy films - <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077588/\">The Fury (1978)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0078346/\">Superman (1978)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0078723/\">1941 (1979)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0082971/\">Raiders of the Lost Ark (1981)</a>\n... An experiment during this period,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0082507/\">Heartbeeps (1981)</a>, flopped. There was\na long-term change of pace, nonetheless, as Williams fell in love with\nan interior designer and married once more.<br/><br/><a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0083866/\">E.T. the Extra-Terrestrial (1982)</a>\nbrought about his third Oscar, and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0088007/\">The River (1984)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0092965/\">Empire of the Sun (1987)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0094606/\">The Accidental Tourist (1988)</a>\nand\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0096969/\">Born on the Fourth of July (1989)</a>\nadded variety to the 1980s, as he returned to television with work on\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0088478/\">Amazing Stories (1985)</a> and\nthemes for NBC, including\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0231035/\">NBC Nightly News with Tom Llamas (1970)</a>. The\n'80s also brought the only exceptions to the composer's collaboration\nwith <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000229/\">Steven Spielberg</a> - others scored\nboth Spielberg's segment of\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0086491/\">Twilight Zone: The Movie (1983)</a>\nand <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0088939/\">The Color Purple (1985)</a>.<br/><br/>Intending to retire, the composer's output became sporadic during the\n1990s, particularly after the exciting\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0107290/\">Jurassic Park (1993)</a> and the\nmasterful, Oscar-winning\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0108052/\">Schindler's List (1993)</a>. This\nlighter workload, coupled with a number of hilarious references on\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0096697/\">The Simpsons (1989)</a> actually\nseemed to renew interest in his music. Two Home Alone films (1990,\n1992), <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0102138/\">JFK (1991)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0113987/\">Nixon (1995)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0117665/\">Sleepers (1996)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0120102/\">Seven Years in Tibet (1997)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0120815/\">Saving Private Ryan (1998)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0145653/\">Angela's Ashes (1999)</a>, and a\nreturn to familiar territory with\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0120915/\">Star Wars: Episode I - The Phantom Menace (1999)</a>\nrecalled his creative diversity of the '70s.<br/><br/>In this millennium, the artist shows no interest in slowing down. His\nrelationships with Spielberg and Lucas continue in\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0212720/\">A.I. Artificial Intelligence (2001)</a>,\nthe remaining Star Wars prequels (2002, 2005),\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0181689/\">Minority Report (2002)</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0264464/\">Catch Me If You Can (2002)</a>,\nand a promised fourth Indiana Jones film. There is a more focused\neffort on concert works, as well, including a theme for the new\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000370/\">Walt Disney</a> Concert Hall and a rumored light\nopera. But one certain highlight is his musical magic for the world of\nHarry Potter (2001, 2002, 2004, etc.), which he also arranged into a\nconcert suite geared toward teaching children about the symphony\norchestra. His music remains on the whistling lips of people around the\nglobe, in the concert halls, on the promenades, in album collections,\nsports arenas, and parades, and, this writer hopes, touching some place\nin ourselves. So keep those ears ready wherever you go, 'cause you will\nlikely hear a bit of John Williams on your way.",
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"title": {
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"text": "Jurassic Park"
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"text": "Music Department"
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"summary": {
"principalCategory": {
"text": "Music Department"
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"year": 2005
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"text": "Music Department"
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"title": {
"id": "tt35338086",
"titleText": {
"text": "Leeds International Piano Competition 2024 - Grand Final"
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"year": 2024
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"title": {
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"titleText": {
"text": "Star Wars: Episode IX - The Rise of Skywalker"
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"year": 2019
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"Oma Tres"
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{
"title": {
"id": "tt9855670",
"titleText": {
"text": "The London Symphony Orchestra & John Williams: Across the Stars"
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"releaseYear": {
"year": 2002
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"John Williams"
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{
"title": {
"id": "tt9855664",
"titleText": {
"text": "The London Symphony Orchestra & John Williams: Duel of the Fates"
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"releaseYear": {
"year": 1999
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"characters": [
"John Williams"
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{
"title": {
"id": "tt38673536",
"titleText": {
"text": "John Williams & The New American Orchestra: Olympic Fanfare and Theme"
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{
"title": {
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"text": "Johnny Staccato"
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{
"title": {
"id": "tt15047880",
"titleText": {
"text": "Disclosure Day"
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"releaseYear": {
"year": 2026
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},
{
"title": {
"id": "tt36328088",
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