Star Wars Episode VI: Return of the Jedi (also known as Return of the Jedi) is a 1983 American epic space opera film directed by Richard Marquand and written by George Lucas and Lawrence Kasdan, with Lucas as executive producer. It is the third film in the Star Wars franchise and the first film to use THX technology. The film is set approximately one year after The Empire Strikes Back.^[2] The evil Galactic Empire, with the help of the villainous Darth Vader, is building a second Death Star in order to crush the Rebel Alliance. Since Emperor Palpatine plans to personally oversee the final stages of its construction, the Rebel Fleet launches a full-scale attack on the Death Star in order to prevent its completion and kill Palpatine, effectively bringing an end to the Empire. Meanwhile, Luke Skywalker, a Rebel leader and Jedi Knight, struggles to bring Vader, who is his father and himself a fallen Jedi, back from the Dark Side of the Force.

David Lynch and David Cronenberg were considered to direct the project before Marquand signed on as director. The production team relied on Lucas' storyboards during pre-production. While writing the shooting script, Lucas, Kasdan, Marquand, and producer Howard Kazanjian spent two weeks in conference discussing ideas to construct it. Kazanjian's schedule pushed shooting to a few weeks early to allow Industrial Light & Magic to work on the film's effects in post-production. Filming took place in England, California and Arizona from January to March 1982, with Lucas handing second unit work. Heavy secrecy surrounded production and the film was given the title Blue Harvest to prevent price gouging.

The film was released in theaters on May 25, 1983, receiving mostly positive reviews. Observers have considered the film to be a slightly lesser achievement than the previous films. The film grossed over $475 million worldwide. Several home video and theatrical releases and revisions to the film followed over the next 20 years. Star Wars continued with Episode I: The Phantom Menace as part of the film series' prequel trilogy. A 3-D version of the film is scheduled to be released in 2017 to coincide with the 40th anniversary of the Star Wars saga.

Plot[link]

Luke Skywalker initiates a plan to rescue the frozen Han Solo from the crime lord Jabba the Hutt with the help of Princess Leia, Lando Calrissian, Chewbacca, C-3PO and R2-D2. Leia infiltrates Jabba's palace on Tatooine disguised as a bounty hunter and releases Han, but Leia is captured and enslaved and Han is detained. Luke arrives a week later and allows himself to be captured. After surviving an attempted feeding to the Rancor, Jabba sentences Luke and Han to be executed by the monstrous Sarlacc. Luke breaks free, retrieving his newly-constructed lightsaber from R2-D2 and a large battle erupts; in the ensuing chaos, Leia strangles Jabba to death, Han inadvertently knocks Boba Fett into the gaping maw of the Sarlacc and Luke, escaping with his allies, destroys Jabba's sail barge. While Han and Leia meet with the other Rebels, Luke returns to Dagobah, only to find that Yoda is dying. With his last breaths, Yoda confirms that Darth Vader is Luke's father and that Luke must confront him again to become a true Jedi Knight; he also mentions "another Skywalker". The spirit of Obi-Wan Kenobi reveals that the "other Skywalker" Yoda spoke of is Luke's twin sister, who Luke discovers is Leia. Obi-Wan then tells Luke that he must confront Vader once more to defeat the Galactic Empire after confirming that Vader was originally Anakin Skywalker.

The Rebel Alliance learns that the Empire has been constructing a new Death Star. In a plan to destroy the new weapon, Han leads a strike team to destroy the battle station's shield generator on the moon Endor, allowing a squadron of starfighters to enter the incomplete superstructure and destroy the station from within. Returning from Dagobah, Luke joins the strike team along with Leia and the others. The strike team travels to Endor in an Imperial shuttle; Vader senses Luke's presence on the shuttle, but lets them through so that they will be ambushed by the Imperial forces lying in wait on Endor. Sensing Vader's presence, Luke fears he is endangering the mission by his presence.

On Endor, Luke and his companions encounter a tribe of Ewoks and form a partnership with them. Later, Luke confesses to Leia that she is his sister, that Vader is their father and that he is leaving to confront him, thinking that there is still good in him. Luke surrenders to Imperial troops, so that they will bring him to Vader. He unsuccessfully tries to convince Vader to turn from the dark side, but Vader takes Luke to the Death Star to meet Emperor Palpatine (Ian McDiarmid), his Sith master and leader of the Empire.

Luke learns that the Death Star is fully operational and set to destroy the Rebellion once and for all. On Endor, the Rebels are captured by Imperial forces, but a surprise counterattack by the Ewoks allows the Rebels to launch an attack. Meanwhile, Lando leads the Rebel fleet in the Millennium Falcon to the Death Star, only to find the station's shield is still up and the Imperial fleet waiting for them. Palpatine tempts Luke to give in to his anger and join the dark side of the Force. Luke and Vader engage in a lightsaber duel. Vader discovers that Luke has a sister, and is about to suggest something terrible will happen to Leia such as turning to the Dark Side or being killed when Luke snaps, interrupting Vader's sentence. He severs Vader's right hand in a rage, disarming him. Realizing that he is beginning to share his father's fate, Luke refuses Palpatine, declaring himself a Jedi. Palpatine attacks him with Force lightning. Unable to watch his son suffer, Anakin reemerges from within Vader and throws Palpatine down a reactor shaft to his death, but is mortally wounded by Palpatine's lightning. The redeemed Anakin Skywalker (Sebastian Shaw/Hayden Christensen) asks Luke to remove his mask and tell Leia that there was good in him after all; he then dies, finally at peace.

On Endor, the strike team, with the help of the Ewoks, defeats the Imperial forces and destroys the shield generator, allowing the Rebel fleet to launch a final assault on the Death Star. Lando leads the remaining ships deep into the station's core and destroys the main reactor. Luke escapes on Palpatine's Imperial shuttle with his father's body before the Death Star explodes, while Lando escapes in the Falcon. On Endor, Han tells Leia that he knows she loves Luke and offers to step aside; she tells him that Luke is her brother and kisses him. That evening, Luke returns to Endor and cremates his father's body and armor on a funeral pyre. As the Rebels celebrate the end of the Empire, Luke sees the spirits of Obi-Wan Kenobi, Yoda and a redeemed Anakin Skywalker proudly watching over them.

Cast[link]

• Mark Hamill as Luke Skywalker: In the year since his encounter with Darth Vader in Cloud City, Luke has nearly completed his Jedi training.
• Harrison Ford as Han Solo: Frozen in carbonite by Darth Vader in Cloud City, and taken to Jabba the Hutt, Han is freed by Princess Leia, only to be sentenced to death by Jabba the Hutt. He escapes with the group after Luke arrives at Jabba's palace.
• Carrie Fisher as Princess Leia Organa: A princess from Alderaan, Leia has been aiding Luke in his search for Han. It is later revealed that she is actually Luke's twin sister.
• Billy Dee Williams as Lando Calrissian: After Cloud City was taken over by the Empire, Lando joined the Rebel Alliance, and aided Luke in his search for Han Solo. He would later use the Millennium Falcon, Han Solo's ship, to lead an attack on the Death Star.
• Anthony Daniels as C-3PO: Luke Skywalker's protocol droid for human-cyborg relations, 3PO is instrumental in establishing friendly relations between the Rebels and the Ewoks on Endor, who mistakenly believe him to be a god.
• Kenny Baker as R2-D2: Luke Skywalker's astromech droid.
• Peter Mayhew as Chewbacca: Han Solo's Wookiee co-pilot and best friend, introduced in Revenge of the Sith.
• Sebastian Shaw as Anakin Skywalker: Luke's father, Anakin, was a Jedi Knight before being seduced by the dark side of the Force and becoming Darth Vader. Shaw was partly replaced by Hayden Christensen in the 2004 DVD release of the film.
• Ian McDiarmid as Emperor Palpatine: Simply known as "The Emperor", Palpatine is the supreme ruler of the Galactic Empire and a Dark Lord of the Sith. He now plans to destroy the Alliance with the new Death Star and turn Luke Skywalker to the dark side of the Force.
• Frank Oz performing Yoda. After living for 900 years, Yoda finally prepares to become one with the Force.
• David Prowse as Darth Vader: Vader has been relentlessly continuing his search for Luke, but he is set off course when the Emperor sends him to Endor to oversee the construction of the new Death Star and to prepare for the Rebel strike. James Earl Jones provided the voice of Vader.
• Alec Guinness as Obi-Wan "Ben" Kenobi: Struck down by Vader in A New Hope, Obi-Wan continues to offer guidance to Luke as a Jedi spirit.
• Denis Lawson as Wedge Antilles: Wedge is now the leader of Rogue Squadron, and he prepares to aid (now General) Lando Calrissian in the fighter attack on the Death Star.
• Kenneth Colley as Admiral Piett: Piett, one of the few officers under Vader's command to survive his wrath, commands the Imperial Fleet at Endor from the Executor.
• Warwick Davis as Wicket: An Ewok who leads Leia and eventually her friends to the Ewok tribe.
• Jeremy Bulloch as Boba Fett: A bounty hunter who, after capturing and delivering Han Solo to Jabba the Hutt, stays on at the crime lord's palace and engages in the battle above the Sarlacc.
• Caroline Blakiston as Mon Mothma: Mon Mothma is a co-founder of the Rebel Alliance and also serves as its leader. She explains the mission of destroying the Death Star to the Alliance.
• Kenny Baker was originally cast as the Ewok Wicket, but was replaced by 11-year-old Warwick Davis after falling ill with food poisoning on the morning of the shoot. Davis had no previous acting experience and was cast only after his grandmother had discovered an open call for dwarfs for the new Star Wars film.^[3]

Production[link]

Development[link]

As with the previous film, Lucas personally funded Return of the Jedi.^[3] Lucas approached David Lynch, who had been nominated for the Academy Award for Best Director for The Elephant Man in 1980, to helm Return of the Jedi, but Lynch declined in order to direct Dune.^[4] David Cronenberg was also offered the chance to direct the film, but he declined the offer to make Videodrome and The Dead Zone.^[5] Lucas eventually chose Richard Marquand. Some reports have suggested that Lucas was so heavily involved in the shooting of Return of the Jedi that he could be considered a second or a co-director. It is likely that he directed much of the second unit work personally as the shooting threatened to go over schedule; this is a function Lucas had willingly performed on previous occasions when he had only officially been producing a film (e.g. Raiders of the Lost Ark, The Empire Strikes Back, More American Graffiti).^[6] Lucas himself has admitted to being on the set frequently due to Marquand's relative inexperience with special effects.^[3] Lucas praised Marquand as a "very nice person who worked well with actors".^[7] Marquand did note that Lucas kept a conspicuous presence on set, joking, "It is rather like trying to direct King Lear – with Shakespeare in the next room!"^[8]

The screenplay was written by Lawrence Kasdan and Lucas (with uncredited contributions by David Peoples and Marquand), based on Lucas' story. Kasdan claims he told Lucas that Return of the Jedi was "a weak title", and Lucas later decided to name the film Revenge of the Jedi.^[3] The screenplay itself was not created until rather late in pre-production, well after a production schedule and budget had been created by Kazanjian and Marquand had been hired, which was unusual for a film. Instead, the production team relied on Lucas' story and rough draft in order to commence work with the art department. When it came time to formally write a shooting script, Lucas, Kasdan, Marquand, and Kazanjian spent two weeks in conference discussing ideas; Kasdan used tape transcripts of these meetings to then construct the script.^[9] The issue of whether Harrison Ford would return for the final film arose during pre-production. Unlike the other stars of the first film, Ford had not contracted to do two sequels, and Raiders of the Lost Ark had made him an even bigger star. Ford suggested that Han Solo be killed through self-sacrifice. Kasdan concurred, saying it should happen near the beginning of the film to instill doubt as to whether the others would survive, but Lucas was vehemently against it and rejected the concept.^[3] Yoda was originally not meant to appear in the film, but Marquand strongly felt that returning to Dagobah was essential to resolve the dilemma raised by the previous film.^[9] The inclusion led Lucas to insert a scene in which Yoda confirms that Darth Vader is Luke's father because, after a discussion with a children's psychologist, he did not want younger moviegoers to dismiss Vader's claim as a lie.^[7] Many ideas from the original script were left out or changed. For instance, the Ewoks were going to be Wookiees,^[10] the Millennium Falcon would be used in the arrival at the forest moon of Endor, and Obi-Wan Kenobi would return to life from his spectral existence in the Force.^[11]

Gary Kurtz, who produced Star Wars and The Empire Strikes Back, claimed in 2010 that the ongoing success with Star Wars merchandise and toys led George Lucas to reconsider the idea to kill off Han Solo during action on Endor. Luke Skywalker was also to have walked off alone and exhausted like the hero in a Spaghetti Western, but Lucas opted for a happier ending to encourage higher merchandise sales.^[12]

Filming[link]

The heavy forest of Redwood National Park was used to film the forests of Endor in Return of the Jedi.

Filming began on January 11, 1982 and lasted through May 20, 1982, a schedule six weeks shorter than The Empire Strikes Back. Kazanjian's schedule pushed shooting as early as possible in order to give Industrial Light & Magic (ILM) as much time as possible to work on effects, and left some crew members dubious of their ability to be fully prepared for the shoot.^[13] Working on a budget of $32,500,000,^[14] Lucas was determined to keep the budget from skyrocketing the way it had done on The Empire Strikes Back. Producer Howard Kazanjian estimated that using ILM (owned wholly by Lucasfilm) for special effects saved the production approximately $18,000,000.^[14] However, the fact that Lucasfilm was a non-union company made acquiring shooting locations more difficult and more expensive, even though Star Wars and The Empire Strikes Back had been big hits.^[3] The project was given the working title Blue Harvest with a tagline of "Horror Beyond Imagination." This disguised what the production crew was really filming from fans and the prying eyes of the press and also prevented price gouging by service providers.^[3]

The first stage of production started with 78 days at Elstree Studios in England,^[13] where the film occupied all nine stages. The shoot commenced with a scene later deleted from the finished film where the heroes get caught in a sandstorm as they leave Tatooine.^[8] (This was the only major sequence cut from the film during editing.)^[9] While attempting to film Luke Skywalker's battle with the rancor beast, Lucas insisted on trying to create the scene in the same style as Toho's Godzilla films by using a stunt performer inside a suit. The production team made several attempts, but were unable to create an adequate result. Lucas eventually relented and decided to film the rancor as a high-speed puppet.^[3] In April, the crew moved to the Yuma Desert in Arizona for two weeks of Tatooine exteriors.^[8] Production then moved to the redwood forests of northern California near Crescent City where two weeks were spent shooting the Endor forest exteriors, and then concluded at ILM in San Rafael, California for about ten days of bluescreen shots. One of two "skeletal" post-production units shooting background matte plates spent a day in Death Valley.^[13] The other was a special Steadicam unit shooting forest backgrounds from June 15–17, 1982 for the speeder chase near the middle of the film.^[15] Steadicam inventor Garrett Brown personally operated these shots as he walked through a disguised path inside the forest shooting at one frame per second. By walking at about 5 mph (8 km/h) and projecting the footage at 24 frame/s, the motion seen in the film appears as if it were moving at around 120 mph (190 km/h).^[3]

Music[link]

John Williams composed and conducted the film's musical score with performances by the London Symphony Orchestra. Orchestration credits also include Thomas Newman. The initial release of the film's soundtrack was on the RSO Records label in the United States. Sony Classical Records acquired the rights to the classic trilogy scores in 2004 after gaining the rights to release the second trilogy soundtracks (The Phantom Menace and Attack of the Clones). In the same year, Sony Classical re-pressed the 1997 RCA Victor release of Return of the Jedi along with the other two films in the trilogy. The set was released with the new artwork mirroring the first DVD release of the film. Despite the Sony digital re-mastering, which minimally improved the sound heard only on high-end stereos, this 2004 release is essentially the same as the 1997 RCA Victor release.^[16]

Post-production[link]

Meanwhile, special effects work at ILM quickly stretched the company to its operational limits. While the R&D work and experience gained from the previous two films in the trilogy allowed for increased efficiency, this was offset by the desire to have the closing film raise the bar set by each of these films.^[14] A compounding factor was the intention of several departments of ILM to either take on other film work or decrease staff during slow cycles. Instead, as soon as production began, the entire company found it necessary to remain running 20 hours a day on six day weeks in order to meet their goals by April 1, 1983. Of about 900 special effects shots,^[13] all VistaVision optical effects remained in-house, since ILM was the only company capable of using the format, while about 400 4-perf opticals were subcontracted to outside effects houses.^[17] Progress on the opticals was severely retarded for a time due to ILM rejecting about 100,000 feet (30,000 m) of film when the film perforations failed image registration and steadiness tests.^[13]

The original teaser trailer for the film carried the name Revenge of the Jedi,^[18] and a teaser poster created by Drew Struzan containing this title has since become a rare collector's item. However, a few weeks before the film's premiere, Lucas changed the title, saying "revenge" could not be used, as it is not a Jedi concept.^[3] The 2005 prequel trilogy film Revenge of the Sith later alluded to the dismissed title of Revenge of the Jedi.^[19] Of note are the lightsaber colors on the teaser poster: Luke is seen wielding a red lightsaber while Vader wields a blue one.^[20]

Releases[link]

Return of the Jedi's theatrical release took place on May 25, 1983. It was originally slated to be May 27, but was subsequently changed to coincide with the date of the 1977 release of the original Star Wars film.^[14] With a massive worldwide marketing campaign, illustrator Tim Reamer created the image for the movie poster and other advertising. At the time of its release, the film was advertised on posters and merchandise as simply Star Wars: Return of the Jedi, despite its on-screen "Episode VI" distinction. The original film was later re-released to theaters in 1985.

In 1997, for the 20th anniversary of the release of Star Wars (retitled Episode IV: A New Hope), Lucas released The Star Wars Trilogy: Special Edition. Along with the two other films in the original trilogy, Return of the Jedi was re-released on March 14, 1997 with a number of changes and additions, which included the insertion of several alien band members in Jabba's throne room, the modification of the Sarlaac to include a beak, the replacement of music at the closing scene, and a montage of different alien worlds celebrating the fall of the Empire.^[21] According to Lucas, Return of the Jedi required fewer changes than the previous two films because it is more emotionally driven than the others.^[7] The changes have caused controversy among the fans as some believe that they detract from the films.^[22]

Reception[link]

Return of the Jedi showing at the University Theatre in Toronto, with the marquee stating "The Smash of 83"

Although a critical and commercial hit, grossing more than $475 million worldwide,^[23] Return of the Jedi has, in the decades that followed, been considered by many critics and fans to be a slightly lesser achievement than its predecessors.^[24][25][26] At Rotten Tomatoes, Return of the Jedi's 79% approval rating is surpassed by The Empire Strikes Back (97%), A New Hope (94%), and the final film of the prequel trilogy, Revenge of the Sith (81%).^[24] However on Metacritic, the film received a score of 54 based on 14 reviews from mainstream critics.^[27]

Contemporary critics were largely complimentary. In 1983, movie critic Roger Ebert gave the film four stars out of four,^[28] and James Kendrick of Q Network Film Desk described Return of the Jedi as "a magnificent experience."^[29] The film was also featured on the May 23, 1983 TIME magazine cover issue (where it was labeled "Star Wars III"),^[30] with the reviewer Gerald Clarke saying that while it was not as exciting as the first Star Wars film, it was "better and more satisfying" than The Empire Strikes Back, now considered by many as the best of the original trilogy.^[31] Vincent Canby, who enjoyed the first film and despised the second, felt that Return of the Jedi was the worst of all three.^[32] According to Rotten Tomatoes, Gene Siskel of the Chicago Tribune was somewhat critical of the film during the 1997 re-release, stating that it "Lack[s] the humanity and richly drawn characters that brighten Star Wars."^[24] However, Siskel later gave Return of the Jedi thumbs up on the television show Siskel & Ebert during the release of The Star Wars Trilogy: Special Edition, saying: "This is my least favorite of the three episodes. That doesn't make it bad, the others are just a lot better." Siskel went on to praise the opening sequence at the Sarlaac pit and the chase sequence involving speeder bikes, but he states his dislike for the closing scenes involving the Ewoks.^[33] The New York Post's Rex Reed negatively reviewed the film, stating "Let's not pretend we're watching art!"^[24]

At the 56th Academy Awards in 1984, Richard Edlund, Dennis Muren, Ken Ralston, and Phil Tippett received the "Special Achievement Award for Visual Effects." Norman Reynolds, Fred Hole, James L. Schoppe, and Michael Ford were nominated for "Best Art Direction/Set Decoration". Ben Burtt received a nomination for "Best Sound Effects Editing". John Williams received the nomination for "Best Music, Original Score". Burtt, Gary Summers, Randy Thom and Tony Dawe all received the nominations for "Best Sound".^[34] At the 1984 BAFTA Awards, Edlund, Muren, Ralston, and Kit West won for "Best Special Visual Effects". Tippett and Stuart Freeborn were also nominated for "Best Makeup". Reynolds received a nomination for "Best Production Design/Art Direction". Burtt, Dawe, and Summers also received nominations for "Best Sound". Williams was also nominated "Best Album of Original Score Written for a Motion Picture or Television Special". The film also won for "Best Dramatic Presentation", the older award for science fiction and fantasy in film, at the 1984 Hugo Awards.^[35]

While the action set pieces – particularly the Sarlacc battle sequence, the speeder bike chase on the Endor moon, the space battle between Rebel and Imperial pilots, and Luke Skywalker's duel against Darth Vader – are well-regarded, the ground battle between the Ewoks and Imperial stormtroopers remains a bone of contention.^[36] Fans are also divided on the likelihood of Ewoks (being an extremely primitive race of small creatures armed with sticks and rocks) defeating an armed ground force comprising the Empire's "best troops". Lucas has defended the scenario, saying that the Ewoks' purpose was to distract the Imperial troops and that the Ewoks did not really win.^[7]

American Film Institute Lists

• AFI's 100 Years...100 Movies – Nominated^[37]
• AFI's 100 Years...100 Thrills – Nominated^[38]

Home video[link]

The original theatrical version of Return of the Jedi was released on VHS and Laserdisc several times between 1986 and 1995,^[39] followed by releases of the Special Edition in the same formats between 1997 and 2000. Some of these releases contained featurettes; some were individual releases of just this film, while others were boxed sets of all three original films.

On September 21, 2004, the Special Editions of all three original films were released in a boxed set on DVD (along with a bonus disc). It was digitally restored and remastered, with additional changes made by George Lucas. The DVD also featured English subtitles, Dolby Digital 5.1 EX surround sound, and commentaries by George Lucas, Ben Burtt, Dennis Muren, and Carrie Fisher. The bonus disc included documentaries including Empire of Dreams: The Story of the Star Wars Trilogy and several featurettes including "The Characters of Star Wars", "The Birth of the Lightsaber", and "The Legacy of Star Wars". Also included were teasers, trailers, TV spots, still galleries, and a demo for Star Wars: Battlefront.

With the release of Revenge of the Sith, which depicts how and why Anakin Skywalker turned to the dark side of the Force, Lucas once again altered Return of the Jedi to bolster the relationship between the original trilogy and the prequel trilogy. The original and Special Edition versions of Return of the Jedi featured British theatre actor Sebastian Shaw playing both the dying Anakin Skywalker and his ghost. In the DVD release, Shaw's portrayal of Anakin's ghost is replaced by Hayden Christensen, who portrayed Anakin in Attack of the Clones and Revenge of the Sith. The change drew further fan criticism directed toward Lucas. All three films in the original Star Wars trilogy have since been released, individually, on DVD. These versions were originally slated to only be available from September 12, 2006 to December 31, 2006, although they remained in print and were packaged with the 2004 versions again in a new set on November 4, 2008.^[40] Although the 2004 versions in these sets each feature an audio commentary, no other extra special features were included to commemorate the original cuts.

A Blu-ray Disc version of the Star Wars saga was announced for release in 2011 during Star Wars Celebration V. Several deleted scenes from Return of the Jedi were included for the Blu-ray version, including a sandstorm sequence following the Battle at the Sarlacc Pit, a scene featuring Moff Jerjerrod and Death Star officers during the Battle of Endor, and a scene where Darth Vader communicates with Luke via the Force as Skywalker is assembling his new lightsaber before he infiltrates Jabba's palace.^[41] On January 6, 2011, the release was announced for September 2011 in three different editions.^[42]

3D re-release[link]

On September 28, 2010, it was announced that all six films in the series will be converted to stereoscopic 3D. The films are being re-released in numerical order, beginning with The Phantom Menace on February 10, 2012. Return of the Jedi is scheduled to be re-released in 3D in 2017 and will coincide with the 40th anniversary of the franchise.

Marketing[link]

Novelization[link]

The novelization of Return of the Jedi was written by James Kahn and was released on May 12, 1983, thirteen days before the film's release.^[43] It contains many scenes that were deleted from the final cut as well as certain assertions which have since been superseded by the prequel trilogy. For example, Kahn writes that Owen Lars is the brother of Obi-Wan Kenobi, while in Attack of the Clones he is instead shown to be the stepbrother of Anakin Skywalker. When Leia is captured by Jabba, instead of him saying "I'm sure" to her warning of her powerful friends, he says, "I'm sure, but in the meantime, I shall thoroughly enjoy the pleasure of your company." Additionally, instead of simply licking his lips as seen in the movie, he is described as planting "a beastly kiss squarely on the Princess's lips." Later, the Force spirit of Obi-Wan reveals that he was able to hide Luke and Leia from Anakin because he did not know that his wife was pregnant when he "left," presumably when he became Vader. This is partly contradicted by Revenge of the Sith, in which Anakin is unaware his wife was expecting twins and believes their child died with her. A facet of the story which was made more clear in the novel was the confusion which overtook the Imperial forces upon the death of Palpatine, who ceased to be the guiding will animating the Empire. It also further supports the events depicted in all post-Return of the Jedi fiction.

Radio drama[link]

A radio drama adaptation of the film was written by Brian Daley with additional material contributed by John Whitman and was produced for and broadcast on National Public Radio in 1996. It was based on characters and situations created by George Lucas and on the screenplay by Lawrence Kasdan and George Lucas. The first two Star Wars films were similarly adapted for National Public Radio in the early 1980s, but it was not until 1996 that a radio version of Return of the Jedi was heard. Anthony Daniels returned as C-3PO, but Mark Hamill and Billy Dee Williams did not reprise their roles as they had for the first two radio dramas. They were replaced by newcomer Joshua Fardon as Luke Skywalker and character actor Arye Gross as Lando Calrissian. John Lithgow voiced Yoda, whose voice actor in the films has always been Frank Oz. Bernard Behrens returned as Obi-Wan Kenobi and the late Brock Peters reprised his role as Darth Vader. Veteran character actor Ed Begley, Jr. played Boba Fett. Edward Asner also guest-starred speaking only in grunts as the voice of Jabba the Hutt. The radio drama had a running time of three hours.^[44]

Principal production of the show was completed on February 11, 1996. Only hours after celebrating its completion with the cast and crew of the show, Daley died of pancreatic cancer. The show is dedicated to his memory.

The cast and crew recorded a get-well message for Daley, but the author never got the chance to hear it. The message is included as part of the Star Wars Trilogy collector's edition box set.

References[link]

Citations[link]

Bibliography[link]

Arnold, Alan. Once Upon a Galaxy: A Journal of Making the Empire Strikes Back. Sphere Books, London. 1980. ISBN 978-0-345-29075-5

External links[link]

Wikiquote has a collection of quotations related to: Star Wars Episode VI: Return of the Jedi

• Star Wars Episode VI: Return of the Jedi
• Star Wars Episode VI: Return of the Jedi at the Internet Movie Database
• Star Wars Episode VI: Return of the Jedi at AllRovi
• Star Wars Episode VI: Return of the Jedi at Rotten Tomatoes
• Star Wars Episode VI: Return of the Jedi at Box Office Mojo
• Star Wars Episode VI: Return of the Jedi on Wookieepedia: a Star Wars Wiki
• Star Wars Episode VI: Return of the Jedi at The World of Star Wars

v t e Star Wars Main films Original trilogy Episode IV: A New Hope · Episode V: The Empire Strikes Back · Episode VI: Return of the Jedi Prequel trilogy Episode I: The Phantom Menace · Episode II: Attack of the Clones · Episode III: Revenge of the Sith See also Sequel trilogy · Changes in theatrical and video releases Spin-off films Caravan of Courage · The Battle for Endor · The Clone Wars Television series Droids · Ewoks · Clone Wars · The Clone Wars · Underworld Television specials Holiday Special · The Great Heep Documentaries The Making of Star Wars · SP FX: The Empire Strikes Back · Classic Creatures: Return of the Jedi · From Star Wars to Jedi: The Making of a Saga · Empire of Dreams · Star Wars: The Legacy Revealed Other media Books · Comics (List) · Manga · Radio · Computer and video games (List) · Games · Music · Expanded Universe · Knights of the Old Republic · Shadows of the Empire · The Force Unleashed · Lego Star Wars Films · Star Tours · Star Tours: The Adventures Continue · Star Wars: In Concert · Star Wars Insider · Star Wars Celebration · Star Wars Weekends Related topics Architecture · Canon · Cast · Characters · Conflicts · Creatures · Cultural impact · Holiday · Jedi census · Languages · Locations · Opening Crawl · Philosophy and religion · Physics · Vehicles · Weapons (Death Star) · Comparison to Star Trek Book · Category · Portal · WikiProject

Track listing[link]

1. "#1 Suspect" - 4:09
2. "Homicide" - 4:06
3. "Shootin' on 'Em" - 3:54
4. "Commercial #1" - 1:12
5. "Incarcerated" - 3:52
6. "Project Pimp" - 4:19
7. "Commercial #2" - 0:59
8. "Gangsta Shit" - 4:17
9. "Love 4 Gangstas" - 4:09
10. "Commercial #3" - 1:01
11. "Who da Gangsta" - 4:22
12. "You Can't Get None" - 4:18
13. "Pimp's Day Out" - 4:19
14. "The Interview" - 1:04

John Williams
Williams at the Avery Fisher Hall in 2007
Background information
Birth name	John Towner Williams
Born	(1932-02-08) February 8, 1932 (age 80)
Origin	Flushing, Queens, New York, United States of America
Genres	Film score, Contemporary classical music, Jazz
Occupations	Composer, pianist, conductor
Years active	1952–present

John Towner Williams (born February 8, 1932) is an American composer, conductor, and pianist. In a career spanning almost six decades, he has composed some of the most recognizable film scores in the history of motion pictures, including the Star Wars saga, Jaws, Superman, the Indiana Jones films, E.T. the Extra-Terrestrial, Hook, Jurassic Park, Schindler's List, War Horse, Home Alone and the first three Harry Potter films. He has had a long association with director Steven Spielberg, composing the music for all but two (Duel and The Color Purple) of Spielberg's major feature films.

Other notable works by Williams include theme music for four Olympic Games, NBC Sunday Night Football, the NBC Nightly News, the rededication of the Statue of Liberty, and the television series Lost in Space. Williams has also composed numerous classical concerti, and he served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993; he is now the orchestra's conductor laureate.

Williams has won five Academy Awards, four Golden Globe Awards, seven BAFTA Awards, and 21 Grammy Awards. With 47 Academy Award nominations, Williams is the second most nominated person, after Walt Disney.^[1] John Williams was honored with the prestigious Richard Kirk award at the 1999 BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music.^[2] Williams was inducted into the Hollywood Bowl Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004.

Early life and family[link]

John Williams was born on February 8, 1932 on Long Island, New York, the son of Esther (née Towner) and Johnny Williams.^[3] His father was a jazz percussionist who played with the Raymond Scott Quintet.

In 1948, the Williams family moved to Los Angeles where John attended North Hollywood High School graduating in 1950. He later attended the University of California at Los Angeles (UCLA), and studied privately with the Italian composer Mario Castelnuovo-Tedesco.^[4] In 1952, Williams was drafted into the U.S. Air Force, where he conducted and arranged music for the Air Force Band as part of his assignments.

After his Air Force service ended in 1955, Williams moved to New York City and entered the Juilliard School, where he studied piano with Rosina Lhévinne.^[4] During this time, Williams worked as a jazz pianist in New York's many clubs and eventually studios, most notably for composer Henry Mancini. His fellow session musicians included Rolly Bundock on bass, Jack Sperling on drums, and Bob Bain on guitar—the same lineup featured on the Mr. Lucky television series. Williams was known as "Little Johnny Love" Williams during the early 1960s, and he served as music arranger and bandleader for a series of popular music albums with the singer Frankie Laine.

Williams was married to actress Barbara Ruick from 1956 until her death on March 3, 1974. The Williamses had three children: Jennifer (born 1956), Mark (born 1958), and Joseph (born 1960). Williams' younger son (Joseph) is one of the various lead singers the band Toto. John Williams married his second wife, Samantha Winslow, on July 21, 1980.

John Williams is an honorary member of Kappa Kappa Psi, the national fraternity for college band members.

Film and television scoring[link]

Williams at the Boston Symphony Hall after conducting the Boston Pops, May 2006

While skilled in a variety of 20th century compositional idioms, Williams' most familiar style may be described as a form of neoromanticism,^[5] inspired by the same large-scale orchestral music of the late 19th century—especially the compositions of Richard Wagner and its concept of leitmotif—that inspired his film music predecessors.^[6]

After his studies at Juilliard, Williams returned to Los Angeles, where he began working as an orchestrator at film studios. Among other composers, Williams worked with Franz Waxman, Bernard Herrmann, and Alfred Newman, and also with his fellow orchestrators Conrad Salinger and Bob Franklyn.^[7] Williams was also a studio pianist, performing on film scores by composers such as Jerry Goldsmith, Elmer Bernstein, and Henry Mancini. Williams recorded with Henry Mancini on the film scores of Peter Gunn (1959), Days of Wine and Roses (1962), and Charade (1963). (Williams actually played the well-recognized opening riff to Mancini's Peter Gunn theme.^[8][9]) Williams (often credited as "Johnny Williams") also composed the music for various TV programs in the 1960s: The pilot episode of Gilligan's Island,^[10] Bachelor Father (1959-1960), the Kraft Suspense Theatre, Lost in Space (1965–68), The Time Tunnel (1966–67), and Land of the Giants (the last three created by the prolific TV producer, Irwin Allen).

Working at Universal Studios, Williams shared music credit on a number of films, the most notable being The Creature from the Black Lagoon in 1954. Williams's first major film composition was for the B movie Daddy-O in 1958, and his first screen credit came two years later in Because They're Young. He soon gained notice in Hollywood for his versatility in composing jazz, piano, and symphonic music. Williams received his first nomination for an Academy Award for his film score for Valley of the Dolls (1967), and then was nominated again for his score for Goodbye, Mr. Chips (1969). Williams broke through to win his first Academy Award for his adapted score for the film Fiddler on the Roof (1971). In 1972 he composed the score for the Robert Altman psychological thriller Images (recorded in collaboration with noted percussionist Stomu Yamashta) which earned him another nomination in the category 'Best Music, Original Dramatic Score' at the 1973 Academy Awards. During the early 1970s, Williams' prominence grew thanks to his work for now–film producer Irwin Allen's disaster films, composing the scores for The Poseidon Adventure (1972) and The Towering Inferno (1974). In addition, he scored Universal's Earthquake (1974) for director Mark Robson, completing a "trinity" of scores for the highest grossing "disaster films" of the decade. He also wrote a very memorable score to The Cowboys (1972), a western starring John Wayne and directed by Mark Rydell.

In 1974, Williams was approached by director Steven Spielberg to compose the music for his feature directorial debut, The Sugarland Express. The young director had been impressed with Williams's score for the movie The Reivers (1969), and Spielberg was convinced that Williams could compose the musical sound that he desired for any of his films. They teamed up again a year later for Spielberg's second film, Jaws. Widely considered to be a classic suspense film, its film score's ominous two-note motif has become synonymous with sharks and approaching danger. The score for Jaws earned Williams his second Academy Award, his first one for an original composition.

Shortly thereafter, Williams and Spielberg began a long collaboration for their next feature film together, Close Encounters of the Third Kind (CE3K, 1977). In an unusual step for a Hollywood film, Spielberg and Williams developed their script and musical concepts simultaneously, as in the film these entwine very closely together. During their two-year-long collaboration, they crafted its distinctive five-note figure that functions both in the background music and as the communications signal of the film's extraterrestrials. Williams also used a system of musical hand signals in CE3K that were based on hand signs created by John Curwen and refined by Zoltan Kodaly.

During the same period, Spielberg recommended Williams to his friend and fellow director George Lucas, who needed a composer to score his ambitious space epic, Star Wars (1977). Williams delivered a grand symphonic score in the fashion of Richard Strauss and Golden Age Hollywood composers Max Steiner and Erich Wolfgang Korngold. Its main theme, "Luke's Theme" is among the most widely recognized in motion picture history, and the "Force Theme" and "Princess Leia's Theme" are well-known examples of leitmotif. Both the film and its soundtrack were immensely successful—it remains the highest grossing non-popular music recording of all-time—and Williams won another Academy Award for Best Original Score. In 1980, Williams returned to score The Empire Strikes Back, where he introduced "The Imperial March" as the theme for Darth Vader and the Galactic Empire. The original Star Wars trilogy concluded with the 1983 film Return of the Jedi, for which Williams's score provided most notably the "Emperor's Theme," "Parade of the Ewoks," and "Luke and Leia." Both scores earned Williams Academy Award nominations.

John Williams conducting the music score to Raiders of the Lost Ark in the Avery Fisher Hall.

Williams worked with director Richard Donner to score the 1978 film Superman. The score's heroic and romantic themes, particularly the main march, the Superman fanfare and the love theme, known as "Can You Read My Mind," would appear in the four sequel films. For the 1981 film Raiders of the Lost Ark, created and directed by Lucas and Spielberg, Williams wrote a rousing main theme known as "The Raiders March" to accompany the film's hero, Indiana Jones. He also composed separate themes to represent the Ark of the Covenant, the character Marion, and the Nazi villains of the story. Additional themes were featured in his scores to the sequel films Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), and Indiana Jones and the Kingdom of the Crystal Skull (2008). Williams composed an emotional and sensitive score to Spielberg's 1982 fantasy film E.T. the Extra-Terrestrial. The music conveys the film's benign, childlike sense of innocence, particularly with a spirited theme for the freedom of flight, and a soft string-based, harp-featured theme for the friendship between characters E.T. and Elliott. The film's final chase and farewell sequence marks a rare instance in film history in which the on-screen action was re-edited to conform to the composer's musical interpretation. Williams was awarded a fourth Academy Award for this score.

The 1985 film The Color Purple is the only theatrical feature directed by Steven Spielberg for which John Williams did not serve as composer. The film's producer, Quincy Jones, wanted to personally arrange and compose the music for the project. Williams also did not score Twilight Zone: The Movie, but Spielberg had directed only one of the four segments in that film; the lead director and producer of the film, John Landis, selected Jerry Goldsmith as composer. The Williams-Spielberg collaboration resumed with the director's 1987 film Empire of the Sun, and has continued to the present, spanning genres from science fiction thrillers (1993's Jurassic Park), to somber tragedies (1993's Schindler's List, 2005's Munich), to Eastern-tinged melodramas (2005's Memoirs of a Geisha, directed by Rob Marshall). Spielberg has said, "I call it an honorable privilege to regard John Williams as a friend."^[11]

In 1999 George Lucas launched the first of a series of prequels to the original Star Wars trilogy. Williams was asked to score all three films, starting with The Phantom Menace. Along with themes from the previous movies, Williams created new themes to be used as leitmotifs in Attack of the Clones (2002) and Revenge of the Sith (2005). Most notable of these was "Duel of the Fates," an aggressive choral movement utilizing harsh Sanskrit lyrics that broadened the style of music used in the Star Wars films. Also of note was "Anakin's Theme," which begins as an innocent childlike melody and morphs insidiously into a quote of the sinister "Imperial March" of the prior trilogy. For Episode II, Williams composed "Across the Stars," a love theme for Padmé Amidala and Anakin Skywalker (mirroring the love theme composed for the second film of the previous trilogy, The Empire Strikes Back). The final installment combined many of the themes created for the series' previous movies, including "The Emperor's Theme," "The Imperial March," "Across the Stars," "Duel of the Fates," "The Force Theme," "Rebel Fanfare," "Luke's Theme," and "Princess Leia's Theme," as well as new themes for General Grievous and the film's climax, entitled "Battle of the Heroes." Few composers have scored an entire series of this magnitude: The combined scores of all six Star Wars films add up to more than 14 hours of orchestral music.

In the new millennium, Williams was asked to score the film adaptations of the widely successful book series, Harry Potter. He went on to score the first three installments of the film franchise. As with his Superman theme, the most important theme from Williams's scores for the adaptations of J. K. Rowling's Harry Potter series, dubbed Hedwig's Theme, has been used in the fourth, fifth, sixth, seventh and eighth films (Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince, Harry Potter and the Deathly Hallows – Part 1 and Harry Potter and the Deathly Hallows – Part 2), scored by Patrick Doyle, Nicholas Hooper and Alexandre Desplat respectively. Like the main themes from Star Wars, Jaws, Superman, and Indiana Jones, fans have come to identify the Harry Potter films with Williams's original compositions. Williams was asked to return to the film franchise to score the final installment, Harry Potter and the Deathly Hallows – Part 2, but director David Yates stated that "their schedules simply did not align" as he would have had to provide Williams with a rough cut of the film sooner than was possible.

In 2006 Superman Returns was completed under the direction of Bryan Singer, best known for directing the first two movies in the X-Men series. Although Singer did not request Williams to compose a score for the intentionally Donner-esque film, he employed the skills of X2 composer John Ottman to incorporate Williams's original Superman theme, as well as those for Lois Lane, Krypton and Smallville. Don Davis performed a similar role for Jurassic Park III, recommended to the producers by Williams himself. (Film scores by Ottman and to a lesser extent Davis are often compared to those of Williams, as both use similar styles of composition.)

In 2008 Williams returned to the Indiana Jones series to score the fourth film—The Kingdom of the Crystal Skull. He received a Grammy nomination for his work on the film. During 2008, he also composed music for two documentaries, Warner at War,^[12] and A Timeless Call,^[13] the latter of which was directed by Steven Spielberg.

After a three year absence from film scoring, Williams composed the scores for Spielberg's The Adventures of Tintin: The Secret of the Unicorn and War Horse in 2011. Both scores received overwhelmingly positive reviews,^{[14][15][16][17][18][19]} with both scores earning Oscar nominations,^[20] and the latter being nominated for a Golden Globe.^[21] The Oscar nominations are Williams' 46th and 47th, making him the most nominated musician in Academy Awards history (having previously been tied with Alfred Newman's 45 nominations), and the second most nominated overall, following Walt Disney. Williams won an Annie Award for his score for The Adventures of Tintin: The Secret of the Unicorn in 2012.

Williams is next scheduled to score Spielberg's 2012 film Lincoln.

Conducting and performing[link]

Williams signing an autograph after a concert

From 1980 to 1993, Williams succeeded Arthur Fiedler as Principal Conductor of the Boston Pops Orchestra. Williams never met Fiedler in person but spoke with him by telephone. His arrival as the new leader of the Pops in the spring of 1980 allowed him to devote part of the Pops' first PBS broadcast of the season to presenting his new compositions for The Empire Strikes Back, in addition to conducting many Fiedler audience favorites.

Williams almost ended his tenure with the Pops in 1984.^[22] Considered a customary practice of opinion, some players hissed while sight-reading a new Williams composition in rehearsal; Williams abruptly left the session and turned in his resignation. He initially cited mounting conflicts with his film composing schedule, but later admitted a perceived lack of discipline in and respect from the Pops' ranks, culminating in this latest instance. After entreaties by the management and personal apologies from the musicians, Williams withdrew his resignation and continued as principal conductor for nine more years.^[23] In 1995 he was succeeded by Keith Lockhart, the former associate conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra.

Williams is now the Laureate Conductor of the Pops, thus maintaining his affiliation with its parent, the Boston Symphony Orchestra (BSO). Williams leads the Pops on several occasions each year, particularly during their Holiday Pops season and typically for a week of concerts in May. He conducts an annual Film Night at both Boston Symphony Hall and Tanglewood, where he frequently enlists the Tanglewood Festival Chorus, official chorus of the BSO....

Williams has written many concert pieces, including a symphony; a Concerto for Horn written for Dale Clevenger, principal hornist of the Chicago Symphony; a Concerto for Clarinet written for Michele Zukovsky (Principal Clarinetist of the Los Angeles Philharmonic) in 1991;^[24] a sinfonietta for wind ensemble; a cello concerto premiered by Yo-Yo Ma and the Boston Symphony Orchestra at Tanglewood in 1994; concertos for the flute and violin recorded by the London Symphony Orchestra; and a trumpet concerto, which was premiered by the Cleveland Orchestra and their principal trumpet Michael Sachs in September 1996. His bassoon concerto, "The Five Sacred Trees", which was premiered by the New York Philharmonic and principal bassoon player Judith LeClair in 1995, was recorded for Sony Classical by Williams with LeClair and the London Symphony Orchestra. He is also an accomplished pianist, as can be heard in various scores in which he provides solos, as well as a handful of European classical music recordings.

Williams was the subject of an hour-long documentary for the BBC in 1980, and was featured in a story for ABC's newsmagazine 20/20 in 1983.^[25]

Stanley Donen (left) and John Williams at Avery Fisher Hall

In 1985, Williams was commissioned by NBC to compose a television news music package for various network news spots. The package, which Williams named "The Mission", consists of four movements, two of which are still used heavily by NBC today for The Today Show, NBC Nightly News, and Meet the Press. Williams also composed the "Liberty Fanfare" for the rededication of the Statue of Liberty, "We're Lookin' Good!" for the Special Olympics in celebration of the 1987 International Summer Games, and themes for the 1984, 1988, 1996, and 2002 Olympic games. His most recent concert work, "Seven for Luck", for soprano and orchestra, is a seven-piece song cycle based on the texts of former U.S. Poet Laureate Rita Dove. "Seven for Luck" was given its world premiere by the Boston Symphony under Williams with soprano Cynthia Haymon.

Williams conducting at Hollywood Bowl.

Williams makes annual appearances with the Los Angeles Philharmonic at the Hollywood Bowl, and took part as conductor and composer in the orchestra's opening gala concerts for the Walt Disney Concert Hall in 2003.

In 2004, Williams both served as the Grand Marshall for the Rose Parade, and directed the Star Spangled Banner at the beginning of the Rose Bowl.

In April 2005, Williams and the Boston Pops performed "The Force Theme" from Star Wars at opening day in Fenway Park as the Boston Red Sox, having won their first World Series championship since 1918, received their championship rings. For Game 1 of the 2007 World Series, Williams conducted a brass-and-drum ensemble through a new dissonant arrangement of the "Star Spangled Banner."^[25]

In April 2004, February 2006, and September 2007, he conducted the New York Philharmonic at Avery Fisher Hall in New York City. The initial program was intended to be a one-time special event, and featured Williams's medley of Oscar-winning film scores first performed at the previous year's Academy Awards.^[26] Its unprecedented popularity led to two concerts in 2006: fundraising gala events featuring personal recollections by film directors Martin Scorsese and Steven Spielberg.^[27] Continuing demand fueled three more concerts in 2007, which all sold out. These featured a tribute to the musicals of film director Stanley Donen, and had the distinction of serving as the opening event of the New York Philharmonic season.^[28] After a four-season absence, Williams conducted the Philharmonic once again in October 2011.^[29]

Awards[link]

John Williams has won five Academy Awards, and four Golden Globe Awards. He has also been nominated for 22 Golden Globes, winning four, and 59 Grammys, winning 20. With 47 Oscar nominations, Williams currently holds the record for the most Oscar nominations for a living person,^[30][31] and is the second most nominated person in the history of the Academy Awards behind only Walt Disney's 59. Forty-two of Williams' Oscar nominations are for Best Original Score and five are for Best Original Song. He won four Oscars for Best Original Score and one for Best Adapted Score (Fiddler on the Roof).

Williams has received three Emmy Awards and five nominations, seven BAFTAs, twenty Grammy Awards, and has been inducted into the American Classical Music Hall of Fame and the Hollywood Bowl Hall of Fame. In 2004 he received a Kennedy Center Honor. He won a Classical Brit award in 2005 for his soundtrack work of the previous year.

Notably, Williams has won the Grammy Award for Best Instrumental Composition for his scores for Star Wars, Close Encounters of the Third Kind, Superman, The Empire Strikes Back, E.T. The Extraterrestrial, Angela's Ashes (1999), Munich (2005), and Indiana Jones and the Kingdom of the Crystal Skull. The competition includes not only composers of film scores, but also composers of instrumental music of any genre, including composers of classical fare such as symphonies and chamber music.

In 2003, the International Olympic Committee accorded Mr. Williams its highest individual honor, the Olympic Order.^[32]

In 2009, Williams received the National Medal of Arts in the White House in Washington for his achievements in symphonic music for motion pictures, and "as a pre-eminent composer and conductor [whose] scores have defined and inspired modern movie-going for decades."^[33]

John Williams was made an honorary brother of Kappa Kappa Psi at Boston University in the late 80's. ^[34]

AFI[link]

Williams's richly thematic and highly popular 1977 score to Star Wars Episode IV: A New Hope was selected in 2005 by the American Film Institute as the greatest American movie score of all time. His scores for Jaws and E.T. also appeared on the list, at No. 6 and No. 14, respectively.^[35] He is the only composer to have three scores on the list. Williams' scores for the following films were nominated for the list:

• A.I. Artificial Intelligence (2001)
• Close Encounters of the Third Kind (1977)
• The Cowboys (1972)
• Harry Potter and the Sorcerer's Stone (2001)
• Raiders of the Lost Ark (1981)
• Schindler's List (1993)
• Superman (1978)
• The Witches of Eastwick (1987)

List of awards[link]