Minority Report (Film)


The score was composed and conducted by John Williams and orchestrated by John Neufeld, with vocals by Deborah Dietrich. Williams normally enters Spielberg productions at an early stage, well before the movie starts shooting. For Minority Report however, his entry was delayed due to his work on Star Wars Episode II: Attack of the Clones, and he joined the film when it was nearly completed, leaving him scant production time. The soundtrack takes inspiration from Bernard Herrmann's work.[99] Williams decided not to focus on the science fiction elements, and made a score suitable for film noir. He included traditional noir elements such as a female singer in the Anne Lively scenes, but the "sentimental scenes", which Williams considered unusual for that genre, led to soothing themes for Anderton's ex-wife Lara and son Sean.[59] The track "Sean's Theme" is described as the only one "instantly recognizable as one of Williams'" by music critic Andrew Granade.[100] Spielberg typified it as "a black and white score" and said, "I think Johnny Williams does a really nice bit of homage to Benny Herrmann."[94]

In an interview which appeared in The New York Times, Williams said that the choices for many of the pieces of classical music were made by the studio. He also said that while he did not know why certain pieces were chosen, Franz Schubert's Symphony No. 8 (commonly known as the Unfinished Symphony), which features prominently in the film,[101] was most likely included because Anderton was a big fan of classical music in the script.[102] Some of the other choices, such as Gideon's playing of Jesu, Joy of Man's Desiring by Bach on an organ in the subterranean prison, were also in the screenplay, and he figured that "[t]hey are some writer's conception of what this character might have listened to."[102] Williams did choose the minuet from a Haydn string quartet (Op. 64, No. 1) which plays on the radio in the scene where Dr. Hineman is gardening in her greenhouse. He said he picked the piece because "[i]t seemed to me to be the kind of thing a woman like this would play on the radio."[102] The New York Times characterized the score as "evocative" and said it was "thoroughly modern" while also being "interlaced with striking snippets of masterworks."[102]

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