The Legacy of John Williams

---

Table Of Contents

• Film Details
• Music Credits
• Essential Discography
• Awards and Nominations
• Quotes and Commentary
• Videos
• Bibliography and References

---

Film Details

Year: 1996
Studios: Warner Bros.
Director: Barry Levinson
Producers: Barry Levinson, Steve Golin
Executive Producers: Peter Giuliano
Writer: Barry Levinson, based on the book by Lorenzo Carcaterra
Main Cast: Kevin Bacon, Robert De Niro, Dustin Hoffman, Bruno Kirby, Jason Patric, Minnie Driver, Brad Renfro, Billy Crudup, Ron Eldard, Vittorio Gassman
Genre: Crime – Drama – Thriller

For synopsis and full cast and crew credits, visit the IMDb page

---

Music Credits

Music Composed and Conducted by John Williams

Flute Solos: Janet Ferguson
French Horn Solos: James Thatcher

Music Editor: Kenneth Wannberg
Scoring Mixer: Shawn Murphy
Assistant Engineer: Sue McLean
Music Preparation: JoAnn Kane Music Service
Orchestra Contractor: Sandy DeCrescent
Orchestrator: John Neufeld

Recorded at Sony Pictures Scoring Stage, Culver City, California and Todd-AO Scoring Stage, Studio City, California
Recording Dates: May 4 and June 3-7, 1996

---

Essential Discography

---

Selected Re-recordings

---

Awards and Nominations

69th Academy Awards
Nomination: Best Original Dramatic Score

---

Quotes and Commentary

“The idea of these reform schools, and some of the things that went on and were denied— the sexual abuse to these kids, etc.— I thought it was something that was a really tough subject to deal with, but I thought it was valid to do.

“For Sleepers, I thought, ‘Well, this could be something that [John Williams] might be interested in. I know he can do this.’

“[Williams’ score] doesn’t become sentimental in any way. I was thinking of [Leonard] Bernstein in that way— not to copy any of that, but somehow in that wheelhouse of emotion, and a certain kind of subtextual uneasiness.”¹
– Barry Levinson, writer and director

---

All of the tracks demonstrate a creative tenacity denotative of their creator. Longueurs of synthesized clicks, whistles and moods are not standard in his repertoire, but they do have precedents and are skillfully interpolated. […] The orchestral center of the score sounds reminiscent of many things, yet the implementation overall almost jolts the listener with its imaginative stride.

The music is unmistakably urban, with a main theme developed on the darker side of The River. No commentary of this score is complete without mentioning that Williams uses an orchestra to emulate the sounds of a moving subway train and, later, a siren, with mere support via electronic means. We hear original 20th century choral music twist darkly around slow, steady beats from a drum machine. We hear a surge of triumphant orchestral lyricism interrupted by dissonance before fading to a bittersweet end.

Does the score function on both the cinematic and listening levels? Yes. It gains from repeat listens. It is not upbeat, it is not exhilarating, it is certainly not cuddly, but it is a palimpsest of remarkable dramatic & musical ideas. There really is a wealth of innovation. And it is all Williams’. ²
– Jeffrey Wheeler

---

Videos

Opening Scene | Sleepers (1996) | Warner Bros./Polygram Filmed Entertainment

Shakes’ confession to Father Bobby | Sleepers (1996) | Warner Bros./Polygram Filmed Entertainment

Reunion and Finale | Sleepers (1996) | Warner Bros./Polygram Filmed Entertainment

---

Scoring sessions excerpt | Sleepers EPK | Polygram Filmed Entertainment | 1996

---

Brett Mitchell performs his original solo piano arrangement of ‘Reunion and Finale’ from Sleepers

---

References

1. Quoted in Tim Greiving, John Williams – A Composer’s Life, Oxford University Press, 2025, p. 391 ↩︎
2. Jeffrey Wheeler, Sleepers – Soundtrack CD review, Film Music On The Web, June 2001 ↩︎

Legacy of John Williams Additional Resources

. L.A. Studio Legends: James Thatcher (podcast interview)

---

<- Back to Filmography page