5 Minutes
Williams and Spielberg: the legendary pairing continues
John Williams is back in the composer’s chair, reuniting with Steven Spielberg for an untitled UFO-centered feature slated for 2026. The announcement — first relayed by Juilliard president Damian Woetzel at an event honoring Williams — confirms what fans of blockbuster film music have hoped for: another collaboration between two of cinema’s most enduring creative partners.
The news, reported by IGN and music journalist Doug Adams, says Williams is currently in Los Angeles "doing what he always does: working with Steven Spielberg on his next movie." While plot details remain tightly under wraps, the project is known to be an extraterrestrial-themed film scripted by longtime Spielberg collaborator David Koepp and backed by Universal Pictures.
What we know about the UFO project
Concrete facts are scarce: the film was first mentioned publicly in mid-2024, it revolves around UFOs, and industry heavyweights are attached. David Koepp — whose screenplays include Jurassic Park, The Lost World, War of the Worlds, and Indiana Jones and the Kingdom of the Crystal Skull — is penning the script. Universal’s involvement signals major-studio production values and a wide theatrical push expected in 2026.
How this fits into a remarkable career
If released as planned, this will be the 30th Spielberg-directed feature scored by John Williams — a staggering statistic that reflects more than five decades of collaboration. Williams, now in his nineties, has been an institution in film music: 54 Academy Award nominations and five wins, with iconic themes from Jaws, Star Wars, E.T., Indiana Jones, Jurassic Park, Schindler’s List, and many more.
Williams had previously suggested that Indiana Jones and the Dial of Destiny might be his final film score, but he softened that position in 2024, noting he wouldn’t rule out projects that truly inspire him. This UFO film appears to be exactly that kind of project.
Context and comparisons
A Spielberg UFO drama naturally invites comparisons to his earlier encounters-with-the-unseen work: Close Encounters of the Third Kind and E.T. share thematic DNA — wonder, dread, and the power of orchestral scoring to pull audiences into the unknown. David Koepp’s involvement also echoes his past collaborations that straddle science fiction and spectacle (see War of the Worlds), suggesting a blend of human drama and large-scale cinematic set pieces.
On the music side, Williams’ return follows a trend of veteran composers re-engaging with blockbuster franchises and prestige studio films, underscoring how much contemporary cinema still values live orchestral scores in an era of electronic production and streaming-first releases.
Behind the scenes & fan anticipation
Trivia for fans: Williams and Spielberg’s creative partnership began in the 1970s and has shaped the sound of modern Hollywood. Their work together often defines a film’s emotional core, making Williams’ involvement here a key early indicator of the movie’s tonal ambitions. Cinephile communities are already buzzing: early speculation centers on whether Williams will revisit motifs from his earlier Spielberg scores or craft an entirely new sonic language to evoke extraterrestrial mystery.
“Williams has a unique gift for turning the unknowable into something human through music,” says cinema historian Marko Jensen. “If anyone can make an audience feel both terrifying awe and tender intimacy about aliens, it’s him. This score will likely be a masterclass in cinematic storytelling.”
Industry implications
For Universal, securing this creative nucleus — Spielberg, Koepp, and Williams — is a strategic win, positioning the film as a tentpole that can appeal to older audiences nostalgic for classic Spielberg while also drawing younger viewers with blockbuster spectacle. For film music enthusiasts, the project is a reminder that orchestral scoring remains a crucial element of mainstream cinema’s emotional machinery.
Whether Williams retools familiar leitmotifs or composes something wholly new, his presence elevates expectations. Expect a classic orchestral palette, meticulous thematic development, and a score that aims to be both memorable and narratively integral.
In short: details are tantalizingly limited, but the creative team alone guarantees high interest. As production progresses, every casting announcement, behind-the-scenes photo, or early score snippet will be scrutinized by fans and critics alike — and Williams’ approach to an alien-centered Spielberg film will almost certainly be a headline-making moment in film music for 2026.
Comments
mechbyte
Whoa! Williams at it again with Spielberg. Goosebumps. If he brings back that sense of wonder i'm done for... please be good, please
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