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Oscar and Grammy winning
musician and actor Paul Williams is responsible for some of music's
timeless hits, he is probably best known for his song written for a frog:
Kermit's "RAINBOW CONNECTION" for THE MUPPET MOVIE.
The member of the
Songwriting Hall Of Fame turned heads as the benevolent actor played the
villainous Swan in Brian De Palma's rock opera PHANTOM OF THE PARADISE (he
also co-wrote the Oscar nominated soundtrack), and followed suit with a
main role in the SMOKEY AND THE BANDIT trilogy. Last year, his song "WE'VE
ONLY JUST BEGUN," written for The Carpenters, turned up prominently in the
hit horror film 1408.
Via e-mail, Williams
stopped by the Crypt to talk about PHANTOM OF THE PARADISE, working with
Jim Henson and Jackie Gleason, winning the Oscar, and his feelings on his
song being used in 1408 in this Crypt exclusive.
COLONEL’S CRYPT: What inspired
you to pursue a career in music?
PAUL WILLIAMS: A failed acting career. I was 26, out of work after
small parts in a couple of big films, THE LOVED ONE and THE CHASE, pics
with big stars, Marlon Brando, Jonathan Winters, Redford, Jane Fonda and
playing kids half my age. Didn't spark the big career and I started
writing songs for my own amusement. A place to put the emotions I was
struggling with. I had a knack for lyrics and it led to a life I'd never
expected.
CC: Was composing always an interest in you and what were some of your
favorite films?
PW: I have no background in music, no training so composing wasn't
something I considered. But my early favorite films had music as part of
their setting. BLACKBOARD JUNGLE and THE MAN WITH THE GOLDEN GUN had rock
and jazz settings respectively.
CC: PHANTOM OF THE PARADISE is probably my favorite soundtrack from you
and a favorite in terms of musicals. How were you approached with PHANTOM
and what motivated you to do the film as composer and actor?
PW: I was asked to write the songs by Brian de Palma. As we worked
together he began to see me as Swan. It was a great experience working as
both music creator and actor. What's to hate? It was the best of both
worlds.
CC: How was the process working with Brian De Palma on the music with his
screenplay and how much input were you able to give while writing the
soundtrack?
PW: We both contributed story
elements. But it's his name on the screenplay as it should be. His
vision. His brilliance. I think what I helped increase was the element
that comments on the rise of theatrical violence and the inability of the
audience to separate reality and theatre.
CC: Why did the character of
Swan appeal to you so much?
PW: Power! He was a powerful if evil character, and a victim himself.
"I'm under contract too,” as he says. One of my favorite scenes is when we
see pre contract Swan, a whiney little self important guy confronted
by the extra smooth Swan/Devil. Who wouldn't want to play that?
CC: You turned down the studio's request to play Winslow. Why were you so
insistent on playing Swan?
PW: I couldn't possibly have pulled off the menace required to play the
Phantom. Also, it required playing most of the film with one eye. Bill
Finley did things behind that mask I never could have managed.
CC: How was working with Jessica Harper?
PW: Lovely.
CC: PHANTOM OF THE PARADISE has attained a cult following, with it being a
huge hit in other countries. What do you think is the film and
soundtrack's lasting impact?
PW: I think for a lot of teens it was a 'sexual and moral awakening'
kind of film. There were kids exposed to the whole Faustian legend that
hadn't heard of it. "Wow, selling his soul to the devil. Did you make
that up or Brian?" It’s cartoonishly simple at times and then very complex
in its emotional layers. I don't know why it resonates so heavily with
some audiences but I'm very grateful.
CC: Which was more special to you; winning two Grammys or the Oscar for A
STAR IS BORN?
PW: Winning
the Oscar (6 nominations so far) is a childhood fantasy realized for all
of us, I'm convinced. The Grammys are huge too but there's something
about holding that little man that's like 'dreams do come true.’ You can
almost hear Jiminy Cricket singing 'WHEN YOU WISH UPON A STAR' when you
hold it.
CC: With PHANTOM OF THE PARADISE, you worked with a director known for his
attention to detail in De Palma. In SMOKEY AND THE BANDIT, you worked
literally with no script. Was that aspect most challenging to you as an
actor?
PW: SMOKEY AND THE BANDIT, all
three were just a hoot. I've described them as a vacation to make and a
job to watch. It was great fun hanging with Pat McCormick, Gleason, Jerry
Reed and the gang.
CC: How was working with Jackie Gleason and how was it to keep up with his
improvisations?
PW: It was like being around a true master. I should have kept a tape
recorder running round the clock. He had a great sense of what worked and
what didn't. At the time I drank too much and keeping up with him almost
killed me.
CC: How were you approached
for THE MUPPET MOVIE?
PW: I met Jim Henson on the Muppet Show in
England. He asked me to do
EMMET OTTER’S JUG-BAND CHRISTMAS with him, an HBO special that tried some
effects they'd eventually use in THE MUPPET MOVIE. The collaboration was
great fun and when he asked me to stay on for the movie I was thrilled to
do so. I brought Kenny Ascher in to write with me on that one.
CC: Today, "RAINBDOW
CONNECTION" is regarded as the song most identifiable with the Muppets and
is an American staple. How did the song come about?
PW: You read the script and try to write what's required. What does
Kermit think about? How do we show his 'inner life,’ that he's a
'thoughtful frog?' There's water, light, and rainbows. But the first line
of the song tells us this is a frog that knows pop culture. He’s been to
the movies.
CC: "WE'VE ONLY JUST BEGUN" was featured prominently in last year's 1408
in a spooky way. How did you feel about the song being used in a different
light and to have it a major part of the film?
PW: I cashed the check and
wept.
CC: What’s next for you?
PW: I'm busy working on stage musicals. Garry Marshall and I have
written a musical based on his hit TV series, HAPPY DAYS that opens at the
Goodspeed Opera House in
Connecticut this April. It
runs 13 weeks before touring the nation. I'm also working with the Henson
folk developing a large scale Holiday stage version of EMMET OTTER'S
JUG-BAND CHRISTMAS.
CC: Thank you for your time
Paul.
PW: You’re welcome.
Visit Paul's website at
www.paulwilliamsconnection.org
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