I want to talk a little bit about movies and music,
because I've always thought movies were like flashes of lightning
because each flash represents a single captured image,
there's 24 images a second,
all those images sail down beams of light onto a movie screen. 
And so, if movies are like lightning then the musical score for me is like thunder.
It can shake things up for years,
and it can even remain in our memories
a lot longer than the films that accompanied that music.
I got a couple of those that Johnny scored 
where the music is more popular — a lot more popular — than the movie.
But there's no better marriage of mediums than music and movies,
and in the silent era D.W. Griffith and Mack Sennett and Charlie Chaplin,
they knew that better than anyone, 
because in those pre-Jazz Singer days,
before the talking picture,
all we had were the flickering images on the screen and there was a piano off to the corner,
and this piano accompanied the actual storyline,
and cued us when to laugh, and cued us when to cry, and sometimes cued us when to hide our eyes.
And I think it was during this arranged marriage of image and music
that audiences fell in love with the movies
and look how far we've come and how lucky we are to have
the great maestro of film music, John Williams,
performing with his friends, the great Seattle Symphony. 
