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Harry Potter and the Deathly Hallows Part 2?


Zach

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Now that I think about it... Could it be that Williams has started writing so early (again, if true) because he's composing some stuff for the Part II trailer?

Hmmmmmm...

I dont think that the composers of the films compose music for the trailers..he'd actually be scoring the movie, not the trailer for it. I've never heard of a composer like that scoring a trailer. But who knows.

But thanks for the info on Conrad Pope..interesting..

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Now that I think about it... Could it be that Williams has started writing so early (again, if true) because he's composing some stuff for the Part II trailer?

Hmmmmmm...

I dont think that the composers of the films compose music for the trailers..he'd actually be scoring the movie, not the trailer for it. I've never heard of a composer like that scoring a trailer. But who knows.

Williams has specifically scored music for at least two trailers that I know of; Hook and Harry Potter and the Philosopher's Stone. It's unusual, but it's happened before.

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Williams has specifically scored music for at least two trailers that I know of; Hook and Harry Potter and the Philosopher's Stone. It's unusual, but it's happened before.

And don't forget the Prisoner of Azkaban trailer.

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Now that I think about it... Could it be that Williams has started writing so early (again, if true) because he's composing some stuff for the Part II trailer?

Hmmmmmm...

I dont think that the composers of the films compose music for the trailers..he'd actually be scoring the movie, not the trailer for it. I've never heard of a composer like that scoring a trailer.

Add Shore's Return of the King trailer to the list.

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Williams has specifically scored music for at least two trailers that I know of; Hook and Harry Potter and the Philosopher's Stone. It's unusual, but it's happened before.

And don't forget the Prisoner of Azkaban trailer.

Gosh, how did I forget that? PoA is still one of my all-time favourite trailers (the teaser is at least). 95% of trailers now are completely identical; brooding synth tones with dramatic flashes of scenes that don't do anything other than show off the already finished special effects. Ugh.

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I still don't get why people constantly bring up "War Horse" as an excuse for John Williams' unavailability. Spielberg is a fast, efficient filmmaker -- for all we know, "War Horse" could be finished, scored and locked by April 2011. There's numerous films Spielberg's directed and finished in record time -- "Munich" anyone?

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Perhaps it's more a case of JW not wanting to over-commit. Yes, he writes music all day every day, so that's not the issue, but he also has to conduct and record the music. That's probably the undesirable bit - travelling and conducting intensely in a short time period must be awfully draining, even for a pro like him. He ain't getting any younger.

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We all know, there's gonna be that point where Williams sees the 5-6 movies to get up to date and has this, "WTF is this crap?" moment.

He then will don his tuxedo, sharpen his motherfracking pencil, sit down at the damned piano...

...and write the most glorious symphonic ballet-quality movie score of his career, that will win him accolades, praise, Oscars, money, wealth, women...and most difficult of all, rekindle the love of us JWFanners for him

Or...he'll sit down, look over his sheet-music to Jango's Escape, and figure out how to integrate and adapt it to Harry Potter 7.5

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I like Jango's Escape...

:) Same here.

I'd rather hear a different (and as exciting) version of Jango than hear the crap Nicholas Hooper came up with (nothing personal against the man).

Hell, I didn't even bother watching the Half Blood Prince.

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Robots are people too. Don't discriminate.

EDIT: And, to be serious, I like "Jango's Escape." Sure, it's ripe with Williams 2000s action music cliches, but it's also a fun cue. No offense to Doyle or Hooper, but I'd take Williams "on auto-pilot" over their contributions. And considering how NOT auto-piloty Williams' last Potter score was, I feel a little reassured. In fact, that was the last score he did that truly had some really unique character to it, as I recall.

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I revisited that old interview with the HP producer that said if the schedules could work out then JW would return, and I realized that he says "it depends on the schedule for Part 2." Back then I interpreted this as meaning if JW couldn't do Part 2 he wouldn't do either. But maybe the intention from the beginning was to only have Williams score Part 2?

Here's the interview:

http://www.youtube.com/watch?v=K8Tg2CGko_0

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I'd rather hear a different (and as exciting) version of Jango than hear the crap Nicholas Hooper came up with (nothing personal against the man).

Hell, I didn't even bother watching the Half Blood Prince.

A lot of you really aren't giving Hooper enough credit. Granted, Hooper paled in comparison to the previous composers but he wrote some decent music for his time on the franchise. The board's reaction to Hooper's score for "Half-Blood Prince" disgusted me -- you guys should have more tact than that and not inflate your expectations. There is far worse music out there that could've been written for this franchise but graced others.

And Josh500, you should check out "Half-Blood Prince" -- it cuts a lot of the subplots (including some of the more key memories) but I felt it captured the essence of the book well. And it feels completely different than "Phoenix", like a new director had stepped in. If you can keep your expectations in check and evaluate the movie as an actual movie (and not solely a book-to-movie adaptation), you might like it.

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A lot of you really aren't giving Hooper enough credit. Granted, Hooper paled in comparison to the previous composers but he wrote some decent music for his time on the franchise. The board's reaction to Hooper's score for "Half-Blood Prince" disgusted me -- you guys should have more tact than that and not inflate your expectations. There is far worse music out there that could've been written for this franchise but graced others.

And Josh500, you should check out "Half-Blood Prince" -- it cuts a lot of the subplots (including some of the more key memories) but I felt it captured the essence of the book well. And it feels completely different than "Phoenix", like a new director had stepped in. If you can keep your expectations in check and evaluate the movie as an actual movie (and not solely a book-to-movie adaptation), you might like it.

I agree with you. Some have been overly harsh to Hooper. I haven't bashed Hooper per se but I think his decent HP scores were a missed opportunity for true greatness. What makes his scores so disappointing in my opinion is not that they were bad but that we know what a great HP score sounds like and his are not among them. That said, his scores did not detract from the films, which is a major achievement and should not be taken for granted, and in some instances they did add a certain something.

Also, I thoroughly enjoyed Half-Blood Prince. It was a moment to relax and enjoy the subtlety and joy of the relationships and Hogwarts life in general, with a brief but chilling journey into darkness, before the storm that will be Deathly Hallows. For fans of the books, the actors, and the world of Harry Potter, HBP was a lot of fun.

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Although I'm hardly a fan of Doyle's and Hooper's approaches, I don't really care for the outright bashing that sometimes happens, either. The unfortunate reality is that most people, even composers who are good enough and connected enough to score major motion pictures, simply can't write like Williams can. Doesn't mean we have to hate on their work every time the topic comes up.

That being said...again, I'm really not a fan of those three scores. They have their moments...even great moments...but they're only moments.

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So let me get this straight, Datameister.

If most of my posts are crap...but Incanus writes beautiful posts.

We should praise me for writing crap, because not everyone is as good as Incanus?

Non-sense! Off to the gallows with me!

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A lot of you really aren't giving Hooper enough credit. Granted, Hooper paled in comparison to the previous composers but he wrote some decent music for his time on the franchise. The board's reaction to Hooper's score for "Half-Blood Prince" disgusted me -- you guys should have more tact than that and not inflate your expectations. There is far worse music out there that could've been written for this franchise but graced others.

And Josh500, you should check out "Half-Blood Prince" -- it cuts a lot of the subplots (including some of the more key memories) but I felt it captured the essence of the book well. And it feels completely different than "Phoenix", like a new director had stepped in. If you can keep your expectations in check and evaluate the movie as an actual movie (and not solely a book-to-movie adaptation), you might like it.

Yes, I am planning to rent Half-Blood Prince these days. Btw, I listened to most of the tracks of both OotP and HBP online, and I was less than impressed. Sure, I know Hooper is a great guy, and he really did try, but when his work falls so much short of JW's work (no one expects to be as good as JW, but come on!) I can't help but be a bit scornful. Again, I know, he gave his best, but sometimes, for some people, the best isn't good enough... or JW's achievements wouldn't be special, I guess.

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I love Hooper's OotP score. HBP is a mixed bag - overall I think it hurts the film, but there are some really nice moments to listen to on CD. I think OotP deserves to be mentioned in the same sentence as SS and PoA, even if it's not quite as good.

Blu, the difference between your analogy and Datameister's point is that in your comparison, you "write crap." Datameister is saying that Hooper isn't a bad composer, he just isn't as good as John Williams.

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I revisited that old interview with the HP producer that said if the schedules could work out then JW would return, and I realized that he says "it depends on the schedule for Part 2." Back then I interpreted this as meaning if JW couldn't do Part 2 he wouldn't do either. But maybe the intention from the beginning was to only have Williams score Part 2?

Here's the interview:

http://www.youtube.com/watch?v=K8Tg2CGko_0

Thanks for the link!

Btw, I don't see why he couldn't have done Part 1, if he really wanted!

Blu, the difference between your analogy and Datameister's point is that in your comparison, you "write crap." Datameister is saying that Hooper isn't a bad composer, he just isn't as good as John Williams.

That's the difference between being blunt and being tactful, but the meaning is basically the same. :P

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Actually, it's an entirely different meaning. One is saying that a composer may seem bad when held to ridiculously high standards. The other is saying the composer is bad when held to one's own standards. Which I guess could be as high as John Williams, but given the fact that Blu enjoys many other composers, I'd say his standards aren't so high as to not enjoy a composer who's worse that JW.

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Actually, it's an entirely different meaning. One is saying that a composer may seem bad when held to ridiculously high standards. The other is saying the composer is bad when held to one's own standards.

Well, this is a JW fan site, so I'm thinking, consciously or unconsciously, every score is compared to JW's works. Especially in the case of HP, where JW delivered 3 fantastic scores for the franchise.

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Well...he delivered two fantastic scores, but he delivered one of them twice. ;)

Do you even have the CDs, Datameister? I thought you said you don't have them yet. :P

I was a holdout on getting the COS album until very recently, having judged the music by what I heard in the film. When I finally realized that COS had enough original or enhanced material to warrant adding it to my collection, I bought it and was pleasantly surprised by the quality of the work. There is some pretty brilliant detail in there. (Fawkes the Phoenix and Reunion of Friends had been in my collection for years, but some of the less prominent moments in the score were worth paying for.) "Fawkes is Reborn" is one of my new favorite cues. In short, Data, I recommend you get the full album! (Though, based on what you've said in various posts I can't guarantee you'll love it.)

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I was a holdout on getting the COS album until very recently, having judged the music by what I heard in the film. When I finally realized that COS had enough original or enhanced material to warrant adding it to my collection, I bought it and was pleasantly surprised by the quality of the work. There is some pretty brilliant detail in there. (Fawkes the Phoenix and Reunion of Friends had been in my collection for years, but some of the less prominent moments in the score were worth paying for.) "Fawkes is Reborn" is one of my new favorite cues. In short, Data, I recommend you get the full album! (Though, based on what you've said in various posts I can't guarantee you'll love it.)

I agree with you 100%!

IMO, 80% of the new material on the OS is outstanding. :P

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The outstanding tracks, IMO, in bold:

1. Prologue: Book II and The Escape From The Dursleys

2. Fawkes the Phoenix

3. The Chamber of Secrets

4. Gilderoy Lockhart

5. The Flying Car

6. Knockturn Alley

7. Introducing Colin

8. The Dueling Club

9. Dobby the House Elf

10. The Spiders

11. Moaning Myrtle

12. Meeting Aragog

13. Fawkes is Reborn

14. Meeting Tom Riddle

15. Corninsh Pixies

16. Polyjuice Potion

17. Cakes for Crabbe and Goyle

18. Dueling the Basilisk

19. Reunion of Friends

20. Harry's Wondrous World

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Oh, I finally ended up buying the COS OST a month or two back. I don't regret the purchase, as it does contain some nice clean re-recordings of unreleased music written for HP:SS, and the original material presented on the album isn't bad. But the complete score as a whole relies WAY too much on music literally copied note-for-note from SS. (Not to mention the AOTC thefts.) It's even worse if you're familiar with the complete score for SS, as the copying isn't restricted just to stuff on the SS OST. Heck, there's even music in COS that was written for but not used in SS. For example, you know that wonderful flighty statement of Hedwig's theme that accompanies the main title in COS? Yeah, that was written to score the shot of the hut on the beach in SS.

As I've said before, my problem with COS boils down to this: the film itself was already ripe with terrible sequelitis, and having so much of the score taken directly from the first film just serves to emphasize that sequelitis. It's like the music is saying to my brain, "Hey, you remember how there was that cool scene in the last movie? Yeah? Well, here we are going through the same sort of thing again...remember? Just like that one time in the other movie? You remember?"

Giving POA a new creative vision - and a fundamentally different score - was the last truly great thing to happen to the Potter film franchise. Even though that wonderful score took me a while to really warm up to, at least it never compromises the film by constantly mirroring similar moments in earlier films.

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Oh, I finally ended up buying the COS OST a month or two back. I don't regret the purchase, as it does contain some nice clean re-recordings of unreleased music written for HP:SS, and the original material presented on the album isn't bad. But the complete score as a whole relies WAY too much on music literally copied note-for-note from SS. (Not to mention the AOTC thefts.) It's even worse if you're familiar with the complete score for SS, as the copying isn't restricted just to stuff on the SS OST. Heck, there's even music in COS that was written for but not used in SS. For example, you know that wonderful flighty statement of Hedwig's theme that accompanies the main title in COS? Yeah, that was written to score the shot of the hut on the beach in SS.

As I've said before, my problem with COS boils down to this: the film itself was already ripe with terrible sequelitis, and having so much of the score taken directly from the first film just serves to emphasize that sequelitis. It's like the music is saying to my brain, "Hey, you remember how there was that cool scene in the last movie? Yeah? Well, here we are going through the same sort of thing again...remember? Just like that one time in the other movie? You remember?"

We all know that already! ;)

That's why I said: IMO, 80% of the new material on the OS is outstanding. :P

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As I've said before, my problem with COS boils down to this: the film itself was already ripe with terrible sequelitis, and having so much of the score taken directly from the first film just serves to emphasize that sequelitis. It's like the music is saying to my brain, "Hey, you remember how there was that cool scene in the last movie? Yeah? Well, here we are going through the same sort of thing again...remember? Just like that one time in the other movie? You remember?"

I get what you mean - it doesn't bother me too much, though, because I consider SS and COS to be companion volumes in the series. POA is where the kids start to grow up and it really needed a turn there with the score as well (that's also why Michael Gambon grew on me and now I think he's perfect for the darker installments). COS didn't need a fresh feel because it's like Part 2 of the innocent childhood phase. Incidentally, I also like Chris Columbus's lighthearted approach to these two films. If all seven/eight films had followed in the same pattern, it would have driven everyone mad, but two stylistically and thematically similar films was just enough.

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The outstanding tracks, IMO, in bold:

1. Prologue: Book II and The Escape From The Dursleys

2. Fawkes the Phoenix

3. The Chamber of Secrets

4. Gilderoy Lockhart

5. The Flying Car

6. Knockturn Alley

7. Introducing Colin

8. The Dueling Club

9. Dobby the House Elf

10. The Spiders

11. Moaning Myrtle

12. Meeting Aragog

13. Fawkes is Reborn

14. Meeting Tom Riddle

15. Corninsh Pixies

16. Polyjuice Potion

17. Cakes for Crabbe and Goyle

18. Dueling the Basilisk

19. Reunion of Friends

20. Harry's Wondrous World

Fixed.

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The outstanding tracks, IMO, in bold:

1. Prologue: Book II and The Escape From The Dursleys

2. Fawkes the Phoenix

3. The Chamber of Secrets

4. Gilderoy Lockhart

5. The Flying Car

6. Knockturn Alley

7. Introducing Colin

8. The Dueling Club

9. Dobby the House Elf

10. The Spiders

11. Moaning Myrtle

12. Meeting Aragog

13. Fawkes is Reborn

14. Meeting Tom Riddle

15. Corninsh Pixies

16. Polyjuice Potion

17. Cakes for Crabbe and Goyle (The second part of the cue is great, and it has the Chamber theme)

18. Dueling the Basilisk

19. Reunion of Friends

20. Harry's Wondrous World

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it just seems useless to me. It's nowhere else on the disc and the variations in the concert track aren't particularly interesting. For a JW theme it seems uninspired.

It took me a while to get into it, but this piece is really fantastic. One of my favorites... though maybe not quite on the same level as CoS and FtP.

Anyway, I love the horn solo in Dobby the Houseelf.

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I think Dobby's theme is exactly what it needs to be. Nothing more, nothing less. I've played it a couple of times in my classroom. Most kids loved it. Job well done I guess.

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Incidentally, I also like Chris Columbus's lighthearted approach to these two films. If all seven/eight films had followed in the same pattern, it would have driven everyone mad, but two stylistically and thematically similar films was just enough.

For light-heartedness, Joel Schumacher should have directed one or two Potter movies. Imagine the kids screaming at the wizard-asses.

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Hooper's Order Of The Phoenix is the best score in the series after Prisoner Of Azkaban.

It definitely has its moments, but I thought Patrick Doyle's score for Goblet of Fire was much more stronger in terms of motifs and overall listening experience. The thing about Doyle's score, it didn't feel like a Harry Potter score most of the time -- even when Doyle quoted "Hedwig's Theme" several times throughout.

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Hooper's Order Of The Phoenix is the best score in the series after Prisoner Of Azkaban.

It definitely has its moments, but I thought Patrick Doyle's score for Goblet of Fire was much more stronger in terms of motifs and overall listening experience. The thing about Doyle's score, it didn't feel like a Harry Potter score most of the time -- even when Doyle quoted "Hedwig's Theme" several times throughout.

OK, since were on the subject: my ranking:

1. Philosopher's Stone

2. Prisoner of Azkaban

3. Chamber of Secrets

4. Goblet of Fire

5. Order of the Phoenix

6. Half-Blood Prince (judging from what I've heard on the album, that is)

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it just seems useless to me. It's nowhere else on the disc and the variations in the concert track aren't particularly interesting. For a JW theme it seems uninspired.

It also has some distracting rhythmic similarities to "Star of Bethlehem."

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