Yoda Longbottom

John Barry -- Enigma John Debney -- I Know What You Did Last Summer Danny Elfman -- Flubber Jerry Goldsmith -- Hollow Man James Horner -- Enemy at the Gates John Williams Hans Zimmer -- tie between Pearl Harbor and The Thin Red Line David Arnold -- The World Is Not Enough Elmer Bernstein Patrick Doyle Randy Edelman (Heard Too Few To Judge) Cliff Eidelman (HTFTJ) Elliot Goldenthal -- Heat Lee Holdridge (HTFTJ) James Newton Howard -- Runaway Bride Trevor Jones -- Cliffhanger Mark McKenzie (HTFTJ) Thomas Newman John Ottman (HTFTJ) Basil Poledouris -- On Deadly Ground Rachel Portman -- Hart's War Alan Silvestri -- Eraser Christopher Young (HTFTJ)

?then I'd humbly propose Ralph Vaughan Williams or William Walton over anyone else. And I can imagine some other buddy proposing Anton Bruckner. Who could it be?

Yes, I read about that here some time ago, too, although I have very little faith in these things when Williams schwarzeneggerizes other composers on projects. But what I meant was whether James Horner was ever in consideration for the upcoming fourth movie when replacement for John Williams was being looked for, regardless of whether Horner had originally been attached to Potter before it started filming the first book.

...as for JP4, while I think Rachel Portman would definitely come up with too subtle of a score when un-needed (Hart's War), why not hire James Horner. This time, I'm serious. First, having James Horner writing a score means more than a 95% chance of having London Symphony recording it, plus Horner can adopt other people's themes well and has a knack for writing loud and bombastic stuff that --according to early reports on JP4 script-- might be what the movie will require. Howard Shore could take it far too off, I think.

While I am contented with pick of Patrick Doyle, can't help brooding over what does Rowling or anyone having say in who should write the score hold against James Horner? It won't perhaps ever be broken to public, but I bet his name was in consideration at some point after JW was surely not coming back, but in the end JH's name must have gotten let go off. Still, there''s always plenty of time for thoughts to come true ("Troy"). Same would go for Jurassic Park 4, ... (cont'd in JP4 thread)

Finally someone points out to that injustice! Well, Williams gets paid for new themes composed for the particular new score (approx. $ 3.000.000 per a theme). That's why Horner gets paid so drastically low in comparision and he's got a few scores he never got paid for. You never get paid twice for the same thing, do you. Official table of earnings, I think it's fairly deserved: John Williams: $ 14 - 18.000.000 per a score (peaked with: Accidental Tourist: $ 19.500.000) James Horner: $ 100 - 120.000 / score (Jumanji: $ 690.990) Howard Shore: $ 250 - 300.000 (Return of the King: $ 350.700) Hans Zimmer: ? 1 - 2.000.000 (Thin Red Line: $ 6.000.000) Vangelis: $ 50 - 100.000 (Conquest of Paradise: $ 149.200) Enya: $ 5 - 7.000.000 / score song (May It Be: $ 9.000.000) And the record holder: Don Davis: Jurassic Park III: $ 26.000.000 (source: Undiscovered Obscurity, November 2003)

If I recall correctly, they speculate on the title of such nature as: Star Wars: The Very Episode I - Dark Jarrasic Park

There have been reliable reports George Lucas wanted the finished script unrevealed to public and is currently adjusting it to fit the opening movie of the pre-prequel trilogy to Star Wars (starts shooting 2007) to take place in Jurassic period. There have also been rumors in circulation that Jar-Jar's yet-unclear origin will get disclosed in that first episode,...

Rambo Neil :oops: (for Rambo 1) :oops: (for Rambo 2) :oops: (for Rambo 3) So, how many trilogies is left yet you never-erring Neil? LOL My mem'ry hasn't served me well over these past 33 years, but you Neil always have to point out to it so markedly just when I thought new members would never find out I have never made the grade past the 6th at the basic school. Roman, abased.-)

And you're correct. And I didn't realize that if Williams gets back to Jurassic Park with the forth where the third was buried by Davis, there could be no block for him to return to Potter. Am I right it would be the first he would ever do that, right?

Well, speaking of LOTR, has anyone already heard the City of Prague's 2CD compilation? Outside of a few tragic renditions of vocal material, the orchestral themes are played very well (!) and since the compilation is just out and available practically for a dime, it's a way to hear (again - however WELL performed by the ensemble) how that compilation either ordered cues in unfortunate order or somewhere there lies an evidence that the themes don't work together very well when set bare from "underscore" material they're accompanied by on regular albums, which actually puts original albums highs above this compilation material listening experience-wise. I would really like to hear the symphonic work Shore scored and you all talk about just for this reason how well he managed stretch the themes from all three installments into separate movements and how well they work when put together. Maybe I'm biased and I won't object to anyone who says I am.

And how do you know? Well, besides The Omen, I can't think of any other trilogy or 3 consecutive scores for one bulk he would have scored, so he might have never really known how it feels to get replaced where it would seem like his domain till the last chapter.

This is the kind of music I feel usually ashamed to admit I have, but I listen to it from time to time. I got 3 albums by Dance 2 Trance and 3 by Jam & Spoon and they're sometimes the kind of music I escape to. I don't know whether it bears any quality within, but when I'm on bus to go long way somewhere, I take this kind of music with me. It's only 6 CDs of this kind of electronic sound in my possession in total, so I hope I'll be forgiven. But see, we all grow old and mature, so what ... LOL

I have about little less than 300 CDs... 40% film scores 50% classical 10% jazz and such and I have cca 20 CD-Rs, 13 of which won't play anymore

I think Williams' Potter-scoring stepdown can't be taken like absolutely orphaning his own legacy since the first three Potter movies have never really become solely Williams'-scored trilogy. It's been thwarted by William Ross' role on the second chapter, however debatable that role may seem. So I dare to think leaving the Harry Potter job wasn't too hard to do for JW and I don't think he feels like having cheated on his fans. Harry Potter may well become "Star Trek" music-wise since from now on anyone can overtake the job for a particular movie anytime, director or composer. I am certain, though, that JW will NOT return to scoring Potter any more. It would have to feel odd for him: adapting material he wrote long ago and other(s) expanded upon as series rolled by...

Yes. And you don't need a sequel to something that perfectly ended. No amendments needed to be done in the sequel, no blanks left to be furthermore clarified.. Sequel would ruin the ending of the original film or maybe the whole film and weakhearted people like me would have never cried at the end of the original movie like before knowing there would be stories to come. E.T. is the only sci-fi so humanized that I really believed that it happened when I was 12... not many sci-fi and fantasy movies have heart, which is what E.T. has! Roman, hurrying home to watch Mac & Me... LOL

Anyway, all thoughts aside, I wish Peter Jackson would tackle all the remaining Potter books with Howard Shore scoring. But I can't see this coming about. People have yet to come a long way to grasp who is the only team "to do it".!

People who know even one third of Doyle's work will hardly be surprised if the score for GoF is a hell of success. Sure I regard John Williams as the composer of tunes than stroke my ears the best of all, but let's face it; there are other composers too and Patrick Doyle is highs above the neverendingly recycled group of so-so composers. It's only he's not scored some "major" billion-dollar projects that would help sweep his name over faces of more more moviegoers, that's why you can still experience: "what the hell has Doyle ever written? I have not heard anything." Sure, because most of the business left space is always in occupation of Horners and Zimmers (Sorry guys, you're good, but not the only one out there; though the number of projects you're being given suggests otherwise).

The Mists of Avalon is a fine celtic-oriented score. But don't forget to look into the world of Loreena McKennitt, whose celtic soul shines thru most of her recordings, "The mask and Mirror" and "Book of Secrets" being two prime examples. I love that music! James Horner's score to Jade features one Kennitt's track as well as The Mists of Avalon score, whereas the Far And Away, where you would expect it more than anywhere else, rounds out with Enya. But Far and Away is perhaps the best score I've heard to recommend if you're fond of celtic music.

Some like it hot. Why does it matter what "made" each one of us a Williams' admirer? SW, JP or Potter, all that counts is that we're here, right? I fell for Williams music thru scores such as SYiT and AA and no one has thus far laughed me out of here, or maybe I haven't ready all my PMs carefully in a long time. Even if you came here knowing only Williams' Trumpet Concerti, a work typical like nothing I've heard from him, be here and enjoy it. Stop arguing you everyone, will you? Amen.

I sort of doubt this. Of course anyone whoever it is to steer the vessel now is obliged to keep the thematically nature "there", but Patrick Doyle will not just do it out with mere "adapting" the existing material. I believe the movie will be scored differently with themes worn up in a new cloak and with Patrick Doyle at the helm I don't have to fear any rift of styles like in JP3.

Can't speak for Mari, our member, but I suppose she's not disappointed over the choice of Patrick Doyle as same as I am not. Sure, and like many others said, I would love to have Williams coming back and swear he was just joking around to keep us in tension until we see his name in the opening credits of Goblet, but I know it's not happening. We guys can only thank God it's not Howard Shore replacing Williams on Potter films. That would reek of idiotism and shortsightedness. I'm sure James Horner, Hans Zimmer or Rachel Portman were never even considered while picking up the new name. Patrick Doyle, as ocelot says, is an extremely skilled composer, plus has sense for -- if you will -- dark music most of all others perhaps only second to Williams. I think Doyle is even a better choice than Danny Elfman would have been. Interesting they didn't pick William Ross; perhaps he didn't want to do any more Potter or his collaboration on the second chapter didn't impress as it should. If only Doyle's work on Goblet had the energy of Frankenstein, I'd be satisfied. His recent stuff (Secondhand Lions) is a very well written score as well. I think Patrick Doyle won't ruin the musical landscape of Potter films.

I have, and a couple many times yet. You're not being serious, are you? Man, the Fury, the movie, that's where my obsession with The Fury score began, which I first heard and watched short after I became interested in JW music and at that time The Fury sounded completely different from all other kinds of film scores I had known. And still, it's different though I have heard dozens of other scores since. But I think Neil is the biggest admirer of the score I've ever "spoken to", by far. But I'm known to be "one of the" biggest admirers of Angela's Ashes score out there so that's where I beat all others on.

No problem, John, really. My laziness and indecisiveness takes its tax so often in my life that I got used to "just missing out". Anyway, I'm happy your collection is more or less okay and in one piece. When I saw the damage, I thought I wouldn't here from you anymore, fearing you're outta here for good. If some of my precious stuff got unrepearably broke, I'd perhaps end up on hallucinogen drugs. I have couple JW's scores in more than one print so if you'd care to send me that CD-R of the Fury, I can send you an original print of a Williams' score in return, if that would do. Or just make a proposal. I'll email you the list of all titles I have in multiple copies if you're game. I'm a little bit behind work-wise-- so I might email you later today. Thanks, anyway. Roman.-)

Oh no I don't mind "ripping" or borrowing from one the same self. I even don't know who invented that word and made association of it with film music. Like I mentioned the connection between The Mask of Zorro and Prokofiev's Romeo and Juliet theme, Horner quotes it there slightly altered to give it "almost" imperial-marchlike feel, and that's a cool moment of the score.