DarthDementous

As a side note, am I the only one who's impressed by the rather daring approach of the filmmakers here?
 
I mean, look at TFA compared to this. That was almost a remake.
 
This is something that feels very different than anything Potter before it. It did not use a single fan-favorite character -- even Newt and Grindelwald, for example, are probably known well only by the most die hard fans. Whereas the TFA approach would be to have Dumbledore as the main character, Fantastic Beasts holds him for future films, and merely name drops him! And Harry, Ron, and Hermione are nowhere to be seen!
 
The New York setting, and presumably the Paris setting of the next film, are very different than remote Hogwarts, as well. The character and sense of time and place are clear and unique. 
 
I loved TFA. I'll say that. I'm not sure I can say which of the two I like better, but I think there's no doubt which was the more daring one. Much less blatant nostalgic fan service (however fun that may be!), although there were of course some scattered Easter eggs for the die hards (name dropping "Lestrange," for example). Rowling's extremely heavy involvement might have something to do with it. Who knows. I suppose in that way this film might be more comparable to GL's daring TPM, although I think filmmaking is very different now than it was then -- "franchises" from major studios rule, etc. -- so a TFA comparison might still be more apt. 
 
EDIT: Oh, just saw the second film will be in both the U.K. and Paris. Rowling has already written the screenplay. I think it will be good. But I feel that if Rowling's involvement lessens over time, things could go more in the TFA fan service direction. 

man this was a lovely return to form. I haven't seen a movie in so long that's dipped back everything and just let the music tell the story. I definitely hear the similarities between Ice Dance and the 'Letting Go' theme but I think I actually prefer the latter, it just seems to soar more with a more powerful feeling of tragedy. I'm going to write off scores more often if I'm going to be pleasantly surprised like this !

What I loved was how the music flowed through the film. It didn't seem to have been cut/edited to the picture

Oh no, I want more Tina! And I'm afraid that JNH will have to dump his magical aspects if the films become darker. What does everyone have with dark films these days?

This score is just so wonderful. Easily one of my top 5 this year, and gets better with each listen. I really love the theme from “A Man and his Beasts”. Hoping it gets expanded and much more development in the upcoming films. The action cues are fantastic, especially “The Obscurus/Rooftop Chase”. Love those dark Maleficent-esque choral moments. “Newt Releases the Thunderbird” is tear-jerkingly beautiful. And the jazz-based cues provide contrast and are fun too. I won’t be able to watch the film until it gets released on Blu-ray, which I can’t wait for. I really hope JNH scores the entire franchise. It’ll be a real treat.

Decided to post this here too:
 
Just got back from the film. 
 
Wow. What an experience. 
 
No Rogue One trailer unfortunately, but that was about the only bad thing.
 
The opening scene... It was right then that I knew this was going to be an incredible ride. The surround sound blasting out Hedwig's Theme over the WB logo, then this incredible theme over the title, I think (I'm a little confused about the sequence of music to picture here, I thought I remembered that theme over the newspapers but it doesn't make any sense), followed by the jarring sound effects over the mysterious Grindelwald attack, then finally the joyful ostinato and triumphant, gorgeous statement of the main theme over the wide shot of New York and Newt's arrival. Especially for that figure over the title, the music was mixed so loud it was wonderful. 
 
 
The rest of the film did not disappoint either. The 20s character was really cool. It was light hearted, but also dark enough to set up an intriguing conflict that can continue over five (!) films. Some of the action got a little grating, and some of the blasting sound effects made my stomach churn -- but of course that also meant that I was hearing this in lovely surround sound, which I don't have at home so it's always a really special treat!!
 
The music was absolutely marvelous. Certainly, it makes way more of an impression in the film than, say, The BFG. 
 
The MACUSA intro was stunning as well. So was "Inside the Case," which played over a scene that really brought the fantasy element of Potter, as well as the gorgeous scene in "Newt Releases the Thunderbird," which is almost a graceful dance, only picture and music. 
 
As should be the case in a fantasy film, JNH got many chances to shine, and it was glorious. 
 
Of course, there are moments where terrific music is overshadowed by sound effects -- for example, the Christmas-y stuff in "The Erumpet" was almost impossible to hear, unfortunately. 
 
And of course, the "End Titles" were glorious too. Just the music, blasting out of the speakers, fanfares heralding the end of an adventure. 
 
The end credits music is as follows, I believe:
 
End Titles 
End Titles, Pt. 2
The soaring part of Newt Releases the Thunderbird
The jazzy end of A Man and His Beasts
Some emotional quieter music (maybe Newt Says Goodbye to Tina)
 
Hedwig's Theme was used three times, two of which are on the OST. One is over the opening WB logo, the second is when Newt is holding one of his creatures in the bank early in the film, I believe, and I can't remember what the third covers.

Just heard A Man and His Beasts. Now that's much more like it. Will probably have to do some album editing for future visits of this score.

I was back in Potterland when the Macusa cue started. So glorious. It was totally worth the wait and I'm very glad I heard it in the cinema first.

Yeah I agree. 'A Man and his Beasts' should have been on the main album. And 'Kowalski Rag' too midway through the first half of the album. So the two suites would provide thematic context to the score before it properly kicks in.

^^ this is why we can't have nice things.
 
I saw the film today and that scene was scored perfectly like a comedic waltz, didn't even sound like JW at all.

after watching Fantastic Beasts I think Eddie Redmayne would make a fantastic Doctor! his character was very Doctor-ish at times especially when he was asked if people liked him and responding, "No. I mostly annoy people." 

I'll be seeing the film tomorrow afternoon, but I just wanted to offer some quick thoughts after one listen through the OST (deluxe). 
 
Now, I've only listened once, but there seems to be a general lack of thematic cohesion -- "major" themes are only heard once or twice. Perhaps there are a ton of important unreleased cues.  I suppose there's probably at least 30 minutes of unreleased music. 
 
Also rather surprised of the lack of Hedwig's Theme -- only two appearances on OST, plus at least one more in the film according to those who've seen it. Not that that's necessarily a bad thing, however.
 
That said, though, I am incredibly impressed by this score. It's incredibly exciting.
 
The fantastic "Main Titles" material, which of course I've been listening to to for a while, starts things off on a terrific note -- I'm guessing that with the film that cue will seem "epic" (under the definition I've stated many times here). From the figure of immense weight near its beginning, to the incredibly optimistic ostinato and gorgeous theme at the end. 
 
By the way, for those accusing the "Main Titles" theme of being a steal from "Polar Express," where exactly in that older score are you referring to? At the beginning of this video - https://www.youtube.com/watch?v=6EsA-uEBis4 - that theme doesn't really sound much like JNH to me, if that's the one you're referring to.
 
Anyway....
 
 
The opening of "Inside the Case" was really the "Holy s---!" moment for me in this score. JNH can really build excitement. The end titles were similarly stunningly good. A little lightly orchestrated at the beginning, but very exciting and fun and powerful -- how end credits for a movie like this should be. And then this is just so good, with that "Main Titles" theme...
 
 
The magically alluring theme -- presumably the "main theme" developed extensively in "A Man and His Beasts" is marvelous as well. It's powerful in its grand statements, contemplative and alluring in its softer ones, and incredibly fun in its jazz statements. 
 
In fact, those jazz statements were really stunningly good. Totally unexpected from a "magical" choir-heavy theme. Yet this theme sounds like it was written as a jazz idea! Amazing variation!
 
"Blind Pig" is really fun too. 
 
All around, this was terrific stuff. Fantasy films are supposed to have whimsy, they're supposed to have excitement, they're supposed to have wonder and awe. JNH's score hits all those bases and more. I can't understate how great it is to hear such optimistic music (in other words, I'm the opposite of Dcasey). 
 
I'm now truly HYPED to see this film. 

I enjoyed the film a lot. My dad, who wouldn't really be into these films, enjoyed it too and really enjoyed the humour. 
 
 
The Niffler is great. I want one. 
 
I really liked Newt too. He's pretty relatable I thought. For a Hufflepuff. 

Good story and great score, finally the magic's back!

Finished the standard OST last night. I'll have more to say later, but this is an incredible score. Wow. Absolutely HYPED to see the film now, this weekend. 

Yep, just listened to all the bonus tracks. I'd say "A Man and His Beasts" and "Kowalski Rag" are two nearly A+ pieces hampered by slightly meandering/episodic structures and abrupt endings. Wish they had more cohesive dramatic flair from beginning to end but they are both tons of fun and filled with great variations. These are two thoroughly enjoyable and versatile melodies and he puts them through the ringer in ways not heard in this franchise since Doyle's various spins on the "Harry in Winter" theme throughout his GOF score, and definitely not in self-contained pieces like this since Williams. Love the Prokofiev-esque "Montagues and Capulets" take on the Kowalski Rag!
 
Some nice stuff in the rest of the tracks too (that "Blind Pig" song is a pretty amusing 90 seconds, goofy JK Rowling lyrics and fun vocal performance!). Overall this score hasn't quite blown apart my expectations but it's certainly met them and happily gone beyond a few times, and I can say this is exactly the kind of stuff I felt was missing or not as successful in the last four Potter scores. I'm really looking forward to hearing this in the film. Musically this feels back on the right track to me and it's a relief to have JNH around for this universe, to see how excited he is about doing it and to know he'll be returning.

It's definitely a song.
 
Woah, End Credits Pt. 2 has a brief but really bold rendition of the main theme. Full orchestra and choir belting out the A-section.
 
Tracks 3 and 4 start with a passage similar to the opening titles (after the Hedwig quote). Pretty good.
 
Track 7 definitely has some Lady in the Water temping going on.
 
Not an amazing second CD I think, better on a second listen! I'm happy I paid the extra few £s to get it.
 
I wonder if Yates temped the film with the reel JNH sent him? Might've shot himself in the foot if that's the case.

I adore the main theme. It's seductively brilliant. It fits so perfectly in this world. I hope it's prolific in the film. 
 
Also one of my favourite whimsical themes is the one at 2:04 and 3:24 and 5:28. Lovely.
 
I can't bloody wait for my Bonus score to arrive to hear more!

The cinematography is one part of why that feels hollow to me. Another factor would be the muted performances/expressions from the trio, where I think Yates and the actors were trying to convey some kind of world-weary peace or acceptance but it just feels mildly depressing with their poker faces and their pasty complexions made even paler by the desaturation. For that music to really work, I think they needed to be positively glowing in that moment. With the scene as it is, frankly I think Desplat should have written something else, or at least re-orchestrated "Leaving Hogwarts."
 
Of course that's the other thing is all three references from the first two scores really have nothing to do with Desplat's work at all, except for rare moments like "Dragon Flight" which still feels somewhat muted in context because of the color grading and the static medium-wide framing of the dragon in profile which isn't a dynamic visual to me. Also Lily's Theme is a minor-key melody that tapers off without a strong resolution, appropriate for the dark uncertainty of the finale but I think it comes back to bite him with Voldemort's death where in that solo voice setting it creates this sad existential emptiness watching him go, which was just a bizarre way to end the series...but I digress! Point is I don't feel the score sets up much context for the full orchestra whirling and swirling around a melody like Hedwig's Theme, so I find it pandering instead of delightful. Also for the Room of Requirement/Great Hall scenes, I'm not sure how well the theme's mysterious, fanciful majesty works against a bunch of kids cheering and clapping, anyway.
 
The spotting hurts the effect to me as well, because in both that earlier Room of Requirement reunion and the Great Hall confrontation with Snape, everything around "Hedwig's Theme" is so sparse that in both of those instances "Hedwig's Theme" comes in unexpectedly and then immediately evaporates. Everything around and in between those two references is either unscored, very subtly blending underscore, or at most just a few brief seconds of a prominent melody or orchestration that "participates" in the action. To me the Williams-orchestrated "Hedwig's Theme" and "Leaving Hogwarts" feel exponentially bigger, more optimistic, and more of an overt musical narrative than the film and score are trying to be otherwise.
 
Btw, my attempts at rescoring those scenes 
 
 
 

True, but BBC want a clean slate and most importantly, a younger Doctor to sell more merchandise!
I want Capaldi to stay but the bosses and the stats disagree...
I've watched the first five episodes of Class and it seems to be a mixed bag.
 
I think the biggest problem I have with the show is that it's tonally all over the place and it doesn't know whether it should be a YA show dealing with sex, death, violence and other mature concepts or if it wants to mix in the Alien, sci-fi elements that make DW intriguing. This weeks episode looks like it will dealing with the gang directly.
 
Positives for the show for me would be that it takes the time to develop and talk about those aforementioned mature concepts.
 
The score isn't as evocative as Murray Gold's. I'm unsure why they didn't get Gold or Foster to write the music?

yeah I've been keeping fairly up to the date with the show. tonally it sometimes gives me Torchwood vibes. Episode 3 was really good but the others have been pretty hit and miss. the latest arc they did was pretty messy and I'm not completely sold on the characters yet, some of them feel very undercooked. still it has potential and the monsters they've been coming up with for the most part are pretty creative and fit right in the DW universe.

Don't kill off Capaldi yet while he's still excited about the role.

This was shown at some kind of press event in Tokyo, and the music was played live at the event:
 
http://nerdist.com/first-look-at-ghost-in-the-shells-iconic-shelling-sequence/
 
 

1:09 - 1:40
 
I love the way Williams keeps changing up the percussion in the background. Gives it a very exciting feel. Also, piano glissando at 1:17! The orchestra must've had a lot of fun playing this.