artguy360
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Posts posted by artguy360
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57 minutes ago, Pat_S said:
Some quotes from the liner notes from Cuaron that may be of some use to you:
'John composed 'Double Trouble' during the production of the film as we decided that a children's choir would be a warm welcome back to Hogwarts. The theme, a melodic, mischievous close cousin of 'Hedwig's Theme', composed around text from Shakespeare's Macbeth, became the foundation stone for the rest of the film score. Its medieval color became the musical identity of the wizarding world in this installment of Harry Potter'
'I wanted to channel the music into a little bit of a new place and when I spoke with John about going in that direction, he was very intrigued, I believe he really loved the challenge of applying this vey modern, somewhat abstract approach to Harry Potter. It was very liberating.'
'We decided not to wallpaper the film with music. And I told John that I didn't want descriptive music throughout, but instead I wanted the score to not just be a narrative device, but to capture the emotional undertone of the whole thing, almost like it's the consience of Harry Potter. When I started hearing the pieces John composed, it was incredible. For a composer who has given us so many of the most famous melodies in cinema, it's amazing how atonal and experimental he can become.'
'We wanted to capture the specific locale of Hogwarts as a timeless place in the British Highlands. So we could not just go with contemporary 20th century music - that was the emotional aspect of it. But we also saw Hogwarts as part of Harry's character, and John strongly felt we should embrace the Englishness of the place'
Williams: 'Alfonso had several scenes with ... Sir Cadogan, a fully dressed noble horseman who wafted through the castle. So the perfect thing to score this, we thought, was a kind of medieval band. I contacted a group in London who specialise in music of this period, got their list of instruments and I was able to sprinkle the use of these instruments here and there with our concert orchestra'. (The group is The Dufay Collective)
Thank you! That is very insightful.
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The thread title says it all. I remember listening to the HP3 soundtrack before seeing the film and being struck by how different it sounded. The period instruments, the period sounding music, the almost diagetic sound, the lack of re-use of existing themes, HP3 sounded so different from the first two scores.
Of course, the film is quite different from the first two movies as well, but in many ways the HP3 score doesn't just sound different from the first two HP scores, it sounds different than JW's usual full orchestral sound.
Do we know anything about how this came to be? Why such different musical decisions were made? I can't find my copy of the La La Land release to read the liner notes, does it reveal anything about the scoring process? Can anyone direct me to any interviews on the matter?
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3 minutes ago, GerateWohl said:
That's part of the issue. The movie has no heart.
I agree and I actually like TLJ. But it has no singular narrative thrust that JW could write a theme for or an important new relationship to write a theme for. I love the score for TLJ, but its highlights are all set pieces, not new themes.
In a way, I feel the same about TPM, but in that case the originality and energy of the music was so much greater.
- Not Mr. Big and Joni Wiljami
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8 hours ago, Tom said:
The last half really works for me:
Wow, this is a pretty great rendition of the Obi Wan theme. The strings suite the theme well.
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The latest episode featured more March of the Resistance. Interesting to hear a more direct quote of the theme, less disguised as it was in the festival music.
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This piece isn't really clicking with me as much as JW's other recent works. I think it works well with the video, but doesn't stand out on it's own. Will give it more listens.
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Will be interesting to hear the score for this. Remaking Hitchcock always seems like a tough assignment and a strange choice. His films are so unique and almost immaculately constructed.
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Elrond Half Elven is secretly one of the best themes in the show. The main melody has a quiet dignity to it. And the B part played on horn is just lovely.
- Bofur01, Cerebral Cortex, Holko and 2 others
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Yes! It's the March of the Resistance theme. I loved that little Easter egg. I wanted to post about it here, but couldn't determine the appropriate thread and didn't want to make a new one. It's like a partner to the major mode Imperial March Easter egg in Solo.
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I've thought for many years now that the only Oscar JW has a chance of winning is an Honorary Oscar. I half expect that to happen at some point.
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23 minutes ago, Miguel Andrade said:
Not new at all. He has had the almost same exact reply a decade or so ago.
He's been losing for a long time.
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I love Summon the Heroes. It's an all-time, JW favorite of mine.
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That was a nice interview. So often, I feel like JW is about to go deeper into a response but chooses not to. I want a more indepth interview but he seems pretty resistant. Even the longer interviews he's given are not particularly more in-depth. One of the best interviews I've seen of JW actually talking about his music is the interview he did for TPM where he talked about each theme, the overall style, etc.
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I've been listening to this soundtrack more lately and I love how small and intimate it is. The score is largely compromised of piano solos and a small string ensemble sound with a few other featured instruments. The only time is goes into a larger orchestral sound is with the end credits and I actually like that music the least. The very quiet, intimate music is the best way to present the two themes and to match the picture. Even the themes have a simplicity and restraint to them. The descending mother's dance theme is so simple, yet so effective.
- Smeltington, Joni Wiljami, blondheim and 1 other
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That was a really good interview. The cosmic time scale is a new line from JW. I predict it will become a regular.
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1 hour ago, Tom said:
I said it in the ESPN thread, and I will say it again. This is beneath his dignity.
Clearly it isn't or else he wouldn't be doing it. I'm sure no one is forcing him.
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TLJ is the best mixed modern JW action score. I hope DOD matches or surpasses it in terms of JW's music being front and center.
- Bofur01, BrotherSound, michael_grig and 5 others
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11 hours ago, TolkienSS said:
Is anyone else very intrigued by what the score for TOTK will be like? I'm hoping for new music and not recycled stuff from BOTW, since all the trailers only had the BOTW theme.
The trailers have new music. In particular there is something of a new theme of sorta for when Link is skydiving.
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Every time I click this thread I get more and more excited for this score and OST. I am beyond hyped for more JW in Indy music mode.
- Brando, Cerebral Cortex, Edmilson and 1 other
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This sorting hat ceremony track might as well be a JW HP1 b-side track. It is so reminiscent of JW's musical language for HP.
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Finally! We got news of this a while ago. Great to see and listen.
The Super Mario Bros. Movie (2023) - film and score (Brian Tyler)
in General Discussion
Posted
This latest excerpt fits with what BT said in the interview linked above. Some nice musical Easter eggs embedded in a larger orchestral palette. I think the sound of this score will be quite varied.