Skelly

Yeah, it was. It's so barely audible though that I doubt most people hear it in the first place... kind of a weird choice.

Oh, but it is! (Unless you meant as originally written.)

Everyone calls it the Pettigrew motif because that's what it was edited to be (it's even sloppily applied when he turns back into a rat near the end). I think Williams intended for it to be more representative of danger, or evil usage of magic. It's like a sinister version of the Nimbus 2000 theme.

Yeah, I'm using the sheets. I can't read music but the audio matches up to V1; in V2, the woodwinds bleed into the harpsichord, and the harpsichord doesn't have accompanying tremolos.

I'm pretty sure Version 1 is what was used in the movie.

It wasn't that complicated, it was just meant for the trailer. I get the impression that Williams really liked working on the Potter movies and was willing to go that extra mile; he probably would have written original music for a CoS trailer too if he hadn't been so busy that year. Fun fact, the pre-Double Trouble music in the trailer was actually written by Brand X Music (Tom Gire and John Sponsler) but was still recorded with DT and conducted by Williams.

You're thinking of John Williams. https://www.finalemusic.com/blog/may-the-fourth-spotlight-on-joann-kane-music/ Maybe there's some small adjustment here and there by the time his sketches are sent to the scoring stage, but I bet you that no one wants to be the guy who bungles up a John Williams cue, or surprises him when he gets up to the conductor's stand. Williams knows exactly what he wants in terms of sound and orchestration and no one is going to stand in his way. That "imitation sound" could be him trying to replicate a style from many years ago that he's sort of gotten past in his everyday writing.

Well I think the point is that the score is supposed to sound like a major blockbuster. Rogue Nation was envisioned as sort of a "spiritual successor" to the original television show and took more inspiration from that than the previous Cruise films. The music reflected that choice. I haven't seen Fallout but the trailers make it look like it's trying to be a blockbuster "of its time" and have the feel of what you would expect a 2018 action movie to be.

McQuarrie says plainly that he wanted a score of "simplicity and minimalism" for Rogue Nation in the liner notes of that soundtrack. Word on the street is that Tom Cruise wasn't very enthusiastic about the demo cues he was hearing in that vein, and kept asking for more assertion and presence from the underscore, so Kraemer of course followed those instructions. So now McQuarrie wasn't getting the sort of music he wanted. Not only that but the movie's release date was moved to six months earlier, which meant that there was virtually no time for McQuarrie to really check out what each cue was going to sound like. Kraemer tried to be accommodating by writing multiple versions/ideas for cues and give him some options but that's still not the most ideal thing in the world. In February when the Lorne Balfe rumors were starting to go around, Kraemer said on Twitter that he hadn't been contacted at all by McQuarrie about MI6 (and then a day later said, "okay, I got an email just now, it's a 'no'"). It seems like McQuarrie's decision wasn't necessarily about the quality of the finished score but more the very unsatisfying scoring process. I guess he wanted a fresh start without all the baggage of what happened on the last movie, or worse, a repeat. Kraemer also decided to "like" a tweet that was highly critical of McQuarrie for the whole situation, so you can probably surmise how well their relationship is doing. It's not as if Kraemer would refuse to do a Nolan-type score either - he's said pretty bluntly that if he were hired and asked to do that, if push came to shove, he'd do it if it's what he was being asked to do.

This is the first time I'm hearing of this; I always sort of assumed that Elfman had some say in the matter and was being a hardass about things (as he'd been in the past) since it was his music being used presumably without any input from him. You mean to say that Sony read Pirates of the Caribbean soundtrack sales, didn't like the numbers, and bailed out on their own blockbuster's soundtrack? That seems weird.

I believe Goldenthal put together a full program for official release before the whole idea was scrapped by WB. Could very well just be a copy of that.

About a year later (Oct. 2016) MV gave an un-optimistic update on that. http://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=2&threadID=101294&archive=0

It gets complicated when you take into consideration that, for any given cue, any three of those sources might have passages edited out from the whole. So if the OST track has portions ABC, the FYC might have AC, and the film could have ACD. These edits can be really small too. That might be more detail than most people are interested in though.

This one?

It's probably some silly placeholder tracklist Disney sent out to avoid giving away the story.

Philosopher's Stone originally was released for PS1 and PC only, and those have synth samples only. By the time Chamber of Secrets came around I guess the music budget was increased and Soule was able to start recording that and subsequent titles with real orchestra. Philosopher's Stone for Xbox, PS2, and Gamecube was released in 2003, so Soule went back and recorded some of his PS tracks with the orchestra too, for that. So only the earliest games have pure synth, the others are at least mostly orchestral.

Yep, that's the track. I don't think EA got use of Williams's themes until Order of the Phoenix, and they milked the hell out of it in cutscenes.

I have a soft spot for Soule's work on those games too; it's a shame they never got a very good release. Here's what an EA sound director said about whatever influence Williams had or didn't have on the sound of the games: "The other thing is that [Soule's] music's very close to the style of John Williams, and that feel works really well for Harry Potter. We did approach John Williams to see if we could license the score for Harry Potter. Everybody thinks 'The game's licensed from Warner Bros, so therefore you get instant access to the John Williams music,' but that isn't the case, because John Williams owns his own stuff. It would actually have cost us a fortune to use that music, and what we would have had was 90 minutes of very specific music written for the film, which we would then have had to jump through hoops producing edits for the game. So ultimately, yes, you'd get the sound of John Williams, but you wouldn't get music that was appropriate for what you were doing. So Jeremy was the best option, because he sounds like John Williams, and he can write music specifically for the bits of gameplay that we need it for." The "John Williams owns his own stuff" comment seems oversimplified or dubious to me. Also, on the PC version there's a file called "Invisible" in the music directory which sounds pretty darn close to Hedwig's Theme! As I recall it's not used in the actual game though.

I don't know guys, some small voice in my head tells me that these are all fake names added by some hooligan.

I think it would be safe to say that neither Williams nor the copyright holders would mind if people meow their music in public.

La-La Land in particular do a big Black Friday blowout each year; it's when some of their biggest/most popular titles of the entire year can be expected. Close Encounters of the Third Kind for example I believe is slated for this year's.

Just a few notes to add on to your editing guide... 5m1/5m2 Harry is a Parselmouth - interestingly, the extended cut of this scene has tracked material as well, but it's totally different - probably to better lead into the restored Harry moping around on the mountain scene. The extended cut of course has tracked music for nearly all of its new scenes, except for new material for a restored winter scene. This scene must have been something deleted a little later in editing. 6m4A Entering the Diary - for whatever reason the pitch was changed for The Library Scene stuff. I think the tempo is the same though... weird. 6m5 Ransacked Dormitory - that ending is probably something new by Ross, and I think the cue was entirely a new recording as opposed to tracked. 8m2A The Chamber Opens - the opening of the cue is a new cue by Ross, and it segues into tracked stuff. 8m2C Entering the Chamber - I don't really have anything to say except what the heck was the music editor doing when he kept looping those chimes over and over and over?

I know this is an old post I'm replying to - but my guess is that Ross didn't intend to collect royalties for the cues, so he didn't want himself credited on the cue sheet, since it wasn't really his music.

Something screwy happened to that ending; if you look at the rear channels of the DVD mix the music just disappears at about the same spot. And the teaser music was recorded separately, in 2000, and the second trailer cue was recorded a few months before the film's actual scoring sessions, so there's no reason to consider those "missing" from the bootleg. Williams had his writing schedule carefully set out for the year (just look at all the films he had to do in 2002, including a Star Wars!) but one of the Spielberg films had its scoring schedule bumped around, which was outside of Williams's control. Well shit, now he had to change his timetable and it was basically impossible to fully accommodate HP2 at this point. So he didn't necessarily bite off more than he could chew, he just wasn't lucky enough to have things turn out the way he had anticipated. To give you an idea of how far ahead Williams plots out his timetable, he hadn't even spotted the film by the time he offered the job to Ross. I don't understand why CoS gets all the distaste it does, just because Williams didn't personally write each note (actually I probably just stated the problem right there). But it wasn't as if Ross emulated Williams as a formality, Williams instead was very meticulous about what plays here and how it should sound here. If Williams had written the score 100% himself I bet it would sound more or less the same as it is - but with a little more daring variation for the recycled material. But it's not like we lost out on a Prisoner of Azkaban. And as Jay says, the amount of original material in CoS is way more than you'd think.