Mr. Gitz

Yes.
While I personally don’t care for Ron Howard’s work(outside of Apollo 13), I think had he changed his name to Jèan Phillipè Lòreàu he’d be more respected as a filmmaker. I mean who wants to go see the latest “Ron Howard” movie? Ew. No thank you. But if Jèan Phillipè Lòreàu is coming out with a movie? From the director of Apollo 13? Frost Nixon? And, um, The Grinch A Beautiful Mind?
 
See, Ron Howard is a hack journey man with no voice. But Jèan Phillipè Lòreàu? That man is a master artiste. Apollo 13 by Ron Howard is about the failed Apollo 13 mission. But Apollo 13 by Jèan Phillipè Lòreàu is a treatise on the way failure is spun into success by media in support of the military industrial complex using the Tibetan Book of the dead & Dante’s Inferno as inspiration. 

Yes.
While I personally don’t care for Ron Howard’s work(outside of Apollo 13), I think had he changed his name to Jèan Phillipè Lòreàu he’d be more respected as a filmmaker. I mean who wants to go see the latest “Ron Howard” movie? Ew. No thank you. But if Jèan Phillipè Lòreàu is coming out with a movie? From the director of Apollo 13? Frost Nixon? And, um, The Grinch A Beautiful Mind?
 
See, Ron Howard is a hack journey man with no voice. But Jèan Phillipè Lòreàu? That man is a master artiste. Apollo 13 by Ron Howard is about the failed Apollo 13 mission. But Apollo 13 by Jèan Phillipè Lòreàu is a treatise on the way failure is spun into success by media in support of the military industrial complex using the Tibetan Book of the dead & Dante’s Inferno as inspiration. 

it’s a crime In Noctem was cut out of the movie. A crime. I know in Hollywood it’s called “kill your darlings” for cutting great scenes but in this case, would the added runtime really affect the movie? Sure it’s a 2.5 hour long movie as is but It’s a couple minutes & it really would help to amp up the tension. Not to mention…
This is the last night Hogwarts will ever see in reign of Dumbledore as Headmaster. After tonight Hogwarts becomes a place of misery, corruption, torture & war until old noseless is defeated. I think a little montage of all the various goings on within the school set to that music was more than warranted, to say nothing of the beautiful, ethereal & haunting choral work in that cut piece of music. 
 
Half Blood Prince is a very frustrating film. They cut out some incredibly important stuff like the death eaters battling it out but then they add that ridiculous bit at that Weasley Burrow where it gets destroyed. You could cut that sequence out and not lose anything. It plays no role in the film, has no long term consequences, is terribly shot and edited + comes at the expense of other important beats of the story. I know the thinking was “we will cut out the action sequence at the end of the book since we are giving them the battle of Hogwarts next movie” but that’s a ridiculous excuse. Especially after it came out David Yates hates wand duels(which is ironic considering he’s given us the best ones). It’s like, they cut out Sirius giving Harry the mirror in OOTP but then have him randomly fiddling with it in Deathly Hallows. 
 
All that being said I can’t help but enjoy HBP immensely despite the cuts. The cinematography, the whimsy, spending time with these characters, the score. It’s a last chance to really get to see Hogwarts in its splendid glory before the end of it all. 
 
Christ. How have these movies been over for over 12 years now? Where does the time go? It’s been 22 years(!!) since the first one came out. 22 friggn years. How is that even possible?
 
 

Yes.
While I personally don’t care for Ron Howard’s work(outside of Apollo 13), I think had he changed his name to Jèan Phillipè Lòreàu he’d be more respected as a filmmaker. I mean who wants to go see the latest “Ron Howard” movie? Ew. No thank you. But if Jèan Phillipè Lòreàu is coming out with a movie? From the director of Apollo 13? Frost Nixon? And, um, The Grinch A Beautiful Mind?
 
See, Ron Howard is a hack journey man with no voice. But Jèan Phillipè Lòreàu? That man is a master artiste. Apollo 13 by Ron Howard is about the failed Apollo 13 mission. But Apollo 13 by Jèan Phillipè Lòreàu is a treatise on the way failure is spun into success by media in support of the military industrial complex using the Tibetan Book of the dead & Dante’s Inferno as inspiration. 

Yes.
While I personally don’t care for Ron Howard’s work(outside of Apollo 13), I think had he changed his name to Jèan Phillipè Lòreàu he’d be more respected as a filmmaker. I mean who wants to go see the latest “Ron Howard” movie? Ew. No thank you. But if Jèan Phillipè Lòreàu is coming out with a movie? From the director of Apollo 13? Frost Nixon? And, um, The Grinch A Beautiful Mind?
 
See, Ron Howard is a hack journey man with no voice. But Jèan Phillipè Lòreàu? That man is a master artiste. Apollo 13 by Ron Howard is about the failed Apollo 13 mission. But Apollo 13 by Jèan Phillipè Lòreàu is a treatise on the way failure is spun into success by media in support of the military industrial complex using the Tibetan Book of the dead & Dante’s Inferno as inspiration. 

Exactly(well everything but the Jaws 2 score being better).
Jaws is such lightning in a bottle that a sequel would never work. Jaws works so damn well because that animatronic Shark broke down. 
Anyone who wants a powerful lesson in not showing what’s happening need only watch the opening attack. That scene is so much more horrific because of what we don’t see. We are imagining it and it’s…yikes. 

(Forgive the off topic digression)
 
You can get away with not showing the shark on the first movie. But a sequel, you’d have to show it more. Otherwise the audience would be all “Oh they are doing the whole ‘don’t show the shark thing again’ “. 
 
 
That and….CGI isn’t very scary. I honestly think older movies where they used optical printing, like Poltergeist or Exorcist, there’s something about the ghost effects that work better. CGI is too clean. Too bright. Those old effects have this whispy unnatural quality to them. Plus now no one really wonders “How did they do that?”. They know. “CGI”. Those older movies the process is much more abstract for people
 
it reminds me of the Ghostbusters movies. The ghosts in the 2016 reboot weren’t scary. They looked like reused scooby doo effects. The first two have much more effective ghosts. It’s a hard thing to get right in movies today. 

Exactly(well everything but the Jaws 2 score being better).
Jaws is such lightning in a bottle that a sequel would never work. Jaws works so damn well because that animatronic Shark broke down. 
Anyone who wants a powerful lesson in not showing what’s happening need only watch the opening attack. That scene is so much more horrific because of what we don’t see. We are imagining it and it’s…yikes. 

(Forgive the off topic digression)
 
You can get away with not showing the shark on the first movie. But a sequel, you’d have to show it more. Otherwise the audience would be all “Oh they are doing the whole ‘don’t show the shark thing again’ “. 
 
 
That and….CGI isn’t very scary. I honestly think older movies where they used optical printing, like Poltergeist or Exorcist, there’s something about the ghost effects that work better. CGI is too clean. Too bright. Those old effects have this whispy unnatural quality to them. Plus now no one really wonders “How did they do that?”. They know. “CGI”. Those older movies the process is much more abstract for people
 
it reminds me of the Ghostbusters movies. The ghosts in the 2016 reboot weren’t scary. They looked like reused scooby doo effects. The first two have much more effective ghosts. It’s a hard thing to get right in movies today. 

Whoa. 
 
Reading all these replies really made me feel not so alone. 
 
 

Whoa. 
 
Reading all these replies really made me feel not so alone. 
 
 

I was joking. 
 
I thought the Hans Zimmer part would’ve clued some of you in. 
 
I was serious in that I’m shocked he doesn’t get calls(or maybe he does?) to just theme work for certain movies ala the Han Solo movie or the Obi Wan show.
 
But no. Hiring John Williams to write music to movies not yet made is not something that should happen. 

I remember hearing someone once, I can’t remember where, claim that they knew what his sequel idea was. I *think* it might’ve been Richard Dreyfuss. 
 
Anyways, It wasn’t a sequel at all but a prequel & it was about Quint on the Indianapolis. 

I’ve been thinking about how John Williams’s music goes through changes and evolutions yet always still sounding like John Williams through & through. That unmistakable John Williams sound can be as brassy as the Imperial March or as wild as Catch Me if You Can.

All of this is probably wrong, and I’ll leave it to others to correct and possible take a step further but what I mean is..
 
There seems to be an aesthetic similarity to Jaws, Stars Wars, Close Encounters, Indiana Jones(Raiders) & E.T. That would be one era
 
But then years later we get a series of scores that also have similar aesthetics. For example, Harry Potter 3 sounds NOTHING like Harry Potter 1. When Williams got to the 3rd Harry Potter film he started playing with a new sound that we hear in scores like The Terminal, Tin Tin, Catch Me if You Can, War of the Worlds. I couldn’t describe it. It sounds more…playful? I don’t know. More Jazz influenced? But there’s a commonality there. Is it in instrumentation? Recording technology? Or purely how he writes? Perhaps all 3? 
 
I guess what I’m asking is, do you think Williams undergoes a cognizant deliberate stylistic change over the years, or just takes it movie by movie and does whatever he feels is appropriate?

 
 

I was in the shower. I didn’t know a Batman theme was going to be sent into my brain from the great muse whilst lathering my arm pits. 

I was in the shower. I didn’t know a Batman theme was going to be sent into my brain from the great muse whilst lathering my arm pits. 

My god. 
 
Have you ever listened to a piece of music where it makes you feel as if, for just a moment, all the universes answers are within reach and the meaning of life itself is about it be revealed to you? But then the moment ends and it all slips away?
 
I’m not a spiritual man. I’m not religious. But when I listen to JW’s Hook score, specifically “Farewell Neverland” when the hauntingly beautiful choral 2:19 come in? It’s as if I can step outside of myself and see the big picture. It’s hard to describe.
 
What a piece of music! It makes my soul ache, makes me yearn for memories long gone. I can feel it in every fibre of my being. This isn’t simply “music”. No. It’s so much more. It’s memory, nostalgia, love, hurt and sorrow all distilled in one profoundly ethereal piece. It’s the human soul given music form. 
 
I feel like the kid from “American Beauty” who watches a bag blow in the wind & sees all the beauty of the world represented in that single moment.

The question may sound ridiculous but when you sit and think about it, yeah okay, it still sounds ridiculous.
 
But hear me out. Today with all the various ways one can make music electronically, are there any composers working who can’t actually read/write the notes? 
 
For example, Trent Reznor, does he compose or just mess around until he has something?
 
The Guys who did the score for Tron Legacy. Same thing. Did they compose notes or just press some buttons until it sounded right?
 
I can’t read/write music but I often think, damn, if there was a program that could turn my humming into notes? I’m the Mozart of humming. I came up with an awesome Batman theme once in the shower. Then I lost it. All because I can’t write music. You all have lost out on some amazing music due to my music illiteracy. 
 
I wonder if that’s the future of film music. One simply hums a tune and A/I does the rest. I say “make my humming sound like John Williams” and then the A.I. obeys & does just that. Then it launches all the worlds nuclear weapons in shame. 

The question may sound ridiculous but when you sit and think about it, yeah okay, it still sounds ridiculous.
 
But hear me out. Today with all the various ways one can make music electronically, are there any composers working who can’t actually read/write the notes? 
 
For example, Trent Reznor, does he compose or just mess around until he has something?
 
The Guys who did the score for Tron Legacy. Same thing. Did they compose notes or just press some buttons until it sounded right?
 
I can’t read/write music but I often think, damn, if there was a program that could turn my humming into notes? I’m the Mozart of humming. I came up with an awesome Batman theme once in the shower. Then I lost it. All because I can’t write music. You all have lost out on some amazing music due to my music illiteracy. 
 
I wonder if that’s the future of film music. One simply hums a tune and A/I does the rest. I say “make my humming sound like John Williams” and then the A.I. obeys & does just that. Then it launches all the worlds nuclear weapons in shame. 

The question may sound ridiculous but when you sit and think about it, yeah okay, it still sounds ridiculous.
 
But hear me out. Today with all the various ways one can make music electronically, are there any composers working who can’t actually read/write the notes? 
 
For example, Trent Reznor, does he compose or just mess around until he has something?
 
The Guys who did the score for Tron Legacy. Same thing. Did they compose notes or just press some buttons until it sounded right?
 
I can’t read/write music but I often think, damn, if there was a program that could turn my humming into notes? I’m the Mozart of humming. I came up with an awesome Batman theme once in the shower. Then I lost it. All because I can’t write music. You all have lost out on some amazing music due to my music illiteracy. 
 
I wonder if that’s the future of film music. One simply hums a tune and A/I does the rest. I say “make my humming sound like John Williams” and then the A.I. obeys & does just that. Then it launches all the worlds nuclear weapons in shame. 

I think you are underestimating the affect score can have on an audience. 
 
Let’s look at Home Alone. John Hughes had many films made, many of them were better reviewed, many of them holiday themed. None of them did Home Alone type business. 
 
You go down the line on that film and the only person that had that level of success? John Williams. Consistently. 
 
MC had many movies come out after Home Alone. None of them were majorly successes. 
 
Look at the relationship between music and movies in the 1970s/1980s. Most of the biggest movies have memorable scores or music. 
 
Star Wars, Indiana Jones, E.T. Ghostbusters(Ray Parker Jr theme song), Back to the Future, Batman. 
 Beverly Hills Cop is the only movie that doesn’t fit that pattern but that was big due to Eddie Murphy. 
 
I’m not suggesting those films were big simply because of the score, but that it plays are larger role than some seem to think. 
 
Look at Titanic. The theme song and the score were huge. Huge. 
 
Now as me move into the more modern era I think that becomes less and less of a phenomenon. But back in the day? I think it played a large role. Having a great movie too helps. But a great score is what seals the deal. 
 

Huge disagree. 
 
How many Bruce Boughton movies are the top grossing movies of all time when they were released? 
 
Now let’s look at John Williams.
 
Word of mouth was a huge part of Home Alone’s success. And I think Williams music has a subconscious affect on audiences. It’s warm, inviting, loving. Playful. Memorable. 
 
This may seem controversial but, I mean, you can’t argue with the results. I think a lot of the success of Star Wars, Jaws, E.T. Is because of the music. 
 
People are humming those tunes when they leave the theatre. It makes everything memorable. Like a call and response. This isn’t to say these movies aren’t great on their own but anyone who thinks Star Wars becomes a pop culture phenomenon with a Synth score I don’t think is paying the proper due to the audiences relationship with film music. 
 
I don’t think it’s any accident that the top films of all time prior to 2008ish, They all had banger scores. And a lot of them, hell, most of them, are John Williams. 
 
Especially when it comes to whether or not a movie has staying power. The music is a massive part of the sense memory people have with movies. 
 

My god. 
 
Have you ever listened to a piece of music where it makes you feel as if, for just a moment, all the universes answers are within reach and the meaning of life itself is about it be revealed to you? But then the moment ends and it all slips away?
 
I’m not a spiritual man. I’m not religious. But when I listen to JW’s Hook score, specifically “Farewell Neverland” when the hauntingly beautiful choral 2:19 come in? It’s as if I can step outside of myself and see the big picture. It’s hard to describe.
 
What a piece of music! It makes my soul ache, makes me yearn for memories long gone. I can feel it in every fibre of my being. This isn’t simply “music”. No. It’s so much more. It’s memory, nostalgia, love, hurt and sorrow all distilled in one profoundly ethereal piece. It’s the human soul given music form. 
 
I feel like the kid from “American Beauty” who watches a bag blow in the wind & sees all the beauty of the world represented in that single moment.

Think of it this way. 
 
A movie trailer with catchy music, or any commercial with catchy music, is going to stay in the mind of consumers Vs a commercial without a catchy tune. The more the tune is in their mind, they more likely they are to buy the product, talk about the product with others, etc. That translates to more $. 
 
Now transfer that line of thinking to movies. How many Bruce Boughton scores are you able to recall right as you leave the theatre? Now do the same thought experiment with JW. 
 
We know the affect pleasurable music has on our endorphins. When Luke watches those twin suns setting in Star Wars? JW is technically getting you high with this sonic bliss. 

I was unaware of that particular Beverly Hills Cop piece of trivia. So I guess add it to the list. 
 

My god. 
 
Have you ever listened to a piece of music where it makes you feel as if, for just a moment, all the universes answers are within reach and the meaning of life itself is about it be revealed to you? But then the moment ends and it all slips away?
 
I’m not a spiritual man. I’m not religious. But when I listen to JW’s Hook score, specifically “Farewell Neverland” when the hauntingly beautiful choral 2:19 come in? It’s as if I can step outside of myself and see the big picture. It’s hard to describe.
 
What a piece of music! It makes my soul ache, makes me yearn for memories long gone. I can feel it in every fibre of my being. This isn’t simply “music”. No. It’s so much more. It’s memory, nostalgia, love, hurt and sorrow all distilled in one profoundly ethereal piece. It’s the human soul given music form. 
 
I feel like the kid from “American Beauty” who watches a bag blow in the wind & sees all the beauty of the world represented in that single moment.

My god. 
 
Have you ever listened to a piece of music where it makes you feel as if, for just a moment, all the universes answers are within reach and the meaning of life itself is about it be revealed to you? But then the moment ends and it all slips away?
 
I’m not a spiritual man. I’m not religious. But when I listen to JW’s Hook score, specifically “Farewell Neverland” when the hauntingly beautiful choral 2:19 come in? It’s as if I can step outside of myself and see the big picture. It’s hard to describe.
 
What a piece of music! It makes my soul ache, makes me yearn for memories long gone. I can feel it in every fibre of my being. This isn’t simply “music”. No. It’s so much more. It’s memory, nostalgia, love, hurt and sorrow all distilled in one profoundly ethereal piece. It’s the human soul given music form. 
 
I feel like the kid from “American Beauty” who watches a bag blow in the wind & sees all the beauty of the world represented in that single moment.

Oh for sure that’s a tremendous piece. One of JW’s all time best. But that’s a little more uplifting & inspiring. 
 
But there’s something just so…achingly beautiful about this composition. It pierces right through you. 
 
What a score
 
 

Oh for sure that’s a tremendous piece. One of JW’s all time best. But that’s a little more uplifting & inspiring. 
 
But there’s something just so…achingly beautiful about this composition. It pierces right through you. 
 
What a score