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Specific dropped balls, Doyle - GOF score


pi

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I can almost tell the cues Doyle must have really worked on. In general this is no score for him to be shameful of, he did well, but he had big shoes to follow.

- At first I hated the theme alteration in Hedwig's opening, but I guess it works ok.

- First huge dropped ball around 5 minutes, approach to the port key. What the hell is this music? It is like a half assed modulation that doesn't even catch the cameras climax. When the trumpets hit that high note they should have held it, I bet this could have been a stage with the conductor issue. That was a golden film scoring opportunity missed.

- Second huge ball dropped. 41:30 seconds. Owl's flight up. Could you come up with anything more borring??! This is quite similar to the scene in POA where JW almost made me pass out in the movie theatre from that freaking amazing Flute solo. And doyle just did nothing. The string line doesn't even go anywhere and the flute is so borring. That is the best film scoring moment of the whole film. Wasted. Give us a thematic statement somewhere?

-Third ball dropped. At the dance. At least come up with a decent tune for the Waltz. Even my man Zimmer did better, and he is not a lyrical thematic writer, for his similar opportunity in Pirates 2.

-Fourth ball, why not a theme for MAd EYE? HE is the most imporatant person for many of the scenes, give us a theme, do some musical foreshadowing or musical misleading.

I wonder if he even watched the efforts of William's previous three films.

There were opportunities to use old williams themes:

Window to the past theme for the end fight with Volderwart.?

Volderwarts or a take on William's dark themes for him? A dark version of Hedwigs theme for moments of uncertainty, like Williams does?

Comments welcome as always. Some of the scoring is very nice though.

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I think the laziest cue is "Frank Dies." It actually sounds like some of the extremely rushed music I've thrown together under a deadline; specifically, the repeating chromatic lines. Doyle might has well have scored my Level 2 Theater Arts class's production.

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First huge dropped ball around 5 minutes, approach to the port key. What the hell is this music?  It is like a half assed modulation that doesn't even catch the cameras climax.  When the trumpets hit that high note they should have held it, I bet this could have been a stage with the conductor issue.  That was a golden film scoring opportunity missed.

I think this was intentional. It was meant to be a big seemingly climactic moment, but it was a boot. It was an attempt at comedy, I think. I like the heroic motif when they are using the portkey.

Ted

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First huge dropped ball around 5 minutes, approach to the port key. What the hell is this music?  It is like a half assed modulation that doesn't even catch the cameras climax.  When the trumpets hit that high note they should have held it, I bet this could have been a stage with the conductor issue.  That was a golden film scoring opportunity missed.

I think this was intentional. It was meant to be a big seemingly climactic moment, but it was a boot. It was an attempt at comedy, I think. I like the heroic motif when they are using the portkey.

Ted

Yes that is possible I suppose. Either way the music continues after the camera stops, the timing is very off.

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If somebody could give me an AVI of the Voldemort-Harry-Parents clash, I will try and write a fully orchestral climactic version of Window to the Past vs. Voldemort's Theme.

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If somebody could give me an AVI of the Voldemort-Harry-Parents clash, I will try and write a fully orchestral climactic version of Window to the Past vs. Voldemort's Theme.

HOLY SHIT!!!

excited.jpg

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Bowie! I AM EXCITED!!!

I was looking on Google for an image to visually reflect my enthusiasm, so I typed in "excited" and searched for images. This was the first one that came up!

Please accept my apologies for not being clear. I can't help it; I'm Dutch! :wave:

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I'll post what I had already done on my website and leave it at that.

The Patronus Clash (abandoned)

That sounds really quite very good indeed! :P

That above might sound confusing, but I hope you do get that I think it is good. Shame you abandoned that. I would really like to hear the rest. I can imagine it working wonderfully for that scene. Sounded much more interesting than Doyle's Voldemort cue. I almost fell asleep during that one when I listened to it. Can't have been the intent. :P

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I'm not sure why i despise this score so much.I'm still mad Williams didn't score it,and the actual movie was much inferior to the first 3.

K.M.

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IMO all the movies are deeply, deeply flawed. I enjoyed 1, 3, and 4 about equally at the cinema, but I can't say I'd ever want to watch any of them again.

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Harry Potter and the Prisoner of Azkaban is a wonderful film. It's a shame more people don't take it seriously as a piece of cinema. I like the other three films as fantasy films, but Azkaban is in a league of its own.

Ted

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The cue I really miss Williams the most is the First Task, the dragon chase around the castle, that whole sequence.

Indeed. I honestly can't stand the score in that sequence, even when it's not compared to Williams.

And when it is compared to Williams, you'll realize Harry jumping on his brooms just screams for the Nimbus 2000 theme.

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The cue I really miss Williams the most is the First Task, the dragon chase around the castle, that whole sequence.

Indeed. I honestly can't stand the score in that sequence, even when it's not compared to Williams.

And when it is compared to Williams, you'll realize Harry jumping on his brooms just screams for the Nimbus 2000 theme.

Um no. The Nimbus 2000 theme sounds a bit too quirky to make any unmodified or full appearance in a movie like GoF. It just wouldn't really fit. And just throwing it in for the sake of throwing it in is an idea that's not very sharp.

One thing I find to be a great change with William's PoA and Doyle's GoF is the great restraint of reliance on quirky and almost comedic themes of the first two movies.

- Says Blumenkohl, who (while initially bashing it to hell and back) even applauded the changes made to Hedwig's theme to suit a maturing universe.

I'm not sure why i despise this score so much.I'm still mad Williams didn't score it,

You just countermanded your unsureness with that second sentence. ROTFLMAO

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I don't mean a quirky version as much. One of those kick-ass renditions you'll find in The Quidditch Match will do. It felt to me like Harry beating the dragon was something that should have wowed everyone, and some of that Quidditch music would have been quite suitable for that. I was actually waiting for it to pop up when he started to jump. I would have cheered if it did. Oh well.

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If somebody could give me an AVI of the Voldemort-Harry-Parents clash, I will try and write a fully orchestral climactic version of Window to the Past vs. Voldemort's Theme.

Please do? Sadly I can't provide you with the video, as I haven't got the DVD yet (waiting for it to drop to 10€ ... PoA did after a year). Sounds very promising what you've already done ROTFLMAO

Spoiler Warning for those who haven't read HBP yet - Don't read the following paragraphs

While we're at it, for some time I had these ideas in my head how Williams might score (spoiler warning) Dumbledore's funeral... so I finally began something:

[track title is possible spoiler]

Using (for now) Fawkes's Theme, the harmonic ostinato from the middle part of Fawkes's Theme concert version (which also appears in a very beautiful moment in CoS when Fawkes tears heal Harry's wound), and the theme that begins PS/SS, as I found it fitting (Dumbledore's first appearance - Dumbledore's last appearance), and a bit of Hedwig's Theme at the end, slightly varied.

I'll see when I'll have time to complete this, for now I fear Marian will go berserk on me if I compose anything unrelated to MaxFighter until September 1st :pukeface:

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If somebody could give me an AVI of the Voldemort-Harry-Parents clash, I will try and write a fully orchestral climactic version of Window to the Past vs. Voldemort's Theme.

Please do? Sadly I can't provide you with the video, as I haven't got the DVD yet (waiting for it to drop to 10€ ... PoA did after a year). Sounds very promising what you've already done ROTFLMAO

I bought it for €11,-- the day it came out. Got a free poster with it, too.

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I'll see when I'll have time to complete this, for now I fear Marian will go berserk on me if I compose anything unrelated to MaxFighter until September 1st ROTFLMAO

You betcha. :pukeface:

As for the DVD, apparently it's below €10 in Sweden already, but that won't help us much. I'm also waiting for the price to drop, but I also want one with an English cover (I can't stand the German titles, and it wouldn't fit my other Potter DVDs).

While we're at it: Was there a different US version of GOF like there was for (at least) the first movie? That is, would I get a version substituting British terms for American ones if I picked up a US release? I got the Canadian versions for the first three, so I never had to bother, but recently I've been keeping an eye open for GOF on eBay, so...

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The cue I really miss Williams the most is the First Task, the dragon chase around the castle, that whole sequence.

Indeed. I honestly can't stand the score in that sequence, even when it's not compared to Williams.

And when it is compared to Williams, you'll realize Harry jumping on his brooms just screams for the Nimbus 2000 theme.

Every time I've seen the movie I've hummed the theme to myself right at that moment. :lsvader:

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Doyle delivered a good score. Not a good Harry Potter score, mind you, but a good score in comparison to some of the trash being put out. That said, I still think he should have tried to blend a little more. It's like these young composers don't realize liet motief at all. I only remember hearing less than a hands worth of times that original themes were used.

I missed the hedwigs theme opening, I missed the slight innocence Williams worked into the texture, even as they grew up. I missed the wonderful wind parts Williams wrote for the series, like that amazing flute solo. Doyle had pure cinematic gold on his hands to make amazing themes that could blow away the competition, like Buckbeaks Flight did. He chose not to take advantage of them, but rather sit back and just let the music stroll along instead of pushing it out.

Maybe I'm Bias since I just love the innocent Williams style Harry Potter was composed in, and I absolutely adore his writing for the orchestral instruments, especially how well he understands their useages and strengths. I tried to give this score a chance, time and time again every time I watch it, but I always find myself distracted at times at the lack of the score I want for these films.

I don't expect Doyle to be williams, nor did I even expect him to use Williams themes, as the licencing for that is just a mess, but I expected a score that blew other films like this out of the water, and it wasn't even close to being a great score. Just an ok score, a score that gets the job done, and not much more than that. Can't say I hated it, I just...thought it could have been much better.

~JW

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Harry Potter and the Prisoner of Azkaban is a wonderful film. It's a shame more people don't take it seriously as a piece of cinema. I like the other three films as fantasy films, but Azkaban is in a league of its own.

Ted

Agreed

And I would love to hear Window to the Past Vs. Voldemort, Bowie! That sounds awesome.

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