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Will JW write for Harry Potter Anymore?


oboale
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I have seen HP5 and as expected was saddened by the loss of magic that JW inspires in his scores. Unlike the first two in the series I can't remember a single theme or moving moment. Almost as if it was just music for music's sake.

Does anyone know if he will score anymore HP movies? Does anyone have access to contact him and ask?

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I have seen HP5 and as expected was saddened by the loss of magic that JW inspires in his scores. Unlike the first two in the series I can't remember a single theme or moving moment. Almost as if it was just music for music's sake.

Does anyone know if he will score anymore HP movies? Does anyone have access to contact him and ask?

One would have to think the final installment would be a good possibility. Well, we can only hope.

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I've heard claims that he's left the franchise for good, but of course we can't know definitively. How purely awesome would be it be if he returned for the seventh film, bringing the saga full circle musically. It'd be nice to hear earlier themes reprised in tasteful ways--with a lot of maturing to mirror the huge changes in the characters.

Sorry if I sound like a fanboy again, Steef. >.>

EDIT:

I imagine that if he wants it, the job is his.

I'm not so sure. It depends on the director...I mean, not every director in the world is sapient enough to realize that Williams can handle most projects thrown his way better than your average chimp, especially if he's already worked in a given franchise. :music:

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Yeah... I know. This question about Williams returning to Harry Potter series always comes up every now and then on the forum... I don't think Williams will return unless the chances are having Williams back is the first two directors Chris Columbus and Alfonso Cuaron to return to direct the 6th and 7th. It is now becoming a director's pick for a composer whoever directors the Harry Potter films... Or perhaps Williams doesn't want to...

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I've heard claims that he's left the franchise for good, but of course we can't know definitively. How purely awesome would be it be if he returned for the seventh film, bringing the saga full circle musically. It'd be nice to hear earlier themes reprised in tasteful ways--with a lot of maturing to mirror the huge changes in the characters.

Sorry if I sound like a fanboy again, Steef. >.>

I think thats a great idea too... and no you don't sound like a fanboy

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I've heard claims that he's left the franchise for good, but of course we can't know definitively. How purely awesome would be it be if he returned for the seventh film, bringing the saga full circle musically. It'd be nice to hear earlier themes reprised in tasteful ways--with a lot of maturing to mirror the huge changes in the characters.

Sorry if I sound like a fanboy again, Steef. >.>

Yeah, you do sound like a fanboy. "Bringing the saga full circle musically" with the same old themes from the two first movies (which were actually inconsistent between each other) would be an insult to the efforts of Hooper and Doyle, and it would stand out like a sore thumb to have the themes from the first installment in the last one.

I mean, there really isn't any circle to close in the saga. They're just 5 individual scores - the fact that the second one is a quick re-hash of the first one doesn't make it a "musical saga" of any sort. If Williams wants to do it, he will do it, but he'll stick to his judgement. This means: don't expect to hear "Fawkes the Phoenix", or "Dobby the House Elf", or "A Window to the Past" in any future Harry Potter movie.

By the way, changing the themes to represent "a lot of maturing to mirror the huge changes in the characters" is very easily said. But there's only so far a melody will stretch. You can't make any theme from "Harry's Wonderful World" sound non-magical, much less "mature", because that is precisely what it isn't.

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I agree with Ross, except for the comment about the second one. It's no masterpiece, nor is it a great film score, but the feeling of the rather hastey nature in it's creation is something I like. No time to second guess. JW throwing whatever material came to his mind first, without second guessing and refining it. A rarity for Williams, but it works well as a thematic accompaniment for the book (which is just fine by me, since that is the most disposable of the movies).

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I doubt and hope that he will not be coming back. And I assume that Cuaron would also mean a JW score (and it is rather conceivable, a bunch of reviewers seem to have found a new found appreciation for Cuaron's film, praising Yates for recapturing that).

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You know, I really want Williams to come back not because I liked his themes or want to hear his mutations for the first scores, but I want to hear how he would treat was is going to be a very emotional story. The book is not out yet, but judging from Rowlings muses about many people dieing and the difficulty of the storyline, I'm just not sure there are any composers out there who would handle it nearly as well. He's always done a fantastic job with death of loved ones. He's had personal experience with it when his wife died, so he knows how to treat a tough situation..

Will he write it though? Up in the air. He's not known for coming back into series after someone else has composed. A pride issue, or just a respect for them, I don't know, but I'm not going to get my hopes for him to score another Harry Potter.

~JW

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Personally, I think I'd like for Hooper to finish out the series. I was really fascinated with his score and the way he handled some of the situations. Although simple, I found his action music quite refreshing and thoroughly effective in the way he used space and silence. I'm still a huge Williams' fan, but I haven't been crazy with his action music for some time (with obvious exceptions). So much of it sounds the same to me.

We probably won't see too many more scores from Williams, and I'd rather see him tackle something different however unlikely it may be that he'll work with new directors. Still, I wouldn't scream bloody murder if he and Cuarón decided to team up for Deathly Hallows. :cool:

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Given that he didn't score "Phoenix" in a year where he wasn't working on anything, I would say that he's done with Harry Potter.

Move along, folks. Get over it. Nicholas Hooper wasn't so bad.

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I don't think he will. I'd be very happy for Yates to do the remaining 2 movies, and despite what I first said about Hooper's score, it worked wonderfully in the movie IMO and I think they work very well together.

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I wonder how many more ways there are to answer/discuss this question.

Ray Barnsbury

Apparently more than we would like.

I'm going to start pulling for Bruce Broughton everytime it's brought up.

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Again, I vote for JNH. Not sure about Beltrami, I've only heard a few of his scores, but neither had the kind of sound I'd personally see in HP.

JW has openly stated he would like to do another.

where?

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If it's not Williams, it must be James Newton-Howard. He's the next best things for something like this.

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I wonder how many more ways there are to answer/discuss this question.

Yes, I was wondering the same thing. Let's face it, by now the horse is a big, unidentifiable mass of goo.

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I'm no Harry Potter expert, and I've never herad an entire score all the way through, but I saw the fifth movie last night and the score was amazing. Much better than the clips I heard of previous films. Of course, he had the benefit of building off of Williams' themes.

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First of all: I think the Harry Potter films have lost their musical magic to such an extent that I don't really think Williams should waste his time on the series, regardless of the fact that a new Williams-penned Potter score is something I would love to hear.

Second of all: I really don't understand the animosity expressed by some for the CoS score. Thematically, I find it most interesting: Has anyone noticed that so many of its themes are actually derived from "Hedwig's Theme"? Several major new themes actually read amost like pure variations and transformations (Gilderoy Lockhart, The Chamber of Secrets, Moaning Myrtle (from Nimbus 2000, actually, of which "Double Trouble" is also a transformation), and more).

CoS is great and very involved music, even if it is at times a rehash of the first score (it is still infinitely better than what Doyle or Nicholas Hooper offered, at least musically speaking).

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Chamber of Secrets has a few strong cues/themes, but as a score it is incomplete and derivative. As you said, the new themes tend to be closely tied to Hedwig's Theme, so as far as giving us more of the same goes, Chamber excels magnificently. Azkaban and its sequels broke new ground, however - while "Double Trouble" is based on "Nimbus 2000," it has a very different feeling, whereas "The Chamber of Secrets" is different is very alike in tone (if darker).

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If it's not Williams, it must be James Newton-Howard. He's the next best things for something like this.

You need to listen to more Broughton.

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I highly doubt JW will come back. The seventh film just screams for a score from that Santonella guy or whatever his name is. :cool:

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I'm no Harry Potter expert, and I've never herad an entire score all the way through

:blink: You are, however, a John Williams fan, no?

I saw the fifth movie last night and the score was amazing. Much better than the clips I heard of previous films. Of course, he had the benefit of building off of Williams' themes.

Hooper used only Williams' "Hedwig's Theme," and very sparingly at that.

Ray Barnsbury

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I'm no Harry Potter expert, and I've never herad an entire score all the way through

:blink: You are, however, a John Williams fan, no?

I saw the fifth movie last night and the score was amazing. Much better than the clips I heard of previous films. Of course, he had the benefit of building off of Williams' themes.

Hooper used only Williams' "Hedwig's Theme," and very sparingly at that.

Ray Barnsbury

Yet more than Doyle did.

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It's a count of six uses to four; however, all of Doyle's were complete statements of the theme, while Hooper's were sometimes brief and inconsequential.

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Yes. In fact, he seemed to use it very wisely, and its infrequent appearances made the impact all the more effective. The quiet statement towards the end when they're discussing the prophecy was particularly significant.

Ray Barnsbury

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JW has openly stated he would like to do another.

Yeah, it's the baddie studio who just doesn't want the go-to composer in their saga even though he will ask, and ask, and offer himself time and again, and as many time they have slammed their door on his face.

Either that, or Williams is just being his usual poilte self in interviews and saying he'd love to do it again. Like you say "we should do this again some time" after a date.

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If it's not Williams, it must be James Newton-Howard. He's the next best things for something like this.

What about Silvestri, Elfman or Menken? :blink:

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