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Will JW write for Harry Potter Anymore?


oboale
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I think whatever happened during PoA might be the reason Williams quit Potter.He'll always say it's Memoirs of a Geisha of course.

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It was, and I'm not sure if it was one Williams particuarly enjoyed.

We actually don't have any proof of that.

It was probably the first time since the ROTJ that Williams and a director were working together without Williams being sought out by the director.

It was also the first time since 2000 that we worked with someone else then Lucass or Spielberg.

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Then it is a testament to both of their professionalism that they ended up with such a satisfying end result.

Indeed.

It was, and I'm not sure if it was one Williams particuarly enjoyed.

We actually don't have any proof of that.

We don't, but we do have the things you mentioned, the fact that Williams quit Potter after, and the reports that Williams was wiped out after writing the score. Not something to base a case on, but solid circumstantial evidence, which is probably all we'll get.

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I think whatever happened during PoA might be the reason Williams quit Potter.He'll always say it's Memoirs of a Geisha of course.

Because it *was* Memiors of a Geisha. For someone who is so Williams biased, you don't seem to want him to return with this statement.

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I think Williams had enough of writing for and the prequels and Spielberg and the Potter films and wanted to do something a little different.

We have absolutely no reason to assume anything happened.

Because it *was* Memiors of a Geisha. For someone who is so Williams biased, you don't seem to want him to return with this statement.

King Mark bases his suspicions solely on his own opinion. He wanted a 4th JW Potter score more then he wanted Williams on Memoirs, so he assumes Williams really wanted that too. And something happened, that made that impossible.

It's a little sad....

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Geisha was the excuse, not the reason.

And how exactly do you know this?

Williams was in one way or another slated for Geisha for years. Also if it was just an excuse for him to get out of doing Potter, why did he promote it so heavily during Oscar time?

And lastly, if John Williams does not want to do a film, he simply does not have to do it, he does not need an excuse....

It's all just rubbish, guys.

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The Leaky Cauldron? Now there's a piece of independant journalism.

Joe, knowing Williams' penchant for being diplomatic, I'm not surprised at the comment.

I'm also sure Williams misses working on a Star Wars film, or misses doing late 70's early 80's style big, epic scores.

I'm also sure Williams really did mean it when he said he never did a lovetheme fot SW untill AOTC.....

You are even more sad then King Mark sometimes.....

No offense.

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Geisha was the excuse, not the reason.

And how exactly do you know this?

I don't, it's a supposition, a guess, a deduction based on observation of known facts.

Feisty tonight, aren't we? :P

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OK state the known facts on which you base your supposition.

I'm still staggered how many people here keep looking for conspiracy theories concerning Williams.

Insisting Williams wrote every note of CoS even though it's officially known to be otherwise and no-one would have any reason to hide the truth from anyone.

Insisting the Harry Potter franchise was somehow taken away from him and he's now pining for it at home, doing nothing while Doyle and Hooper reap the glory...

It's ridiculous.....

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Williams was going to score Memoirs of Geisha no matter what. He's been attached to the film for years. He wanted to score Geisha. Didn't he want to write a concert piece based on the novel before he even scored the film?

Anything else is pure speculation and borders on fanboy dreams.

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OK state the known facts on which you base your supposition.

Look, I've always said that I thought Williams wasn't interested in working with a revolving door of directors on the same series after all the stability he's had in his career, and the timing of Geisha (which of course he was scoring no matter what)was convienent to make a clean break from the franchise. You are, of course, free to disagree with this interpretation of events, but it's the one I think is most likely.

I'm still staggered how many people here keep looking for conspiracy theories concerning Williams.

Insisting Williams wrote every note of CoS even though it's officially known to be otherwise and no-one would have any reason to hide the truth from anyone.

Williams did originally write every note of CoS, it's just that a good chunk of it was written the year before for Sorcerer's Stone. I don't see how this is a conspiracy theory, Ross is clearly credited as adapter and conductor, not a composer.

Insisting the Harry Potter franchise was somehow taken away from him and he's now pining for it at home, doing nothing while Doyle and Hooper reap the glory...

It's ridiculous.....

OK, you've lost me. I've got no clue where this is coming from.

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Read the Leaky article about how he says he misses it. :P

Ross is clearly credited as adapter and conductor, not a composer.

Say friend, tell me what adapter means.

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Say friend, tell me what adapter means.
a·dapt·er –noun

1. a person or thing that adapts.

2. a connector for joining parts or devices having different sizes, designs, etc., enabling them to be fitted or to work together.

3. an accessory to convert a machine, tool, or part to a new or modified use.

I think definition 1 applies best. Your point being?

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Your point being?

That Williams wrote about 20 minutes of CoS and Ross did a very good job both mimicking his style?

Seriously, just dust off your critical thought and give the CD a spin. There is no way anyone can convince me that Williams want out of his way of his busy schedule of 2002 to write "Knockturn Alley", "Cakes for Crabbe and Goyle" or, worse even, "Meeting Tom Riddle".

You don't need to be John Williams to write that.

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Your point being?

That Williams wrote about 20 minutes of CoS and Ross did a very good job both mimicking his style?

Seriously, just dust off your critical thought and give the CD a spin. There is no way anyone can convince me that Williams want out of his way of his busy schedule of 2002 to write "Knockturn Alley", "Cakes for Crabbe and Goyle" or, worse even, "Meeting Tom Riddle".

You don't need to be John Williams to write that.

Page 2 of my CoS c.d. booklet clearly states"All music composed by John Williams" under the track titles

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Well, then you have your answer. I just prefer to trust William Ross' assistant (just because) and, at the end of the day, the music itself. Because you people realize that no matter who wrote it, the music does not change, right?

If sticking to page 2 of a booklet is going to make your existence lighter, better, or even more tolerable, then I'd be a jerk to stand in the way.

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I wonder if Williams wrote all of the original music for Chamber (including the blatant Attack of the Clones ripoffs), but Ross handled everything involved with the Sorcerer's Stone music - so, the extensions to "Reunion of Friends" would be his writing, but "Cakes for Crabbe and Goyle" would be Williams's.

The funny thing is that both of them could have been saved a lot of trouble by just writing less. The wall-to-wall scoring of Chamber is perhaps the nail in the film's intellectual coffin.

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That's possible. But I just feel so dirty, thinking that Williams himself could be responsible for the direct lifts from AOTC...I want so badly to shift the blame onto Ross... :P

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It wouldn't be the first time for Williams. Star Wars lifts rather directly from classical repertoire, intentionally and effectively. Jurassic Park lifts rather directly from Williams's own music and Patrick Doyle's, not so effectively.

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[...] and the reports that Williams was wiped out after writing the score. [...]

I may be naive, but I don't imagine anyone who'd have the guts to do that to JW. ;) You just don't reject JW's scores, no?! :P

Williams was going to score Memoirs of Geisha no matter what. He's been attached to the film for years. He wanted to score Geisha. Didn't he want to write a concert piece based on the novel before he even scored the film?

If I remember correctly, Rob Marshall stated in Scoring Memoirs DVD featurette that JW actually came to him and offered himself to compose the score, which is probably the only time in his six-decades-spanning carrer that he did that.

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I'd also like to add that just because a director uses a different composer doesn't mean he hates Williams.

If I were directing a film and I had a composer who had scored most of my work, I wouldn't toss him/her aside just to get John Williams.

If Williams really wanted to score Harry Potter I'm sure Warner Bros would welcome him back with open arms. The man is in his 70's, he's accomplished pretty much everything a composer can, he also keeps a busy schedule conducting different concerts. Maybe he wants to sit back and enjoy what time he has left instead of spending 3 months working on a film.

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I wonder if Williams wrote all of the original music for Chamber (including the blatant Attack of the Clones ripoffs), but Ross handled everything involved with the Sorcerer's Stone music - so, the extensions to "Reunion of Friends" would be his writing, but "Cakes for Crabbe and Goyle" would be Williams's.

could be something like that,but the ending of Reunion of Friends are definately Williams fanfares,I never heard another composer do that.

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Aping another composer's style is not that difficult, especially if you make a living as William Ross does, being a B or C list composer. look at Joel McNeely. Heck, John Debney's made a career of it.

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"All music composed by John Williams".

i don't need facts because you don't have then anyways.In the coS finale,there's many overlapping themes meshed togheter in a way only Williams can do.

I do not believe that is known for a fact.

That is a poor way to debate things.Anyone can end a discussion like that.Because you ignore all the other evidence and just give me this throwaway reply.

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So is

Yeah,but Williams still did the end of Reunion of Friends

I am not a Ross apologist, and frankly don't really care what he did on the score, it is firmly a JW score in my mind. But it is not a fact that Williams wrote that, that's all I was saying.

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We'll never know who really directed Poltergeist(to me it's Spielberg)I think it's exactly the same story.Williams did not remove Ross involvement for professionnal reasons.

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I'm not disagreeing with you. I just took exception to stating factually that JW wrote something that we do not know for a fact that he did.

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Besides, you'd be happier with Bruce Broughton, wouldn't you? :D

Only if Williams isn't available.

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I'm just saying that's how people usuallly end the debate:"Williams said in an interview he only wrote 40 minutes of music and there's no hard facts that he did any more than that".End of story untill Williams says so himslef (he never will)

Despite some common sense and accumulated evidence that is not really what happened.

Anyways.I'll always be one of those who really believes in his heart that Williams wrote all the new cues in CoS.Ross probably only chose which HPPS music to re-record.

k.M.

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That's the explanation I was sticking to at first, but after Ross' assistant said the opposite I began to have my doubt. Not because he was Ross' assistant (of which we have no proof) but because, after more careful listening, some of the tracks really could have been written by anybody trying to sound like Williams.

Why do you say "common sense" points to the fact that Williams wrote more? He said himself he didn't, he didn't have the physical time to do it, all official and unofficial sources involved in the project say he didn't. Only trust-worthy source we had was Ocelot, but he also could have gotten information that wasn't on the level.

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You want to know the real truth behind all of it, guys? Ok, here it is:

John Williams doesn't exist. The truth is that there are 15 or even more unknown composers who write all the music under the name "John Williams" (ever noticed how common this name is??) in turnover. Some are now really old, because they started in the late '50s, but there is a new young generation of unknown composers who joined the group over the years (have you noticed how JW's style changed?? Especially after The Temple of Doom??).

Now you're probably asking yourself: so who is that bearded, bald man with glasses who appears in concerts, interviews and various occasions? He's not "John Williams", of course. He's just a Hollywood extra that was trained to conduct an orchestra and taught to speak politely. Inside Hollywood people says he's very, very rich. He made a hell of a career when he was chosen to be "John Williams" (various sources says he started his career as an extra for obscure B-movies, but he never succeed to work in big studio productions). His real name remains a mystery, of course.

:thumbup:;)

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John Williams wrote roughly 40 mins of original score for COS, William Ross adapted and arranged the rest using music from SS.

There's no reason to believe anything else, to do so is pure speculation with no truthful facts to back you up.

So unless Williams Ross or John Williams or Chris Columbus comes forward and says anything that contradicts the original press release I'm gonna stick with that.

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No, there are more than 40 minutes of original score in the movie. Ross didn't just adapt the music from the first installment, he actually wrote some new cues.

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Yes,of course.Ross wrote a cue that almost matches Chase through Cosruscant and the separatist motif because he also had the permission to use the AotC score in his adapting work.

The c.d. has more than 40 minutes or ORIGINAL music in it .How do you explain the "All Music Composed by John Williams " mention?Right there the rules have changed.

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Here's what I think is a plausible explanation. Williams undoubtedly composed the four major new themes for CoS (Fawkes, Chamber, Lockhart, Dobby). These four concert arrangements come to about 13 minutes. Throw in the smaller new motifs (Myrtle, Spiders) and the larger setpiece cues ("The Flying Car," "The Dueling Club," "The Spiders," "Dueling the Basilisk," "Fawkes is Reborn"), and you have about 36 minutes. Nearly all the remaining cues on the album are adaptations of themes from the first score, sometimes in the exact same arrangement, so it would seem safe to assume that Ross had a hand in these. With the 4 minutes leftover of Williams' supposed 40 minutes of new material (which realistically could have ended up been more, as we were given this figure very early in the process), you can take into account the new ending from "Reunion of Friends," the little pieces for Errol in the film, etc. This allows for virtually all the new music to have been written by Williams, with Ross simply adapting both new and old themes into the score, and falls in line with how each composer is credited.

Ray Barnsbury

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Here's what I think is a plausible explanation. Williams undoubtedly composed the four major new themes for CoS (Fawkes, Chamber, Lockhart, Dobby). These four concert arrangements come to about 13 minutes. Throw in the smaller new motifs (Myrtle, Spiders) and the larger setpiece cues ("The Flying Car," "The Dueling Club," "The Spiders," "Dueling the Basilisk," "Fawkes is Reborn"), and you have about 36 minutes. Nearly all the remaining cues on the album are adaptations of themes from the first score, sometimes in the exact same arrangement, so it would seem safe to assume that Ross had a hand in these. With the 4 minutes leftover of Williams' supposed 40 minutes of new material (which realistically could have ended up been more, as we were given this figure very early in the process), you can take into account the new ending from "Reunion of Friends," the little pieces for Errol in the film, etc. This allows for virtually all the new music to have been written by Williams, with Ross simply adapting both new and old themes into the score, and falls in line with how each composer is credited.

Ray Barnsbury

I think that's what most of us level headed people have been trying to say.

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