Tracklist for New Potter Film.

[John Crichton 4]

It fucking sucks, it sucking fucks, it's a piece of shit... and I don't like it.

[Josh500 1,615]

It fucking sucks, it sucking fucks, it's a piece of shit... and I don't like it.

Is this one of your haikus?

[Koray Savas 2,251]

Never learn how to count?

[Diego 21]

Williams won't do the next movie, it's something we have to deal with and get over it.

Yes. You do that, Diego.

And you should too, cause it's not going to happen, heartbreaking as it may be for some.

Yates is directing DH, there's no reason not to bring Hooper back, we may not like him, but his scores are competent, Yates obviously likes him and the studio won't mind who does the music, unless he comes up with a banjo score for Harry Potter, then I could see someone at Warner saying "I don't think the other 6 movies had banjo music, surely that's wrong". Williams probably charges more too, Warner won't make any effort to bring Williams back. Again the movie will make the same money no matter who scores it.

[BLUMENKOHL 1,068]

ROADKILL SKUNK DIARRHEA IS WHAT THIS SCORE IS!

[Henry B 50]

It fucking sucks, it sucking fucks, it's a piece of shit... and I don't like it.

Is this one of your haikus?

No, it's one of my life mantras.

[Josh500 1,615]

Never learn how to count?

Never learned how to write correct English?

It fucking sucks, it sucking fucks, it's a piece of shit... and I don't like it.

Is this one of your haikus?

No, it's one of my life mantras.

WTF

Yates is directing DH, there's no reason not to bring Hooper back, we may not like him, but his scores are competent, Yates obviously likes him and the studio won't mind who does the music, unless he comes up with a banjo score for Harry Potter, then I could see someone at Warner saying "I don't think the other 6 movies had banjo music, surely that's wrong". Williams probably charges more too, Warner won't make any effort to bring Williams back. Again the movie will make the same money no matter who scores it.

Why should I deal with and get over this now?

I'll deal with and get over this when Nicholas Hooper delivers his next "piece of shit."

[BLUMENKOHL 1,068]

[Diego 21]

I'd say the sooner the better. Harry Potter gave us more from Williams (in quantity) than Superman, Jaws or Jurassic Park, and for that, I'm grateful.

[John Crichton 4]

It sucks. It sucks ass through a straw!

[Wojo 2,453]

I'd say the sooner the better. Harry Potter gave us more from Williams (in quantity) than Superman, Jaws or Jurassic Park, and for that, I'm grateful.

[#SnowyVernalSpringsEternal 10,265]

It's the quality that counts!

[Diego 21]

The "sooner the better" was meant to Josh about when to get over the fact that Williams won't make any more Potter.

I was merely making a point that we got 3 Williams scores out of Harry Potter, while in other franchises he left earlier: one for Superman, two for Jaws and Jurassic Park. It's a shame he didn't make more, but he sticked around longer for Harry Potter than usual, and I think 3 scores is plenty.

And yes, it's the quality that counts and I wouldn't trade Superman for the 3 Potter scores, but that's another topic, and btw, I also think all 3 Potters are good scores.

[Hlao-roo 389]

It suckin' fucks, it fuckin' sucks, it fuckin' blows, it's a piece of shit... and I don't like it.

I think you're a dickhead for posting this.

[Trent B 337]

It suckin' fucks, it fuckin' sucks, it fuckin' blows, it's a piece of shit... and I don't like it.

I think you're a dickhead for posting this.

Good one Henry!

[SF1_freeze 131]

I swear Musica42 made this post last time I checked.

??? dont know what you mean, thats my personal opinion on this score

[Ollie 1,059]

It suckin' fucks, it fuckin' sucks, it fuckin' blows, it's a piece of shit... and I don't like it.

I think you're a dickhead for posting this.

Uncool bro.

[Trent B 337]

It suckin' fucks, it fuckin' sucks, it fuckin' blows, it's a piece of shit... and I don't like it.

I think you're a dickhead for posting this.

Uncool bro.

Mark, if that was intended towards Hlao-roo then yes very uncool indeed.

[Koray Savas 2,251]

Poop!

[John Crichton 4]

Smnol.

[Ollie 1,059]

Boshuda!!!

[Jacob 0]

Ilaiyaraaja!!!

[Elmo Lewis 6]

Utinni!

[John Crichton 4]

Yub nub!

[BLUMENKOHL 1,068]

Nuckin futs!

[Musica42 0]

I swear Musica42 made this post last time I checked.

Nope. Mine's the one further up that nobody gave a shite about. I need to stop being so clinical about my album reviews I guess.

[Koray Savas 2,251]

Ah I see. I liked your review. Couldn't have said it better myself.

[King Mark 3,626]

Didn't he say the same thing as SPfreeeze1?

[Unlucky Bastard 7,782]

It suckin' fucks, it fuckin' sucks, it fuckin' blows, it's a piece of shit... and I don't like it.

It's just so okay, there's nothing to praise or bash about it!

[Hlao-roo 389]

It suckin' fucks, it fuckin' sucks, it fuckin' blows, it's a piece of shit... and I don't like it.

I think you're a dickhead for posting this.

Uncool bro.

Mark, if that was intended towards Hlao-roo then yes very uncool indeed.

Indeed!

[Musica42 0]

Ah I see. I liked your review. Couldn't have said it better myself.

Well thank you. But I'm afraid you're just encouraging my passive aggressive behavior

[Neimoidian 14]

I still think it's slightly better than OotP.

[Hlao-roo 389]

http://latimesblogs.latimes.com/herocomple...pler-style.html

DM: How were you able to put your own stamp on the score when four movies had already been done with a more or less established sound?

NH:

I started by listening to a lot of the John Williams score, particularly from the third movie, "Prisoner of Azkaban," which I loved and I suppose is closest to what I was trying to do. I used some of his themes, particularly his Hedwig theme. After that, we all decided that it was best if I moved into my own way of composing rather than trying to emulate John Williams, which is impossible. I did a different kind of score for "Half-Blood Prince," really. It was simpler, the way I write music is simpler.

[mahler3 478]

Yes it is better and has far more structure than OOTP, I think some of the negativity is really unjustified but hey that's just my opinion!

Huzzah!

[Neimoidian 14]

Yes it is better and has far more structure than OOTP, I think some of the negativity is really unjustified but hey that's just my opinion!

Huzzah!

Some is, but it's nevertheless rather bland score.

[Hlao-roo 389]

Yes it is better and has far more structure than OOTP, I think some of the negativity is really unjustified but hey that's just my opinion!

Huzzah!

Some is, but it's nevertheless rather bland score.

No, it's a simple score.

[Unlucky Bastard 7,782]

For simpletons.

[mahler3 478]

I can think of many blander scores, other than the yawn enducing majority, 3 or 4 cues have some great energy and the choral piece is a highlight.

[Hlao-roo 389]

"Simplicity is the ultimate sophistication."

- Leonardo Da Vinci

"Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art."

- Fryderyk Chopin

Hooper is a more mature composer than Williams.

[Charlie Brigden 7]

"Simplicity is the ultimate sophistication."

- Leonardo Da Vinci

"Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art."

- Fryderyk Chopin

Hooper is a more mature composer than Williams.

But should maturity really be a factor when it's a Harry Potter movie?

[Neimoidian 14]

I can think of many blander scores, other than the yawn enducing majority, 3 or 4 cues have some great energy and the choral piece is a highlight.

I agree. As I said, the previous was worse, but on the other hand it wasn't a disaster either. Between good score and bad score category there is still enough space left to place there these two.

[Musica42 0]

I'm just cranky 'cause I loved the unique palette of colors Williams used, especially in PoA - all those Renaissance instruments gave the wizarding world the perfect crustiness and age. In a sense he was striving to not only score the movies but also give a sense of the culture of wizards. I'm always appreciative and in some ways awed when a composer goes beyond merely scoring the emotions of a film and actually becomes a part of the film's universe itself. Starting with Doyle (and carried on with Hooper) I find they completely dropped the Renaissance set of sounds and went almost strictly dramatic with their music. And whenever Doyle or Hooper score to the culture of things they give a decidedly Scottish or otherwise British bent to the music. Granted the Potter books ARE set in England, but I think the Renaissance flavors were infinitely more appropriate to the universe.

[Hlao-roo 389]

I'm always appreciative and in some ways awed when a composer goes beyond merely scoring the emotions of a film and actually becomes a part of the film's universe itself.

So you would be less appreciative of the approach Williams took to scoring Angela's Ashes?

[mahler3 478]

I'm just cranky 'cause I loved the unique palette of colors Williams used, especially in PoA - all those Renaissance instruments gave the wizarding world the perfect crustiness and age. In a sense he was striving to not only score the movies but also give a sense of the culture of wizards. I'm always appreciative and in some ways awed when a composer goes beyond merely scoring the emotions of a film and actually becomes a part of the film's universe itself. Starting with Doyle (and carried on with Hooper) I find they completely dropped the Renaissance set of sounds and went almost strictly dramatic with their music. And whenever Doyle or Hooper score to the culture of things they give a decidedly Scottish or otherwise British bent to the music. Granted the Potter books ARE set in England, but I think the Renaissance flavors were infinitely more appropriate to the universe.

Interesting points made there, I think Doyle did get emersed in the universe though with GOF. The music he created for the 2 visiting student groups to compete in those games was quite inventive with percussive, choir and other-wordly elements (most of it unreleased) and I still maintain that Doyle gets an unfair rap with what he delivered to the franchise.

[Neimoidian 14]

I'm just cranky 'cause I loved the unique palette of colors Williams used, especially in PoA - all those Renaissance instruments gave the wizarding world the perfect crustiness and age. In a sense he was striving to not only score the movies but also give a sense of the culture of wizards.

I think Williams' scores, especially the third one, were very eclectic. Doyle and Hopper followed that approach, however their scores were stylistically and technically inferior compared to Williams'. As for what binds the musical world of HP, it's mainly the use of celeste, which is present in all three latter scores.

[Musica42 0]

So you would be less appreciative of the approach Williams took to scoring Angela's Ashes?

The opportunity to invent a cultural soundscape for Angela's Ashes wouldn't really be appropriate given its based on real events that happened in a real place not too terribly long ago. Just the same the sound of the score is very specific to that film. The music captures perfectly the melancholy, vague sense of hope/despair and poverty of the film's universe. As always he managed to find an angle that gives the score an identity. I LIKE the music to Harry Potter more just because it's flashier and far more uplifting and unique, but that has nothing to do with Williams approach to scoring Angela's Ashes - it wasn't a film that could hold that kind of music.

Interesting points made there, I think Doyle did get emersed in the universe though with GOF. The music he created for the 2 visiting student groups to compete in those games was quite inventive with percussive, choir and other-wordly elements (most of it unreleased) and I still maintain that Doyle gets an unfair rap with what he delivered to the franchise.

I REALLY wanted to like Doyle's score. And with time it's grown on me as an album listening experience. I'm a gigantic fan of a lot of the music Doyle has done in the past, but a few action sequences aside that music was just too slow and ponderous for what was going on screen. It felt like he was refusing to react to what he was seeing. When he went BIG it was a great score, but he let a lot of potentially cool moments just slip by while plodding on from long chord to long chord.

And frankly I think the single worst scored dramatic moment in the entire franchise is Cedric's death. It didn't work. It was cornball and emotionally forced and I completely blame Doyle's score for that. Doesn't make him a crap composer or anything, but that particular score was a let down more often than not for me.

I think Williams' scores, especially the third one, were very eclectic. Doyle and Hopper followed that approach, however their scores were stylistically and technically inferior compared to Williams'. As for what binds the musical world of HP, it's mainly the use of celeste, which is present in all three latter scores.

As sad as it is, yah the Celeste and those fragments of Hedwig's theme are about all there is.

[Hlao-roo 389]

The opportunity to invent a cultural soundscape for Angela's Ashes wouldn't really be appropriate given its based on real events that happened in a real place not too terribly long ago. Just the same the sound of the score is very specific to that film. The music captures perfectly the melancholy, vague sense of hope/despair and poverty of the film's universe. As always he managed to find an angle that gives the score an identity.

I disagree. Had Williams chosen to manifest through his music the period and setting of the film -- Ireland during the Second World War -- it would have been perfectly "appropriate." But just as appropriate is his choice to ignore these details and train his music principally upon the essential human drama of the story -- indeed, the emotional journey of the characters. You seem to distinguish between "a film" and "a film's universe," but that is to me a distinction without a difference. Had Williams not given voice to the "melancholy, vague sense of hope/despair and poverty" that is of course central to Angela's Ashes, it would have been a flat failure as a film score -- not merely a failure to embed itself in the film's "universe."

[Richard Penna 3,675]

Interesting points made there, I think Doyle did get emersed in the universe though with GOF. The music he created for the 2 visiting student groups to compete in those games was quite inventive with percussive, choir and other-wordly elements (most of it unreleased) and I still maintain that Doyle gets an unfair rap with what he delivered to the franchise.

I REALLY wanted to like Doyle's score. And with time it's grown on me as an album listening experience. I'm a gigantic fan of a lot of the music Doyle has done in the past, but a few action sequences aside that music was just too slow and ponderous for what was going on screen. It felt like he was refusing to react to what he was seeing. When he went BIG it was a great score, but he let a lot of potentially cool moments just slip by while plodding on from long chord to long chord.

And frankly I think the single worst scored dramatic moment in the entire franchise is Cedric's death. It didn't work. It was cornball and emotionally forced and I completely blame Doyle's score for that. Doesn't make him a crap composer or anything, but that particular score was a let down more often than not for me.

I think Williams' scores, especially the third one, were very eclectic. Doyle and Hopper followed that approach, however their scores were stylistically and technically inferior compared to Williams'. As for what binds the musical world of HP, it's mainly the use of celeste, which is present in all three latter scores.

As sad as it is, yah the Celeste and those fragments of Hedwig's theme are about all there is.

The one difference for me between Doyle's and Hooper's efforts, is that the music screams about their abilities. Doyle's may be wildly innapproppriate for some scenes and not be in the true Potter spirit, but it's competently composed music - it's purely creative criticisms from me (if not at the same level of technical complexity as JW).

Both of Hooper's scores seem so delicate to me, and particularly during the quieter moments, I can almost feel Hooper struggling to come up with ideas or melodies, and none of his string meanderings ever seem to go anywhere - the video game music is better in those parts.

[paleo 63]

There is an interview with Hooper at L.A. Times online giving some insight into the composer's motivations and ideas:

http://latimesblogs.latimes.com/herocomple...pler-style.html

I like the following quotes:

" [...] we all decided that it was best if I moved into my own way of composing rather than trying to emulate John Williams, which is impossible. I did a different kind of score for “Half-Blood Prince,” really. It was simpler, the way I write music is simpler."

Well, ... er ..., yes.

"I think my favorite moment was Harry and Dumbledore in the cave because it’s just so big and tough. A couple of people came to listen to it when I was finished and they were in tears after they heard the recording [...]"

But probably for other reasons than what he thinks

[Koray Savas 2,251]

"Simplicity is the ultimate sophistication."

- Leonardo Da Vinci

"Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art."

- Fryderyk Chopin

Hooper is a more mature composer than Williams.

So is Zimmer!