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Fantastic Beasts And Where To Find Them 5-film series


Bilbo

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That's how the conversation usually goes. Someone says "No American actors in Harry Potter!", someone else brings up Zoe Wannamaker, then the first person comes up with some convoluted reason why she was acceptable.

 

Use your brain, Cozzie!

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What about Howard Shore? What's he up to nowadays?

 

Conrad Pope must be itching for some work, especially now that stubborn John Williams fellow is conducting again.

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On 1 februari 2016 at 7:55 PM, Stefancos said:

I'm sure the directors, the producers etc find the music important.

 

You and MSM are acting like presumptious fanboys.

 

Yet they lack the insight to recognize the emotional impact of musical storytelling, which shows time and again. The composers should have it but choose to create their own world rather than respect the already carefully established musical identity of the series.

 

Will you please back your opinions with some constructive arguments rather than committing cheap ad hominem falacies?

 

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I think the producer, David Heyman did care about the score. He was the one that tried to bring John Williams back but Yates wasn't flexible with his schedule. This is a quote from him "The question is will John Williams come back? I’m a huge fan of John Williams he did three of the scores and I think he is amazing. He came up with some of the themes that have carried on. We have talked to John Williams and a lot of it will depend on his schedule for [Harry Potter] seven part two. If we can make work , and that’s a big if, for his schedule and ours then yes."

 

I wonder if they even asked John Williams this time around. I think he would do it, if asked, and if it fits his schedule, even though he is technically retired. I went to a concert with John Williams conducting and before the Harry Potter suite, the way he talked about J.K. Rowling's work, he really seemed to respect and care for the world she created. 

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Didn't someone ask Williams about Potter 8 at a concert and he said he was hoping to return and finish off the franchise?

 

Another internet story is Williams asked for a first cut by a certain date but Yates couldn't accommodate the timeline.

 

Then you had Desplat saying Yates asked him to score Part 2 at the recording sessions for Part 1, almost as if he was pigeonholing the producers.

 

Hard not to get the impression Yates didn't try very hard to get Williams.

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To be fair, he had plenty of other things to worry about besides jumping through hoops to make John Williams happen.

 

My guess is he was excited about the idea of getting Williams but not in any special way. Yates never came across as a director with any particular interest in film music as a narrative device, his movies always tending to value it more as a "mood generator." Any attempts at continuity from he and his composers were pretty weak...all the tracked music in HBP and DH2, the Possession "theme" reappearing in HBP, Hooper's bizarre choice to reprise the four-note Quidditch motif from Azkaban of ALL things. :eh:

 

Umbridge's theme was alright, Desplat's attempts were okay....I like the Horcrux motif and the "Band of Brothers" theme as he called it, but still not that inspired. Lily's Theme got off to a good start but falls flat in the second half for me.

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The way Hooper used it. It sounds callow and milk-fed. A great piece reduced to it's most simplistic component parts.

 

It's a good thing Hooper did not use more of Williams' themes. Because he's not talented enough a composer to do them justice.

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No offence, but isn't Williams's main strength that his themes are simple melodies and therefore very memorable? I know that he writes in a complex way, but isn't that one of his great talents? I think Hooper's usage shows that he doesn't understand the theme. because he uses the wrong part.

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The odd thing is that I only know one other Hooper score, Andes to the Amazon, and it's better than his HP scores on every level, so he clearly CAN do more. Might mean he just misunderstood the assignment.

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I do like "Dumbledore's Army" but the rest is pretty bland.

 

The biggest weakness with Hooper's score wasn't the themes (which weren't great, don't get me wrong) but with the bland and directionless underscore.  "ding ding string tremolo ding ding ding string tremolo ding ding"

 

 

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1 minute ago, bollemanneke said:

So di I, until it was included in the HP5 credits, in the Wizard Wheezes scene AND looped in the HP6 credits.

 

It was good enough to be repeated. Every time it plays, I'm like "yeahhh this is kewl".

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Check this article out

http://moviepilot.com/posts/3772083

 

It seems like this author just listed a bunch of random composers... And I really hate comments like this "Reznor and Ross consistently push the boundaries of a "typical" film score, choosing to break the mold rather than conform." Why is it such a crime nowadays to a have a traditional, orchestral film score. Does the author of that article really think a score like the one in Gone Girl fits in the Wizarding World. I feel like this is why film scores have become weaker over the years, people just want things that are "different" even if it is not very good. 

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Well isn't that basically Filmtracks' philosophy? Be original and surprise your audience, anything predictable/derivative is stupid?

 

EDIT: Hans Zimmer? Never! Marianelli, why not? Desplat might do a fine job as well. Doyle would be my dream scenario. But then again, as the article states, film scores tell us about the essential emotional moments the characters/story experiences, and Yates is the director, so does it matter who composes? A guy who doesn't understand that you need music after Voldemort's defeat is going to mess up any score.

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On 2/5/2016 at 8:04 AM, bollemanneke said:

No offence, but isn't Williams's main strength that his themes are simple melodies and therefore very memorable?

 

"Simple" is the wrong word here.  To paraphrase Williams himself, he writes melodies that seem like they've always been there, that seem inevitable, but that he spent hours working on and are deceptively intricate.

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The Filmtracks philosophy is anything that sounds like Zimmer gets two stars or less, melodic Williams scores get five stars but the more experimental ones get three or less... It's quite confusing at times.

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So, neither of the two projects Yates worked on since HP were by Nicholas Hooper, so I think it is safe to rule him out, given they were frequent collaborators before HP. He is currently working on Legend of Tarzan with Mario Grigorov. Is anyone here familiar with his work? 

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  • 1 month later...

Hmm... Well he's certainly capable of writing 'magical' music. Let's hope Yates doesn't choose not to score all the scenes he could do a great job on. Is he gonna do all three?

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13 minutes ago, bollemanneke said:

Is he gonna do all three?

 

No idea. I certainly hope so.

 

I wanted him to score a Harry Potter film and was disappointed when he didn't, but this is even better because he can do his own thing and not have to take into account what Williams did like Doyle, Hooper and Desplat had to.

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Yep, if not Williams, JNH would've been in my top 3 choices to do this.

 

Debney or Danna would've been excellent choices as well. Let's just hope this isn't as dreary as Yates' Potter films.

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