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James Newton Howard's Fantastic Beasts And Where To Find Them


leeallen01

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My favourite track from the albums so far is 'Inside the Case'. A long flowing cue that has the right hints of the 'magical feeling' of the early Potter scores.

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Was listening to "Inside the Case" again and couldn't shake this similarity: 1:28-1:31

 

from Powell's How to Train Your Dragon cue: "Dragon Training" 0:00 - 0:11:

 

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11 hours ago, RPurton said:

Was listening to "Inside the Case" again and couldn't shake this similarity: 1:28-1:31

 

from Powell's How to Train Your Dragon cue: "Dragon Training" 0:00 - 0:11:

 

 

It's the similarity of Newt Releases the Thunderbird to The Polar Express that I can't quite shake yet.

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Found a new little motif that might represent one of the magical creatures.

 

Playful and happy here.

3:04 - 3:15

 

 

And more emotional here. (Perhaps the death of the creature)

2:53 - 3:20

 

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I listened to this score yesterday and I liked it :up:

Gotta try to play it loudly in the car sometime soon to really take it in.  I suppose we won't hear the Disc 2 stuff until the physical CD drops next Friday?

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I assume so. Almost 30 minutes of extra music to look forward to as well.

 

I'm very curious to hear the bonus track; 'A Man and His Beasts' because it's over 8 minutes long, and judging by the title, we will likely get a fuller developed version of Newt's theme.

 

The dream would be that one of the bonus tracks is a concert version of his Main Theme. Unlikely though.

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There doesn't seem to be much time in modern film making for composers to be able to write and record album-only concert suites.


We only got so many for Force Awakens because JW loves writing them, and Kathleen Kennedy and JJ Abrams love him and his music and allocated a huge budget for him to record lots of music - and his schedule was open enough that he could work on the same film for over half a year.

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Indeed.

 

JNH says though that his preferred method of scoring is to write a suite of his ideas initially for the director, based on his impressions of the script etc, so my glimmer of hope lies in that fact, and  that maybe he decided to stick a suite on the score.

 

Hell, I'll gladly take not even a full suite, just a 3 or 4 minute chunk of the 8 minute bonus track being dedicated to one theme for example. And maybe because of his 7 months of work, and this Score being a very long album (at 100 minutes), he may have been tempted. But yeah, I'm not expecting it at all.

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Oh yeah I was confused what was actually on that vinyl. And why they would randomly release 2 demo's on vinyl and not the actual score. I haven't got it, but has anyone got it, or know what is actually on it?

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3 minutes ago, Jay said:

Aren't his original demo suites on the vinyl release of this score?

 

 

There is a two track picture disc coming out that has exclusive demos 

Just now, leeallen01 said:

Oh yeah I was confused what was actually on that vinyl. And why they would randomly release 2 demo's on vinyl and not the actual score. I haven't got it, but has anyone got it, or know what is actually on it?

 

I have it preordered but probably won't have a copy until Xmas morning. 

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1 hour ago, Jay said:

There doesn't seem to be much time in modern film making for composers to be able to write and record album-only concert suites.


We only got so many for Force Awakens because JW loves writing them, and Kathleen Kennedy and JJ Abrams love him and his music and allocated a huge budget for him to record lots of music - and his schedule was open enough that he could work on the same film for over half a year.

 

Actually JNH has a track record of recording suspiciouslylong suites with themes never properly turning up in the score (Airbender, Maleficent) or at least being substantial reworkings. I guess that are his preferred first ideas. So this release is not really new ground for him.

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I've started paying more detailed attention to this on Spotify, and I'm liking Newt's theme a bit more now.

 

I generally like JNH's suites, with the exception of Lady in the Water, which has never been released (assuming that the original report of him having recorded one is correct).

 

Edit - I'm halfway through the album now and rather enjoying it. It's a score that needs high volume in a quiet place, and while doing nothing else at the same time.

 

Edit 2 - Sixth Sense lift:

 

 

Shrek?:

 

 

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I love the track: Relieve Him of His Wand/Newt Releases the Thunderbird.

 

Looking forward to seeing this, picking up the CD, and reading the screenplay on Friday. 

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On 11/3/2016 at 7:10 AM, mrbellamy said:

Yeah, this is 72 minutes so I think the jury's still out, except for how it works as a standalone OST which I'm mixed on after one listen. I don't think this is a great album. But it doesn't feel like he's holding back which is my big takeaway and gives me hope for the score getting some really nice film-elevating moments.

NeoJWFan, when 72 minutes isn't enough music to properly judge a score!

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I think 
1) Philosopher's Stone
2) Prisoner of Azkaban
3) Chamber of Secrets
4) Deathly Hallows part 1
5) Goblet of Fire
6) Deathly Hallows part 2
7) Fantastic Beasts and Where to Find Them
8) Half-Blood Prince
9) Order of the Phoenix

 

is how I would rank the Wizarding World scores at the moment. 

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I imagine for some DH1 and Goblet of Fire are interchangeable but Obliviate steals it for me. 

 

Can remember listening to that cue before the film and thinking that that one cue summed up the whole book nicely. One of my favourite cues in the whole series. 

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3 minutes ago, Stefancos said:


1) Philosopher's Stone
2) Prisoner of Azkaban
3) Goblet Of Fire
4) Deathly Hallows part 1
5) Deathly Hallows part 2
6) Order Of The Phoenix 
7) Half-Blood Prince
8) Chamber Of Secrets

 

Oh come on, Ross is at least better than Hooper! :P

 

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12 minutes ago, Stefancos said:

4) Deathly Hallows part 1
5) Deathly Hallows part 2

 

I wouldn't have thought that the Desplat's were to your liking.

 

As for 'Fantastic Beasts', it is not high art but entertaining as old school fantasy score heavily leaning on other works. The big ?? is why Howard didn't edit a good album out of it. As it is, you need to edit the hell out of it to make the cues...the really blah ones even have such promising titles as 'Credence Hands out Leaflets' (thinking of TPM UE).

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4 hours ago, Koray Savas said:

NeoJWFan, when 72 minutes isn't enough music to properly judge a score!

 

You mean NeoNeoJWFan.

 

NeoJWFan appreciates good music for good music, regardless of length

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7 hours ago, Bilbo Skywalker said:

I love the track: Relieve Him of His Wand/Newt Releases the Thunderbird.

 

Looking forward to seeing this, picking up the CD, and reading the screenplay on Friday. 

 

I'm loving that track too. In fact, track 13 onwards is working really well for me. I certainly like it enough that I preordered the deluxe set last night.

 

I don't think the thematic material overall is his strongest - the 'mystery' theme (tracks 2 and 3) is the only one where I really feel he's onto something. Newt's theme and the one in Thunderbird feel a little formulaic.

 

It's inspired me to go back and listen again to Maleficent, which I didn't entirely 'get' first time round. A valuable source of classic JNH in a minefield of modern synth rubbish.

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Also got the chance to chat with JNH on Monday - more Hunger Games-focused as it was for an HG fansite but did touch upon FB (and some of his upcoming projects in the second part I'm putting up later this week - incl one not mentioned in the above video) http://www.quarterquell.org/2016/11/we-chat-to-james-newton-howard-about.html

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At the 1:00 mark in "He's Listening to You Tina," * we get a cameo from Oskar Schindler!  #FantasticListsAndWhereToSchindThem

 

 

*P.S. Where's the direct address comma in that cue title?!

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The statement in the cue title is addressed to Tina, so there should be a comma before her name to separate her grammatically from the rest of the sentence, since she's the addressee, not a part of the action.  Unless, of course, I'm wrong, and Tina-ing is something you can do in the 1920s Wizarding World, in which case that cue is about somebody telling somebody who's in the process of Tina-ing that somebody else is listening to him as he Tinas.  (Just like, "He's listening to you sing," or "He's listening to you snore.")

 

Sorry, this is my job. B-)

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