Nicholas Hooper’s Harry Potter Scores Are Extremely Underrated. What Happened to Him?

[Mr. Gitz 89]

Hello all. So I know among HP fans Nicholas Hooper isn’t the most beloved composer but I’ve always strongly disagreed with that assessment. I remember when his name was announced as the composer for OOTP like everyone else I let out a collective “Who?” but to my surprise the man actually wrote some of the best non Williams themes that are quite memorable. But most of all? His two HP scores have this charming quality to them. As a kid growing up in Canada there was this cartoon called “Rupert” about an anthropomorphic bear who gets in all sorts of adventures and the opening title sequence sounds very similar to the Hooper aesthetic (I have no idea how to embed a video on this page so I’ll just link to it below. See if you agree that it sounds similar to the Hooper HP score)
 

Anyways, Hooper added this really “storybook English Countryside” feel. That’s the only way I can describe it. The music was whimsical, but also melodic, lush & at times brooding & dark. Yes he wasn’t the best at writing action cues but the Order of the Phoenix theme? Dumbledores Army? Professor Umbridge? The Weasley Twins? Not to mention the sequence where the students light up their wands when Dumbledore dies? That was some wonderful stuff. Those are some extremely memorable bits of music. 
 

His music fit the Harry Potter world. I found him a much better fit than Patrick Doyle or Desplat. Desplat especially didn’t do much for me. His music didn’t stand out in anyway. It was just..there. Hoopers music had a very playful quality. Doyle’s score had too much bombast to it. Hooper’s was very string and woodwind oriented. 
 

Does anyone know why he seemingly stopped doing films? Potter was his big break on the international scene. I was surprised nothing really came of it. He seemingly quit the Potter films of his own volition which is a shame because 

 

https://youtu.be/mp5KYnvLaqU?si=iHK2SKNuNhdC6sU9

[Richard P 4,375]

I'd agree that in terms of sound, he probably fit the Potter world a bit better than Doyle, and I'm not a fan at all of Desplat's work (just not my taste).

 

However, Hooper's material varies hugely in quality for me. There will be a few tracks that have some really damn good ideas, then a couple come along where to my ears at least, nothing's happening. It seemed to me that he was hugely struggling to come up with a sustained, interesting score for the entire film, in a way that Doyle and Desplat definitely weren't.

[A. A. Ron 2,091]

My controversial Harry Potter take is that Williams’ scores are far and away the best, followed by Hooper’s, then Desplat’s, with Doyle in dead last.

 

For me, Hooper and Desplat’s efforts both have high highs and boring stretches that I tend to tune out of while listening, at least in complete form. Desplat’s work feels more polished, but I like Hooper for his energy. Meanwhile, I really like Patrick Doyle as a composer (love Brave!), but for whatever reason I have never been able to connect with Goblet of Fire. No idea why. It just doesn’t do anything for me.

[Richard P 4,375]

I'd same roughly the same actually, only with Desplat and Doyle switched. I basically lost much interest in the films by Death Hallows so Desplat already being not entirely to my taste generally wasn't going to endear me to his two scores. They have some nice moments but I do enjoy Doyle's on album.

 

Potter doesn't feel like it was Hooper's 'big break' exactly as he wasn't revealed to be some amazing composer out of nowhere like so many other cases. He scored the films just fine and that's about it.

[crumbs 15,125]

7 hours ago, Mr. Gitz said:

Does anyone know why he seemingly stopped doing films? Potter was his big break on the international scene. I was surprised nothing really came of it. He seemingly quit the Potter films of his own volition which is a shame because 

 

If I recall correctly, there was an interview where Hooper said he was stepping down from Potter "to let the rightful composer retake the baton," ie. he wanted Williams to score the final film(s). Which amounted to nothing because Williams never returned, for reasons still speculated.

 

Besides, working in the studio system isn't for everyone. And the pressure of scoring a Potter film would be overwhelming for a multitude of reasons: studio notes, tight deadlines, a huge fanbase, the pressure of following John Williams, etc.

[j39m 76]

14 hours ago, Richard Penna said:

There will be a few tracks that have some really damn good ideas, then a couple come along where to my ears at least, nothing's happening.

 

I actually never purchased a copy of HBP, but I remember picking up OOTP because I was smitten with the opening.

 

In truth, I was a stupid kid who loved the mysterious wind writing over a powerful unidentifiable whoomp deep in the bass register. Then all the stuff after the opening logos kind of...felt like "nothing was happening."

 

I was also smitten with Doyle's hemiola Hedwig over the opening logos — and I still am.

15 hours ago, Mr. Gitz said:

Does anyone know why he seemingly stopped doing films?

 

From his own website, it seems he's looking for a new creative outlet outside composing for film!

 

Quote

In recent years, he has continued on his creative path using the imaginative and musical skills which held him in such good stead in the film world to both perform his own music and write novels.

...

Whilst sat one day in the composing room at Abbey Road writing the final pieces for Harry Potter and the Half-Blood Prince (his favourite Potter score), Nick suddenly realized he had been writing music for other people’s stories for thirty years - and that it was time to write his own.

 

[Thor 8,701]

He used to be David Yates' regular composer, and I'm impressed Yates managed to get him onboard the Potters as a relatively unknown, but appears they don't work that much with each other anymore. Yates has moved on to other people, like JNH. From what I've heard, Hooper's range is relatively "limited"; there's not a lot of complexity in his music (including the Potters), but I haven't heard any of his guitar stuff. Maybe that's more exciting. Hope he keeps busy, wherever he is.

[LSH 1,086]

None of the Potter scores interest me outside of a handful of Williams' pieces from the first three.

 

As for Hooper, his BBC nature documentary scores for Land of the Tiger and Andes to Amazon are very good indeed!

[Richard P 4,375]

On 26/08/2023 at 4:02 AM, crumbs said:

Besides, working in the studio system isn't for everyone. And the pressure of scoring a Potter film would be overwhelming for a multitude of reasons: studio notes, tight deadlines, a huge fanbase, the pressure of following John Williams, etc.

 

I think this is an underappreciated reason. Seasoned Hollywood composers just get on with it with their well oiled studio/assistants, etc, making the process at least bearable. Here's a composer who has never worked on a movie of this scale, suddenly having to compose hours of music alone, possibly without a 'team' he knows well, and knowing full well what he writes will be compared to Williams.

[Edmilson 9,443]

I have a complicated relationship with Hooper's Potter scores. I usually don't care about them, but deep down I know they're better than I thought, so I need to give them another fair shot. 

[TolkienSS 474]

Order of the Phoenix is decent.

 

For a TV composer attempt.

 

Half Blood Prince is even blander with tracking.

[Fargo 297]

IMO

 

The “Dumbeldore’s Army / Room of Requirements” theme is Hooper’s best for the series, and a highlight of OOTP. The rest of the album is insanely boring. 
 

HBP is overall a better score (and film) and benefits from the darker mood. But still quite boring overall. 
 

JW >>> Doyle >> Hooper > Desplat

 

Strange to see bashing of Doyle’s GOF - some good themes and action pieces in there if I remember right. 

I have an irrational dislike for DH part 1 (film and score). Can’t properly put into words how much I dislike the music for that film. Part 2 benefit forms more action music. 🤷‍♂️ 

[A. A. Ron 2,091]

Saying I’ve never been able to connect with GOF is not bashing.

[Datameister 2,362]

For me:

 

• GOF = great waltzes and lighthearted cues; too melodramatic and strident otherwise
• OOTP = very pretty writing at times; action and suspense sound cheap
• HBP = like OOTP but sadder
• DH1 = awesome orchestration and recording; tunes aren't memorable
• DH2 = great reprise of "Leaving Hogwarts"

[Not Mr. Big 4,749]

Structurally, Hooper's OOTP feels more at home in the HP universe than Doyle's GOF.  He wrote just the right amount of new themes and he wrote them for the right people (Umbridge, Dumbledore's Army).  The problem is writing large scale, complex scores in the vein of JW is hard and as a result it often feels simplistic and streamlined in comparison (though it probably fit the quaint stupid vision JK Rolling had for those later entries)

[Leia Sees Ghosts 322]

I love most of the Potter scores. Order of the Phoenix has really great tracks such as Fireworks, Professor Umbridge (probably one of my favorite villain themes of all-time), Dumbledore's Army, Room of Requirement, and Flight of the Order of the Phoenix. The action music isn't great though, something Williams and Desplat did far better.

As for the Half Blood Prince, it's probably my 4th favorite score of the franchise right under Prisoner of Azkaban, Sorcerer's Stone, and Deathly Hallows Part 2. In Noctem, The Friends, Of Love & War, Ron's Victory, Harry & Hermione, The Weasley Stomp, and Dumbledore's Farewell are still on repeat all these years later.

[Mr. Gitz 89]

Quote

4 hours ago, Courtney said:

I love most of the Potter scores. Order of the Phoenix has really great tracks such as Fireworks, Professor Umbridge (probably one of my favorite villain themes of all-time), Dumbledore's Army, Room of Requirement, and Flight of the Order of the Phoenix. The action music isn't great though, something Williams and Desplat did far better.

As for the Half Blood Prince, it's probably my 4th favorite score of the franchise right under Prisoner of Azkaban, Sorcerer's Stone, and Deathly Hallows Part 2. In Noctem, The Friends, Of Love & War, Ron's Victory, Harry & Hermione, The Weasley Stomp, and Dumbledore's Farewell are still on repeat all these years later.

 

it’s a crime In Noctem was cut out of the movie. A crime. I know in Hollywood it’s called “kill your darlings” for cutting great scenes but in this case, would the added runtime really affect the movie? Sure it’s a 2.5 hour long movie as is but It’s a couple minutes & it really would help to amp up the tension. Not to mention…

This is the last night Hogwarts will ever see in reign of Dumbledore as Headmaster. After tonight Hogwarts becomes a place of misery, corruption, torture & war until old noseless is defeated. I think a little montage of all the various goings on within the school set to that music was more than warranted, to say nothing of the beautiful, ethereal & haunting choral work in that cut piece of music. 
 

Half Blood Prince is a very frustrating film. They cut out some incredibly important stuff like the death eaters battling it out but then they add that ridiculous bit at that Weasley Burrow where it gets destroyed. You could cut that sequence out and not lose anything. It plays no role in the film, has no long term consequences, is terribly shot and edited + comes at the expense of other important beats of the story. I know the thinking was “we will cut out the action sequence at the end of the book since we are giving them the battle of Hogwarts next movie” but that’s a ridiculous excuse. Especially after it came out David Yates hates wand duels(which is ironic considering he’s given us the best ones). It’s like, they cut out Sirius giving Harry the mirror in OOTP but then have him randomly fiddling with it in Deathly Hallows. 
 

All that being said I can’t help but enjoy HBP immensely despite the cuts. The cinematography, the whimsy, spending time with these characters, the score. It’s a last chance to really get to see Hogwarts in its splendid glory before the end of it all. 
 

Christ. How have these movies been over for over 12 years now? Where does the time go? It’s been 22 years(!!) since the first one came out. 22 friggn years. How is that even possible?

 

 

[Leia Sees Ghosts 322]

11 hours ago, Mr. Gitz said:

 

Christ. How have these movies been over for over 12 years now? Where does the time go? It’s been 22 years(!!) since the first one came out. 22 friggn years. How is that even possible?

 

 

It feels so surreal that it's been this long. I can still remember the hype like it was yesterday.

[Once 720]

On 28/8/2023 at 8:39 AM, Mr. Gitz said:

Christ. How have these movies been over for over 12 years now? Where does the time go? It’s been 22 years(!!) since the first one came out. 22 friggn years. How is that even possible?

I was thinking about this when I pre-ordered The Running Grave, the seventh Cormoran Strike novel. I realised it took Rowling 10 years to release seven Strike novels, exactly the same as the Potter novels, yet for me 1997-2007 felt like an eternity of waiting while 2013-2023 just flew by.

That's just part of growing up, of course, haha!

[TolkienSS 474]

"Professor Umbridge" is not a villain theme in any way, shape or form.

It's a fluff piece of music that wouldn't be recognized as any kind of villain theme if it wasn't somewhat contextualized as that by the film. And not much there, too.

 

Hooper's music lacks storytelling 100%. There is nothing three dimensional in "Professor Umbridge" that would reflect the story of her or her twisted sadistic character. 

 

On top of that, it's also extremely derivative.

[Fargo 297]

If it’s her theme, and if she’s a villain, then it’s a villain theme. That’s mathematics, bruh. 

[Richard P 4,375]

Umbridge is more of a melody for a quirky character. It feels like it would fit a random teacher wandering around as much as her character.

[Holko 10,750]

It's a standalone cue and the melody doesn't return. It's not a theme.

[Fargo 297]

Just now, Holko said:

It's a standalone cue and the melody doesn't return. It's not a theme.

You mean it’s not a recurring motif. It can still be a theme. 

[bollemanneke 3,708]

My biggest problem with Hooper is that he did what he did after JW and Doyle had come along. As standalone scores they work, but they're just not good franchise scores. Blame must be laid on Yates too, because he also fecked his assignment up big time. Hooper wrote some amazing cues, but other cues are unforgivably sparse.

[Mr. Who 998]

4 hours ago, Holko said:

It's a standalone cue and the melody doesn't return. It's not a theme.

The Umbridge theme first appears in the Umbridge Spoils a Beautiful Morning cue (the first Defence class scene) and later appears in the Professor Umbridge cue when she’s High Inquisitor). The theme also briefly appears on celesta at 1:22 in Darkness Takes Over.

[Holko 10,750]

Hm. Sorry then.

[GerateWohl 5,344]

I am just listening againto Hooper's Order of the Phoenix and can say, this score isn't underrated. 

[iamleyeti 114]

I love both his scores. I truly believe he brought a lot of warmth and intimacy to a series of film that needed it but couldn't get some from a passable director with an amazing DOP. The two scores have a lot of heart, they vibe in a way that perfectly fits the books. The subtle themes, the quirky melodies, the playful tone contrast so well with the darker tones of the (botched and ruined) 6th movie.

 

I had doubts about Yates after leaving the theater and for a while I thought he just needed to find his own footings. But the last two movies are simply terrible and I never found the energy to watch his new trilogy…

 

I remember that Hooper decided to step down to spend more time with his family and since then, he has been very quiet. Which is a shame, in my opinion. His HEART & SOUL score is also very good (if you like English music writing obviously), but it's hard to find.

[Trope 913]

I personally have a soft spot for the Hooper scores (equal with Doyle, just below Desplat). I have made a summary list of themes/motifs/ideas I have been able to identity from the OSTs of ORDER OF THE PHOENIX and HALF-BLOOD PRINCE, and feel a complete expansion of both would reveal even more motific ideas and connections. I hope this list might prove helpful to anyone who wants to do a deeper dive into Hooper's music. Anything with question marks (???) next to it indicates I'm not 100% confident in my observation.

 

POSSESSION THEME (this theme is particularly tricky to identify as it doesn't have one distinct setting, but consists of a gradual rising and falling shapes, often played by low strings)

- POSSESSION: 0:42-end

- HALL OF PROPHECY: 2:52-end (rapid variation in strings)

- THE SIRIUS DECEPTION: 0:00-0:54

- DARKNESS TAKES OVER: 0:00-0:25???

- DUMBLEDORE’S SPEECH: 0:31-1:20

- INTO THE PENSIEVE: 0:46-1:22

- DUMBLEDORE’S FOREBODING: 0:31-END

- JOURNEY TO THE CAVE: 0:38-1:34??? (rapid variation in strings); 1:34-2:08??? (possible melodic variation)

- THE DRINK OF DESPAIR: 0:33-end

- INFERI IN THE FIRESTORM: 1:07-1:35

- THE KILLING OF DUMBLEDORE: 0:41-2:45

 

IN NOCTEM (DUMBLEDORE THEME):

- OPENING: 0:25-1:14 (tragic setting)

- IN NOCTEM

- DUMBLEDORE’S SPEECH

- DUMBLEDORE’S FOREBODING

- JOURNEY TO THE CAVE: 0:50-1:28

- DUMBLEDORE’S FAREWELL (tragic setting)

 

UMBRIDGE THEME:

- PROFESSOR UMBRIDGE: 0:09-1:51

- UMBRIDGE SPOILS A BEAUTIFUL MORNING: 0:26-end

- DARKNESS TAKES OVER: 1:01-1:30

 

DEATH EATER MOTIF:

- OPENING: 1:49-end

- MALFOY’S MISSION: 1:03-1:19

- INTO THE RUSHES: 0:36-1:56

 

FRIENDSHIP MOTIF???:

- GINNY: 0:00-0:30

- HARRY AND HERMIONE: 0:29-end

- INTO THE RUSHES: 1:57-end

 

HERMIONE MOTIF???:

- HARRY AND HERMIONE: 0:00-0:28

- OF LOVE AND WAR: 0:34-end

 

HARRY AND DUMBLEDORE MOTIF???:

- JOURNEY TO THE CAVE: 0:00-0:38

- THE KILLING OF DUMBLEDORE: 0:00-0:27

 

WEASLEY SILLINESS MOTIF:

- FIREWORKS

- THE WEASLEY STOMP (variation/similar Irish-inspired idea)

 

JOHN WILLIAMS - HEDWIG’S THEME:

- ANOTHER STORY: 0:00-0:36; 2:00-2:12

- DEMENTORS IN THE UNDERPASS: 1:21-end??? (possible fragment)

- HALL OF PROPHECY: 0:53-1:16; 1:51-2:22??? (possible fragment)

- THE JOURNEY TO HOGWARTS: 0:03-0:30

- THE MINISTRY OF MAGIC: 2:11-2:35

- OPENING: 0:15-0:26; 1:34-1:45??? (possible fragment)

- GINNY: 0:36-0:57

 

JOHN WILLIAMS - QUIDDITCH MOTIF:

- RON’S VICTORY: 0:40-0:55; 1:18-1:24

- OF LOVE AND WAR: 0:06-0:13; 0:41-0:47

[Thor 8,701]

1 hour ago, iamleyeti said:

I remember that Hooper decided to step down to spend more time with his family and since then, he has been very quiet. Which is a shame, in my opinion. His HEART & SOUL score is also very good (if you like English music writing obviously), but it's hard to find.

 

Yeah, I was just about to ask if anyone has actually heard anything that Hooper has done beyond the Potter stuff (I have minimal interest in anything Harry Potter myself). I must admit my own exposure to his material is relatively limited, so thanks for the recommendation. I'd be interested to check out his work for British TV, just to see if he has any more layers as a composer than what he displayed in the Potters.

[iamleyeti 114]

My bad, the score I was talking about is called THE HEART OF ME, but there is a gorgeous version of "Heart & Soul" sung by Helena Bonham Carter.

 

 

[Naïve Old Fart 10,795]

 

7 minutes ago, Thor said:

 

Yeah, I was just about to ask if anyone has actually heard anything that Hooper has done beyond the Potter stuff (I have minimal interest in anything Harry Potter myself). I must admit my own exposure to his material is relatively limited, so thanks for the recommendation. I'd be interested to check out his work for British TV, just to see if he has any more layers as a composer than what he displayed in the Potters.

 

I've just had a wee look on the interweb thingy. 

It's all "Harry Potter this", and "Harry Potter that". Nothing else.

[iamleyeti 114]

Some samples over here: https://coolmusicltd.com/composers/nicholas-hooper/

 

Very soft and delicate stuff. He is also a guitarist and has been writing novels.

[Mr. Who 998]

6 minutes ago, Trope said:

I personally have a soft spot for the Hooper scores (equal with Doyle, just below Desplat). I have made a summary list of themes/motifs/ideas I have been able to identity from the OSTs of ORDER OF THE PHOENIX and HALF-BLOOD PRINCE, and feel a complete expansion of both would reveal even more motific ideas and connections. I hope this list might prove helpful to anyone who wants to do a deeper dive into Hooper's music. Anything with question marks (???) next to it indicates I'm not 100% confident in my observation.

 

POSSESSION THEME (this theme is particularly tricky to identify as it doesn't have one distinct setting, but consists of a gradual rising and falling shapes, often played by low strings)

- POSSESSION: 0:42-end

- HALL OF PROPHECY: 2:52-end (rapid variation in strings)

- THE SIRIUS DECEPTION: 0:00-0:54

- DARKNESS TAKES OVER: 0:00-0:25???

- DUMBLEDORE’S SPEECH: 0:31-1:20

- INTO THE PENSIEVE: 0:46-1:22

- DUMBLEDORE’S FOREBODING: 0:31-END

- JOURNEY TO THE CAVE: 0:38-1:34??? (rapid variation in strings); 1:34-2:08??? (possible melodic variation)

- THE DRINK OF DESPAIR: 0:33-end

- INFERI IN THE FIRESTORM: 1:07-1:35

- THE KILLING OF DUMBLEDORE: 0:41-2:45

 

IN NOCTEM (DUMBLEDORE THEME):

- OPENING: 0:25-1:14 (tragic setting)

- IN NOCTEM

- DUMBLEDORE’S SPEECH

- DUMBLEDORE’S FOREBODING

- JOURNEY TO THE CAVE: 0:50-1:28

- DUMBLEDORE’S FAREWELL (tragic setting)

 

UMBRIDGE THEME:

- PROFESSOR UMBRIDGE: 0:09-1:51

- UMBRIDGE SPOILS A BEAUTIFUL MORNING: 0:26-end

- DARKNESS TAKES OVER: 1:01-1:30

 

DEATH EATER MOTIF:

- OPENING: 1:49-end

- MALFOY’S MISSION: 1:03-1:19

- INTO THE RUSHES: 0:36-1:56

 

FRIENDSHIP MOTIF???:

- GINNY: 0:00-0:30

- HARRY AND HERMIONE: 0:29-end

- INTO THE RUSHES: 1:57-end

 

HERMIONE MOTIF???:

- HARRY AND HERMIONE: 0:00-0:28

- OF LOVE AND WAR: 0:34-end

 

HARRY AND DUMBLEDORE MOTIF???:

- JOURNEY TO THE CAVE: 0:00-0:38

- THE KILLING OF DUMBLEDORE: 0:00-0:27

 

WEASLEY SILLINESS MOTIF:

- FIREWORKS

- THE WEASLEY STOMP (variation/similar Irish-inspired idea)

 

JOHN WILLIAMS - HEDWIG’S THEME:

- ANOTHER STORY: 0:00-0:36; 2:00-2:12

- DEMENTORS IN THE UNDERPASS: 1:21-end??? (possible fragment)

- HALL OF PROPHECY: 0:53-1:16; 1:51-2:22??? (possible fragment)

- THE JOURNEY TO HOGWARTS: 0:03-0:30

- THE MINISTRY OF MAGIC: 2:11-2:35

- OPENING: 0:15-0:26; 1:34-1:45??? (possible fragment)

- GINNY: 0:36-0:57

 

JOHN WILLIAMS - QUIDDITCH MOTIF:

- RON’S VICTORY: 0:40-0:55; 1:18-1:24

- OF LOVE AND WAR: 0:06-0:13; 0:41-0:47

Very nice! I love Hermione’s theme. I wish it was used more.

 

Of Love and War is unused sadly but was supposed to be used during the quidditch tryouts scene. It works perfectly with the scene with both JW’s quidditch theme and Hermione’s theme when she confunds McLaggan.

 

There are also some other themes, like Malfoy, Slughorn, Felix Felicis Morif, Unbreakable Vow, The Great Hall and some more. I made a list a while ago, which I’ll try to find.

3 minutes ago, iamleyeti said:

Some samples over here: https://coolmusicltd.com/composers/nicholas-hooper/

 

Very soft and delicate stuff. He is also a guitarist and has been writing novels.

Yes I heard that he stopped scoring films and TV to pursue writing novels.

 

I can recommend his music for Nature Documentaries, it’s beautiful but not that easy to find. Most of what he did for TV hasn’t been released sadly.

[iamleyeti 114]

I had a digital… huh… copy of HEART OF ME back in the days, but lost it. And now, it's absolutely impossible to find.

 

His music deserves a bit more IMO.

[HanFiredFirst 70]

I've been on a bit of a Potter binge this part of the week.  The problem is, you start off with the greatest 3 scores from the series, especially with the wonderful LLL expanded scores, and after JW anyone is going to struggle to measure up.  Doyle's score has moments when it almost gets there.  Hooper I think does a really good job - it feels very British, almost 1920s period drama British in places, and Order of the Phoenix overall works well, I don't get the negativity around his work.  Desplat, well, I struggle there - they're next up in the play through and I'm steeling myself.

[thestat 456]

In Noctem is brilliant work - captures so much of the (now decidedly problematic) series well. Order of the Phoenix is a terrible, terrible score. Like Randy Edelman catapulted into 2007 and blasted out a score, horrendous stuff. Ugh.