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Potterdom Film/Score Series Thread


JoeinAR

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Wow, I'm really surprised by this new music on the OOTP website. That really does sound promising, and no, it's not John Williams. But it sure isn't Patrick Doyle either. ;)

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This clip isn't bad. Not blow-me-away awesomeness, but not stab-me-in-the-face awful either. I predict the score will be sufficiently good, but I'm not sure if it will be anything great.

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I ain't no elder and I was a Hooper-optimist. :D And for good reason too.

As for my Goldsmith comment, I only meant that the material sounds like slightly more serious versions of something out of a Joe Dante film.

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Don't think being around here longer than someone else automatically makes you wiser in any way.

What?

You'll have to speak up Marc - the elderly suffer from hard of hearing :D

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I have to say that I'm suprised by how good the clips are. I guess we'll see what happens.

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These new clips sound very good, if a little elementary in structure/harmonization. I hope that there is a lot more material like the piano music heard on the UK site - vague, electronic, atmospheric. Perhaps Warner Bros. just picked the lightest parts of the score for their web site to appeal to kids.

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I like what I hear so far. I agree with Ray, I think we've heard Umbridge's theme for the first time. Kind of a darker Gilderoy Lockhart, I'm worried that it might not be dark enough but wait for the film this is just a clip blah blah. And the Hedwig's theme statement is very nicely orchestrated. I've been cautiously optimistic about Hooper from the start, and so far so good.

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But not all veteran elders think that.

Don't think being around here longer than someone else automatically makes you wiser in any way.

Young smart aleck kids think they know everything.

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Wow, I'm really surprised by this new music on the OOTP website. That really does sound promising, and no, it's not John Williams. But it sure isn't Patrick Doyle either. :D

Is that a good thing?

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There are a few of us who were.

And a few like myself who were neutral. Now that I've heard clips however I can say I'm optimistic. Before I'd heard any of GoF but after hearing a tiny bit of Doyle's other work I imagined he would have come up with something like what we're hearing. Boy was I wrong.

I'm really loving this loop. There are actually parts that sound Williamse-esque, but not in the traditional way. There's a short passage just before the bouncy last part reminiscent of WotW's family music. Just an observation, not intentional or anything.

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Yeah, I don't see how anyone could really think that Hooper would definitely deliver a great score, or a terrible score, unless they'd heard any of his music. Now that we've heard these clips, it's safe to start forming an opinion. Mine's going from neutral to optimistic.

Before I'd heard any of GoF but after hearing a tiny bit of Doyle's other work I imagined he would have come up with something like what we're hearing. Boy was I wrong.

Same here. I'm glad the time has finally come!

Ray Barnsbury

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I think one of the most significant thing about these samples is that the music has a flavor to it.

It's not just standard movie music. And that's what we've been getting for the last 2 years out of 99% of Hollywood.  

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And a few like myself who were neutral. Now that I've heard clips however I can say I'm optimistic. Before I'd heard any of GoF but after hearing a tiny bit of Doyle's other work I imagined he would have come up with something like what we're hearing. Boy was I wrong.

I agree with the Australian.

I'm really loving this loop. There are actually parts that sound Williamse-esque, but not in the traditional way.

I agree with the Australian.

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This clip isn't bad. Not blow-me-away awesomeness, but not stab-me-in-the-face awful either. I predict the score will be sufficiently good, but I'm not sure if it will be anything great.

I agree. Not bad at all. The slower parts work better for me than the faster action stuff. Perhaps a bit simplistic, but the more introspective stuff shows off his orchestration, which is solid.

The last cue is neat, the first and last cues have some T. Newman going on there! :) However, I'm really not fond of the action cue (2nd after Hedwig's Theme. it starts with timpani) which had some of those MV-ish repeated strings that are just there for effect and don't carry any melody. But this is so common among younger composers when it comes to action. JW (and I'll add to that Debney, Silvestri, McNeely)-style action scoring is kind of going out of fashion.

But all in all, it should be good. You know what was great though? Jeremy Soule's score for the game version (PS2 is the one I have) of Prisoner of Azkaban. I was super impressed with his writing for that. I popped that in, heard the Main Title and thought, wow, who is this? And I've heard about him for a long time, he really is talented. There are some great scores being written for video games these days.

I would have loved to have seen him work on OOTP, of the "newer" guys. (If I couldn't have my pick of a handful of others.) Seriously, Soule's score is rather impressive. And he didn't even use Hedwig's Theme! (Was he allowed to even?) But it was very appropriate, big fantasy scoring, skilled orchestrations, strong themes. (Except it didn't need so much epic choir, although it was well done.) Wonderfully JW-ish without being JW, too bad the cues are so short for games, you get the feeling he was really about to take off before the cue has to end.

You can listen to clips here:

http://www.emusic.com/album/Jeremy-Soule-H...d/10948229.html

Are his other scores as good?

Oh, and I ran across something interesting, in this article Joel McNeely says he'd "love to score a Harry Potter film someday". Hmm. Slim to none chance of that happening, but he could've done a great job I feel with GOF. SW: SOTE proved he can take JW as a starting point and go in his own unique direction. Untapped talent there. Doyle is a fine composer, but his GOF just didn't connect with me.

-Greta

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Yes well done Greta, that's what we need, more video game composers doing film music.

Very good.

Oh I was being sarcastic.....

Why not, if they're appropriately talented?

Ray Barnsbury

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I do not understand the taboo that simplicity has become. Have people forgotten the Imperial March or Patton's Main Titles? Why does everything need to have 15+ layers of strings and trumpets and percussion and woodwinds running against each other.

It seems to me people don't listen to music for pleasure anymore, but merely to assess the technical achievement it is. Who can write the longest theme while running it against 7 other barely connecting musical ideas?

Jeremy Soules other scores are very good, especially his score to "Prey." Azkaban is one of those technical achievements with little heart.

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By complex, I mean think Spider-Man 1/2.  There's so many musical ideas constantly weaved in and out from background to foreground and running against each other, that it becomes extremely difficult to make meaning with the music.  

The Imperial March and Patton's Main Title are pretty simplistic in their presentation.

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That's comparing apples with oranges. You are saying The Imperial March is simple because it doesn't have brass clusters coming at you from every angle.

It's a simple theme being played over a couple of different background elements with a pause in the middle, and dull uninspired second half.

Patton's is just a fanfare over snares.   They're all essentially the offshoots of jazz inspired film music that Herrmann started.

 Complexity to todays sophisticated music guru seems to have become going back to classical mentality.  

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I believe Williams once said that it's harder to write simple pieces than complex ones.

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It's a simple theme being played over a couple of different background elements with a pause in the middle, and dull uninspired second half.

I would not say it's a simple theme at all.

Patton's is just a fanfare over snares.

Whaaaa?

They're all essentially the offshoots of jazz inspired film music that Herrmann started.

I though North brought Jazz to film music?

Complexity to todays sophisticated music guru seems to have become going back to classical mentality.

And Spider-Man 2 is a good example of this?

You really are not making any sense boy!

Just because you can remember and hum a theme, does not automatically mean it's simplistic.....

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It's a simple theme being played over a couple of different background elements with a pause in the middle, and dull uninspired second half.

I would not say it's a simple theme at all.

Patton's is just a fanfare over snares.

Whaaaa?

They're all essentially the offshoots of jazz inspired film music that Herrmann started.

I though North brought Jazz to film music?

Complexity to todays sophisticated music guru seems to have become going back to classical mentality.

And Spider-Man 2 is a good example of this?

You really are not making any sense boy!

Just because you can remember and hum a theme, does not automatically mean it's simplistic.....

No a hummable theme does not mean simple but Spider-Man is an example of the the busy quality that people worship.  Yet it achieves very little in making a poignant bridge with the audience.    A hundred years of scoring has taught those in film to strike a balance between complexity and simplicity and grace to drive home emotion and feelings. Yet a simply structured tune in a film will not garner a single bit of respect around this place even if it helps yank tears from the audience in the film.

And yes North did start jazz with "A Street Car Named Desire."  Good catch, and my stupid error.  

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Hm, I think you're painting a bit too black and white there... other than his ultra-busy action cues, Williams is known and loved here for his simplistic themes, out of which he can make masterful cues.

And complexity isn'T by itself bad, if it's well-structured. Take MAtrix, for example (especially the first one, as the 2nd and 3rd get more conventional). Very busy, very multi-layered, but it all has a structure to it that unifies all the cuncurrent layers and prevents it from becoming total chaos.

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Yeesh, couldn't they have edited out the intro?

Not much going on in that cue, but there didn't really need to be either. I'm starting to really look forward to hearing this score. Everything else looks pretty good so far too. I hope that they kept Hermionie's "waffle" line after.

John- remembering Sturg's old signature

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Well,there was a OotP commercial during Heroes last night,and the music had a lot of brass fanfares.Sounded promising

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And it was a great score.  But I wouldn't expect many snobs around this elitist meeting house to ever admit to such thing.

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