I love how everyone freaks out when there is a change in HP. By this point everyone should be use to it. To those yelling about Williams or any of the old composers did it ever occur to you that maybe they were asked but had to turn down the job because they were working on something else. Maybe Williams or the others did not want to do the score since they already did it before and wanted a different challenge. Don’t just assume WB did not want them we don’t know what goes on behind studio doors.

While like others I found Desplat’s refusal to listen to Carter Burwell’s score from the previous Twilight film before scoring New Moon ridiculous and irritating I still think New Moon’s score was stunning and I listen to it frequently. Volturi Waltz, Romeo and Juliet, New Moon, and Full Moon were amazing. HOWEVER while the score was beautiful as its own entity it didn’t really suit the film as well as I would have liked and I believe that’s because the sound was such a jarringly d
rastic change from Twilight’s score and there was literally not even the faintest trace of any of Burwell’s Twilight score woven into New Moon so for me that caused a major disconnect. I just would have preferred a much smoother transition from Burwell’s style to Desplat’s. I was very disappointed that he didn’t even make any use at all of Burwell’s “I Know What You Are” which had unofficially become for Twilight what “Hedwig’s Theme” is for HP so people instantly think of Twilight when they hear it. Big mistake IMO. I’m not a fan of Hooper. His work lacks sophistication and subtlety. His OOTP score completely overpowered the film for me and was extremely distracting. He would be my last choice for DH. I love Williams’s “Hedwig’s Theme”, but must agree with those that say he can be way too loud and at times his music overpowers scenes like a bulldozer. That said I have felt like the music for OOTP and HBP lacked the magical feeling of music from the previous films. We need someone more subtle than both Hooper and Williams but not too subtle, someone that can also bring back the magical feel to the music without overpowering the film, and someone that will give us some of the more infamous songs from SS/PS perhaps re-worked and tweaked but that are still clearly recognizeable. I personally loved Doyle’s GOF score because it had enough of the old familiar HP sound but it was still different and new enough so the sound was much more subtle and didn’t overpower the way some of Williams’s work did. Its tough. I’m really not sure who I want to score DH 1 or 2. Obviously Williams would bring a certain nostalgia back and I do agree with the idea of it being a more than fitting closure to the series to have Williams’s Hedwig’s theme as the last thing we hear as we say goodbye to the films and leave the theatre, but I’d want him to bring something new to the table for the rest of DH and hope he has adopted a more subtle sound in the years since he has worked on HP. I just really don’t know!

While like others I found Desplat’s refusal to listen to Carter Burwell’s score from the previous Twilight film (which I love and listen to almost every night) before scoring New Moon ridiculous and irritating I still think New Moon’s score was beautiful and I listen to it frequently. Volturi Waltz, Romeo and Juliet, New Moon, and Full Moon were amazing. HOWEVER while the score was beautiful as its own entity it didn’t really suit the film as well as I would have liked and I believe that’s because the sound was such a jarringly drastic change from Twilight’s score and there was literally not even the faintest trace of any of Burwell’s Twilight score woven into New Moon so for me that caused a major disconnect. I just would have preferred a much smoother transition from Burwell’s style to Desplat’s. I was very disappointed that he didn’t even make any use at all of Burwell’s “I Know What You Are” which had unofficially become for Twilight what “Hedwig’s Theme” is for HP so people instantly think of Twilight when they hear it. Big mistake IMO. I’m not a fan of Hooper. His work lacks sophistication and subtlety. His OOTP score completely overpowered the film for me and was extremely distracting. He would be my last choice for DH. I love Williams’s “Hedwig’s Theme”, but must agree with those that say he can be way too loud and at times his music overpowers scenes like a bulldozer. That said I have felt like the music for OOTP and HBP lacked the magical feeling of the previous films. We need someone more subtle than both Hooper and Williams but not too subtle, someone that can also bring back the magical feel to the music without overpowering the film, and someone that will give us some of the more infamous songs from SS/PS perhaps re-worked and tweaked but that are still clearly recognizeable. I personally loved Doyle’s GOF score because it had enough of the old familiar HP sound but it was still different and new enough so the sound was much more subtle and didn’t overpower the way some of Williams’s work did. Its tough. I’m really not sure who I want to score DH 1 or 2. Obviously Williams would bring a certain nostalgia back and I do agree with the idea of it being a fitting closure to the series to have Williams’s Hedwig’s theme as the last thing we hear as we say goodbye to the films and leave the theatre, but I’d want him to bring something new to the table for the rest of DH and hope he has adopted a more subtle sound in the years since he has worked on HP. I just really don’t know!

NO! I don’t like this!!! I want John Williams backk…

won_two: if yankovic gets it im pretty sure it would be movie of the century

P.S. Miss Molly, Jonathan Livingston Seagull the movie cost $1.5 million to make and grossed $1.6 million. That means that the film company lost a bundle on a movie that should have been a blockbuster.

Ugh, so disappointing.

THIS IS OUTRAGEOUS!!!! ALEXANDRE DESPLAT!!???? WTF THIS MOVIE’S SCORE BELONGS TO JOHN WILLIAMS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Awesome, I can’t wait for the movie.

Man, I hope this guy is good. The music is what really makes the difference between a really good film and an excellent one for me, and I’m going to be pretty disappointed if it doesn’t live up to the past.

Also, it would be cool to see Williams come back.

WHAT HAPPENED TO JOHN WILLIAMS?

WHERE IS JOHN WILLIAMS? HE’S THE MAN FOR THE JOB!!!!

I DO NOT LIKE THIS!! Desplat is a great composer. I love what he did with the Curious Case of Benjamin Button soundtrack, BUT John Williams needs to come back or they at least need to get someone who can handle large scale films with lots of action like Hans Zimmer or Michael Gacchino! I can deal with this as long as John Williams comes back for part two!!! PLEASE COME BACK JOHN WILLIAMS!!!! PLEASE!!!

This guy has got a big job ahead of him! DH will be such an eclectic blend of music! Intense, soft, romantic, frightening, it’s going to need it all. Well, he seems accomplished, I just hope he does well! I liked Nicholas Hooper and Patrick Doyle…and John Williams…so basically everyone, but oh well. He just better get the music right, like not having soft, romantic music during the battle! Except at the one part…hehe (R/H) Okay, well good luck to him!

@mollywobble: How in the world would John Williams OVERPOWER the last Harry Potter film. You make no sense. It’s Harry Potter. It can’t be overpowered. John Williams created the score for Harry Potter. Hedwig’s theme is the tune that everyone thinks of when they hear Harry Potter. Every composer after Williams have just re-vamped his work because it’s not Harry Potter unless Hedwig’s theme is incorporated somehow. That’s why John Williams needs to come back. He wouldn’t overpower anything. His return would make the end of the Harry Potter films that much more special and the films would go out like they came in, with a BANG!