Reports: John Williams Will Compose Score for "Deathly Hallows: Part 2"
September 14, 2010, 04:32 AM
Our friends at Potterish have gotten confirmation from Warner Bros. Brazil that composer John Williams, who wrote the music for the first three Harry Potter films, will return to score the final movie, "Harry Potter and the Deathly Hallows: Part 2." "Deathly Hallows: Part 1" will be scored by Alexandre Desplat.
Update: While this is indeed exciting news, we still await final conformation on this information from WB. Stay close to Leaky for the latest!
"Harry Potter and the Deathly Hallows: Part 1" will be in theatres November 19th, and "Deathly Hallows: Part 2" will come out on July 15th, 2011.
Great news!!!!!! Im sooo happy! best music ever!
i love the harry potter music. it’s awesome. love his music so glad he is returning for deathly hallows. :-))
Hmm…I wasn’t going to pop back on here and read the replies to my comments (not because I can’t take criticism, but I guess I thought I’d had my say and that was enough for now). Rotfang, I would say that criticizing a dissenting point of view is one of the definitions of debate and democracy (telling someone they can’t HAVE that point of view is something altogether different, and not in my view what’s been going on here). It’s pretty obvious from many of your statements that you’re a sort of anti-mainstream person, whether it comes to music or films or whatever. To literally say that every film that has come out of Hollywood over a 60 year period is drivel, and the only watchable films are French and Italian independent films or the “dark realism” American films of the early 1970s is pretty narrow-minded. To lambast any film that has an operatic, overly-emotionally score would mean you think films like The Wizard of Oz, or Gone With The Wind, or Ben Hur, etc, aren’t classics. I understand your point of view a bit better now, and I think I was somewhat on track before…you believe in a minimalist approach to filmmaking. You prefer a score that is so unobtrusive as to be practically non-existent, like many independent films use (mostly because they have to work within a limited budget). However, for the life of me, I can’t understand why you would expect such filmmaking from the Harry Potter film series. These are not, nor were they ever meant to be, some small philosophical films. These are Blockbusters, in every positive and negative connotation, as were most of Spielberg’s films (which you seem to absolutely loathe, and you seem to make such an intense connection between Spielberg and Williams that it seems like you think Williams is some “agent” of Spielberg’s, out to destroy every movie they touch). Warner Brothers is not some small, European-based film company…they paid a lot of money for the rights to these films, and poured even more money into the films themselves, so they are in no way, shape, or form going to take a minimalist approach, nor should they. The books are rousing adventure stories, and the films should be too. I also think you’re a little misinformed on some points…Hooper didn’t use Williams Qudditch theme in HBP, he created his own, and however loud or soft it’s “pitched down” has nothing to do with the composer of a film, or the conductor of an orchestra playing film music…it has to do with the sound technicians, Foley artists, editors, etc. You’re totally within rights to have your opinions, but I just think you’ve hitched your horse to the wrong cart here. And that’s all I have to say about that.
that is awesome news. He will do a great job. the music in the first films was fantastic
Does anybody speak Brazillian Portuguese? I ran the above “confirmation” link through freetranslation.com and selected Portuguese (which is probably European Portuguese because there were plenty of errors) and it seems that the site is saying that “there is there is no official information”. Which would put this back into the realm of rumor and hope for now. Keep your fingers crossed!
@critterfur; oh, I dunno, being told one is deaf, a nutter (apology accepted re rush2112), and to give it a rest already, doesn’t sound like a willingness to debate, to read what was said, are to listen.
And, on that point, re quidditch, here are the notes from Hooper’s HBP cd: "Tracks 11 and 19 contain “Quidditch Match” written by John Williams."
Here are only a handful of the films that Spielberg and Williams have collaborated on: Jaws, Raiders I, II, III, IV, Jurassic Park I, II, E.T., Schindler’s, Saving Private Ryan, Close Encounters etc etc etc … so how can I NOT link the two? It’s like they’re joined at the hip.
In Britain Spielberg and Williams are seen as representing the best and the worst of Hollywood. The worst because their films are aimed at a particular segment of the market, and are, for the most part, devoid of intelligence, and are far too often steroid-enhanced schmaltz on celluloid. The best because they supply good entertainment (there is, after all, a need for mindless drivel to keep the kids quiet especially in Britain), and jobs for the industry, particularly the British film industry, and for that everyone is eternally grateful. Food on the table and cash in the pocket are far more important than any passing contempt for the product on the screen. Spielberg was knighted by the British for a very good reason, he’s employed thousands of Brits.
My real point is irrefutable. Williams, if allowed free rein, IN ACTION SCENES, pushes aside the acting, the other sound effects, any subtle emotion, all nuance, to any given action scene. That is why the first 20 minutes of Saving Private Ryan have gone down in cinematic history as possibly the most extraordinary made and have no music at all. And, as I said, the quidditch music in HBP, which Hooper himself says was written by Williams, sounds completely different to the PoA version precisely because restraint was imposed and the music was never louder than the crowd noises, or Ron’s whoo-hoooing. In fact some were so taken in by the changes they did not even recognise it was Williams’s score in HBP.
Alfonso Cuaron may have been intimidated into having a ludicrously loud score in PoA for the Hippogriff flight with Harry, the Werewolf chase scene, and the quidditch match for example. And, Columbus is straight out of the Spielberg-Williams stable anyway so I can understand why he chose to be OTT and schmaltzy as well as derivative (Star Wars, Jurassic Park, E.T.) during the Pixies, Spiders’ chase, and quidditch scenes in CoS. But, it was noticeable that as soon as Columbus left, either as director or producer, the music became infinitely more nuanced, subtle, and sophisticated, relative to HP I to III.
Twilight started as an indie film and has made much greater returns on the initial investment than Warners, and continues to do so. The 2nd Twilight film made over 14 times its initial budget, PoA made less than half that return on its budget. So I reject the idea that HP had to be a blockbuster because of Warners involvement. Nor do I accept the idea, which I find borderline loopy, that HP has to follow in the path of all those ghastly mindless blockbuster films listed above that are associated with Spielberg-Williams. The whole point is that HP is different. That is why I don’t want Williams, except and unless his portions of schmaltz and OTTness are severely curtailed, which I believe he is congenitally incapable of doing, so Yates will have to have the courage to impose restraint. It’s obvious Williams will do Part II otherwise why the secrecy(?), but Yates will pay a heavy price for using him as the acting, direction, sound effects, and more subtle emotions will all get swept away in the Williams wash.
@JasonAnder: THey said early on the that Desplat was only coming onto to the first part of DH. They had discussed JW returning for part 2 at that time. Just because Desplat did part one doesn’t make it true that he is doing part 2. It only makes sense for JW to end the movie when he did the first ones. Glad to get back to the “classic” Harry Potter scores.
@rotfang: No offense but I think that music in action scenes enchances and not dtracts from the ambiance of what is happening. Saving private ryan may have had no music in that opening section but that doesn’t mean it wouldn’t have been possibly better with music.
And the only reason that Twilight did well was because of the obsessed fan base not the neccessarily the music. I wouldn’t know since i refuse to watch a movie based on a book that the author admits to be writer.
JW made the theme of HP what it is and it is so engrained in the series that they still use the HP theme he did for all the movies same with his hedwigs theme. IMDB has it listed as giving him credit for those songs even after POA. I think you need to realize that all you are doing is argueing to argue. Get off the high horse and go watch the movies you like and not bash the composer of some of the greatest movie themes out there.
Star Wars, Indiana Jones and Superman movies are some of the most enjoyed and watched movies that there are and part of that has to do with the music done by JW. Take music out of any one of those series and they wouldn’t have done half a well. Music ties thing up and put a nice bow on it. Lack of music makes things boring in my opinion.
@Issa; Thank you for making many of my points for me. In so many ways I could not have made them better myself. As for what I actually wrote, a closer inspection might show I am not the least bit against music in films. The opposite in fact. I am only against Williams’s unfailing ability to wipe out all other important components to an action scene for as long as his loud wailing abounds.
On the other hand, I respect his ability to fill the role of master of easy-listening pop-like orchestrated music for cinema. He is really good at it. His tunes are instantly recognisable and frothy, like all good pop, insubstantial instantly disposable, and, great fun. Furthermore he occasionally has a moment of genuine brilliance, hence Hedwig’s Theme.
That said, despite accepting the truism that the only certain things in life are death and taxes, I AM certain of one thing: Saving Private Ryan’s first 20+ minutes would not have been improved by any music. Even Williams’s.
Whooooooooooooo!!! best classical composer of modern times
hope its awesome!!!
@rotfang: You have no idea what “pop” music is. If you want to find out, just Google “Billboard pop charts”. You can even listen to the songs right on Billboard’s website. There, you’ll find a goldmine of insubstantial, instantly disposable, repetitive, mindless drivel for the masses created by people with little or not talent beyond one catchy beat and a few rhymes. Many don’t know how to play any instrument—they create the beats electronically. And most don’t even need to have a good singing voice anymore—they send their vocal tracks through AutoTune, or give up entirely and call it “rap”.
Unfortunately, American radio and the music industry (which are probably two heads of the same beast) have gone all “Bud-light” trying to appeal to the lowest common denominator since the early ‘90s. I wouldn’t call it “pap” because that connotes “bland, but healthy” to me. I would call it “ear candy” or “ear junk-food”—meant to appeal to the senses, but lacking substance. Oooh, now who’s the grumpy old man?! Sorry, but we were discussing music, and you did bring it up. OK, back to the point:
You will find the same soulless ear candy on most of Billboard’s charts: Pop/Hot 100/Radio Songs/Hip Hop/Dance. And those charts essentially define pop music in America (which is where John Williams does business). But John Williams shares none of the hallmarks of today’s pop music, and you most certainly will not find John Williams on any of those charts. Therefore, John Williams does not create pop or pop-like music. Quod erat demonstrandum.
Although I like a lot of John Williams’ work, I really think Nicholas Hooper has done a better job capturing the mood of the films. I wish it was Hooper coming back for the final film. :-(
@rush2112; Agree about certain types of pop giving some the impression that they’ve just been afflicted by a severe case of tinnitus (which I’ve suffered from in my time), but I was specific about Williams being more in the field of “pop-like orchestrated music for cinema”, which isn’t quite the same thing. If I had to compare him to pop it would be Paul McCartney post Beatles. Eminently listenable to but occasionally prone to excrescence.
@rotfang07: Oh, I see what you are saying. Pop music in the ’70s was very different than now. In my opinion it was much better because artists had to be creative and talented to get noticed, and real DJs (music fans) got to decide what we listened to on the radio. Anyway, thanks for sparring, it was fun! You and I will never agree on what is good music. Music is in the ear of the beholder. But it was fun. Until next time…
Brilliant news! I clapped for joy when I read that!! :D