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.
YAYY!! I was hoping he would come back for the last one :)
How sad it is to be criticised for having a dissenting view. I thought people over the pond believed in democracy and debate, something about a Constitution et al? Apparently not.
So let’s get to it: Yes, I’ve seen almost all Williams’s films. I often use them to catnap to in the afternoon. And, no, I’m not a ‘deaf’ ‘nutter’, at least not according to the house mice I regularly converse with over the great philosophical issues of the day. I have the fortune of having managed to survive roughly six decades of Hollywood-made dross, but, equally, I have had the good fortune of experiencing the brilliant wave of independent American films of the 1970s, the genius of the French 1950s and 1960s Nouvelle Vague, and the sublime Italian and Japanese films of the same period. They all had one thing in common: they stood on their own as masterpieces of cinema because they relied on plot, acting, brilliant writing, and superb directing to stimulate and enthral their audiences. They did not need a rubber shark, very loud sound systems, a 1,000 violinists on speed, horns attached to turbo-fans, and 100 demented drummers, to make their mark.
Now I understand that may come as an extraordinary shock to some, dependent as they may have become to quadrophonic sound systems, and screens as large as small countries, but actually you do not need silly overblown scores to make a good film. In fact the very use of an overblown score is a sure sign the film is also overblown bloated nonsense that has no substance. I repeat, the best part of Saving Private Ryan was the first 20 minutes or so in which not a single sound of music was used, and yet it is probably one of the most effective and devastating pieces of cinema, particularly about conflict, ever made (I say this as an ex-soldier). The assumption that music is necessary or required in battle scenes is patently false.
So, look again, and try and understand that the view that Williams is neither necessary, nor desirable, is a perfectly valid one based upon perfectly valid reasoning. Williams’s bloated overblown action-scores drown out the acting, the emotion, the sound effects, the substance and meaning of a scene, and, are also self-indulgent self-referencing coma-inducing self-obsessed and stupefyingly LOUD, so I prefer to be counted out of the williams love-fest.
A simple test: compare the way the same Williams’s quidditch score was used in PoA and HBP. Everything was toned DOWN. That’s because Williams was not allowed to dictate the volume of the score, nor did he conduct it, or have anything to do with it, as far as I know. It worked in HBP, but it overwhelms the scene in PoA. The guy’s a menace when it comes to action scenes and if he is not curbed, restrained, and told to put the film before his ego, he will ruin DH II by turning it into no more than another Star Wars, Jurassic Park, Jaws, Raiders, Transformers, Spielbergian piece of Hollywood-odious pap. We have enough of it already, why drown the HP series in it?
I can already hear Williams’s schmaltzy ending to DH II along with the insane levels of horns, timpani, and strings, for every battle scene. So predictable, so loud, so boring. That is why I preferred Hooper and Doyle’s HP scores. But, to be honest, the less music the better. That’s also why a decent screenwriter would have been ideal, it would have meant less need for musical filler. When the dialogue sparkles, who needs music? Just watch those classic 1930s and 1940s Hollywood comedies and film-noire, huge reams of dialogue and no music. That’s why it’s so easy for me to resist joining the we-want-williams brigade.
This is exciting. Although the other scores have been wonderful, they have built on the themes originally set by Williams. It’s good to have the original back!
YUS!!!! :D what they should do for the endmusic is ‘Leaving ’Hogwarts’ from the first film. THAT IS THE MOST MOVING PIECE EVEER!!!
This is wonderful new! JW has been the best composer for the HP movies. This means we’ll have Hedwigs Theme back! =D
Oh, I do hope that it’s true. Williams is the only one whose compositions for the HP series have been at all memorable. I couldn’t even tell you what the music for the last few films sounded like. I know that some people would argue that the hallmark of an effective movie theme is that you fail to notice it, but I disagree. I really miss the wonderful bombast of the great adventure movie themes of yesteryear, like ‘The Third Man’ or ‘The Great Escape’ or ‘How the West Was Won’ or ‘Exodus’ or ‘Bridge on the River Kwai’ or ‘Born Free’ or ‘Dr. Zhivago.’ As soon as you hear a few notes of one of those, the whole movie rushes back into your head. John Williams is about the only living film composer whose work has the same heft (and no, that doesn’t necessarily imply volume). Anytime I hear ’Hedwig’s Theme’ (even on something as lame as a ringtone), my arm hair stands on end, and I love that efffect. If some people find it kitschy, too bad! Bring back John Williams!
YES, PLEASE!!!! John Williams, though derivative, is the only one who can give us the symphonic themes HP deserves!!
Yayy!!! I really really hope this is true. What’s a better way to end the series, than with the composer that began it? Oh the awesomeness
YEAHHHH!!!! My wish has come true!
I liked him the best of all!
I hope this is true!!! John Williams knows how to emotionally invest the audience.
Harry Potter is a ‘Hollywood’ genre film. It’s intended to be in the same category as Indiana Jones, Star Wars, The Lord of the Rings. It’s a franchise that deserves a trademark score, a score we can all remember.
I bet you can’t really whistle/hum a Doyle/Hooper/Desplat score. Can you really remember a motif? A memorable piece? Those composers are not truly “hollywood film” composers like Zimmer/Giacchino/Shore/Williams. They are only good for certain genres such as independent films.
Having them score a film like Harry Potter results in a weak filler score that becomes quickly dull and lifeless.
And when it comes to presenting a ‘motif’ they are inexperienced. For example, in the Half-Blood film Hooper re-introduces Hedwig’s theme as “ginny’s” theme. But the scene has little to do with Ginny and it’s mainly a helicopter shot of the Hogwart’s tower, it’s random and serves no point.
A composer like williams would re-introduce the chamber of secrets ‘hero’ theme when Ginny and Harry kiss. It anchors the audience emotionally to the first time these two characters met. Bringing their relationship full circle.
What does Hopper do? You can’t really remember the score when the two characters fall in love because it’s filler, it’s boring.
Harry Potter needs that signature score that only John Williams can provide.
I’m sorry but the majority of us disagree with you. Tell us all your film history knowledge but that does prove anything. We’re not watching Citizen Kane or Casablanca here, this is a modern film in the same realm as The Lord of the Rings and Back to the future. Film franchises that work.
@MrPlinkett. You’ve proven my point. Couldn’t have put it better myself. Thanks.
my friend and i had been saying we hoped this would happen!
fingers crossed that it’s true.
Oh my god, this is AMAZING news! This is what I’ve been hoping for, to come full circle. Oh JOY!
@MrPlinkett: Great arguments, even though rotfang tried to hijack your post. I think he ignored some of your arguments. I also think he totally missed the point.
In a great book, the words must convey all of the story and emotion, as we all know as fans of J.K. Rowling. I love reading a good book. It lets me create the world in my own mind. But a movie is a completely different storytelling medium, yet just a valid.
In a movie, the dialogue and the acting are not the only means of telling the story and engaging the audience. There are also the set, the environment, the lighting, the photography, the motion, the sound effects, the practical and visual effects, and yes, even the musical score. All are very carefully and intentionally crafted to bring the whole of the story and the emotion together, to invest and engage the audience. Each and every part are integral and crucial to the cinematic experience.
Sure, you can turn off the music, but you would be getting something less than the intended experience, and you’d be missing some of the intended information being conveyed.
@rotfang: By the way, I have a suggestion for you: If you want to enjoy the movies without the score, it may be possible if you have a surround sound system to tweak the volume levels on the surround speakers (or disconnect them). That way, you will only be getting the dialogue and main sound effects. To each, his own.
And for all of you out there: I actually wear earplugs regularly when I am watching movies or watching my favorite band in concert. I also believe that movie theaters play the soundtrack too loudly. I have found EXCELLENT earplugs that decrease the volume without affecting the spectrum of the sound. You can get them online: Google “etymotic research”. I do not use foam or wax earplugs because they cut out the high frequency part of the spectrum much more than the low. But the ER20 model earplugs simply “turn down the volume on the world”. They are so awesome you can easily carry on a conversation with them in. I keep them with me at all times and use them when I’m running loud appliances, or out to eat in a loud restaurant, etc. Check them out—and save your ears! (Believe me, you DON’T want to ruin your hearing and have to endure tinnitus for the rest of your life—it is truly awful, and my biggest regret in life that I did not take care of my hearing when I was young.)
@rotfang: And by the way, it is only your opinion that John Williams is “self-serving”. It is quite plain to me, and many others who listen carefully, that John Williams ONLY strives to serve the story. I have quite a few CDs of his scores that I listen to without the movie, and I can feel the emotion being conveyed just by listening to the music. It is a joy to simply listen to his music. Also, I’m sorry for calling you a nutter. I tried to edit my post, to change it to “person”, but this forum does not allow edits. (Or I haven’t figured it out.)
I can’t wait for the spectacular score by The Master (did Hooper really say that?) John Williams in all it’s motif-laden full-orchestral glory! But, I too will be wearing earplugs in the theater, to save what’s left of my hearing.