Discussion in 'Star Wars And Film Music' started by redsabreanakin, Jun 12, 2005.
Fortunately, that's not from the film. It's just trailer music.
Okay I saw the film again today and now remember the other part I think needed a Williams Potter theme. Right after Moody has freaked Neville out, and we see him standing on the stairs... there is a transition using the stained glass "crying" image, then the scene switches to rain outside as kids run into where the Goblet is. Students then put their names in the Goblet. During that moment with Neville and the subsequent transition, I feel something strong from Williams was needed. Something conveying the emotion Neville is feeling and sweeping the film into its next scene, like Williams does so well. I dunno which theme I would use but something capable of carry Neville's emotion.
Man! I know that cue, but I can't place it. It sounds similar to both J. William's Opening Titles from Hook! and also J. Horner's Kaleidoscope of Mathematics from A Beautiful Mind.
Anybody else hear the similarities?
I was very disapointed that williams did not score GOF. After watching a willimas film I normaly get a particular track that sticks in my head for about 2 weeks. Doyle did not make this happen. The only track that actually was really to my liking was when [SPOILER ALERT!!!] Cedrick Digory died
^^^^ exactly..I agree. Williams is very good at that, in fact he always comes up with something that you remember even on soundtracks with 14 or 15 tracks. I didn't come away with that on this one. I mean even Batman Begins had the one theme you remember, of course it was played over and over in the movie...but you get my point.
I'm watching "My Name is Earl" and they just had a GOF commercial...and even the commercials use Williams original themes..
As I've said before: this can go nowhere. Williams has been the master of themes for thirty years now. No one else in the industry even comes close to Williams when it comes to creating a memorable theme that fits its subject. But there's more to film music than just themes.
But according to a film score composer friend, Doyle is capable of far greater than this score shows. His orchestrations are boring according to my friend. He says Doyle usually does far more interesting things with his orchestrations and writes far superior themes but this time he just choked under the pressue.
Doyle is capable of better. HENRY V, MUCH ADO ABOUT NOTHING and LITTLE PRINCESS are all superior. Perhaps some of his French scores as well -- NOUVELLE FRANCE, EST-OUEST, etc. Maybe a couple others. If anything I don't think it's the pressure, though, but the volume -- I think he had five scores out in 2005. Then again, I don't think he choked here, either; I think this is quite a satisfying score. Not the best of the year, but quite good.
That's a ridiculous choice then. John Williams turns down the film because he has too many scores (3) and they turn around and find someone with five?!? Really bonehead move. Seems to me that my friend is saying Doyle can do FAR better than this score. This information certainly makes that perspective seem more valid.
My friend's words: "Harry Potter's Love" is a lovely theme but it just repeats with no B or C sections, no change in orchestrations, no modulations to a different key so we can hear color changes or anything. That's where, maybe if he had time, he would have really done better at. Why waste the orchestra's time playing through it so many times, Just play through the theme once and have the engineer edit it and repeat a few times and stick the coda at the end. Unlike [A Window to the Past...] simple melody, but each time we heard it, we heard it in a different guise, different instruments, different keys, made it great to go back and listen to the track over and over without getting bored
Five scores in a year is stupid. Nevertheless, by all reports they are all good scores, so kudos to him for at least being able to write five good scores in a year.
However, I still stand by my opinion that GOF is a fantastic score.
Indeed GOF is brilliant.
BTW, you can hear the conductor turn the pages in "Another year ends" at 1:15 or so.
I'm not going to say its great, there were only some parts that I liked. It needed more leitmotief, first off. Second off, it started like some kind of cave adventure "Pirates of the Carribean"-esque thing, which just totally ruined the whole fantasy mood for me. it got better, but man, it took a long time into the film before I could forgive him for that. Im also not too fond with how he handled Hedwigs theme, especially changing that one note. Really, if he had access to the rights and music from previous films, he should have utilized more of it. I hate to say he needed to match styles, but for this movie, he really should have tried less to make it drastically different, and instead slowly move into his own style for the next film. The rough transition between films just doesnt match continutity. It was an OK score. Thats all I'm going to say. Doyle is more of a composer and musician than this. Unless the director spicificly asked for that style of music, in which case I'd be angry at him, I'm a bit dissapointed with it.
I'm impressed with Doyle's work on Goblet of Fire. His score evokes a dark and moody essence which is perfect for the film's opening, and other tracks, such as the brilliantly whimsical, romantic "Neville's Waltz", are stellar accompaniments for the film. As with Azkaban, I was delighted to hear an original soundtrack (unlike Chamber, the score of which comprised 95% of Stone's music - I swear the only new theme was Fawkes').
While portions from SS/PS are used in COS, the second score is perhaps the one in the series with the most new themes: Fawkes, the chamber, Lockhart, Dobby, and Moaning Myrtle all have distinct themes/motifs.
Yes there are loads of new themes from CoS. However, surely the SS score has the most as it originated all the original Potter themes, and there are a lot.
Yes, I see what you mean.....I should have made it clear that out of the three HP sequels, CoS has the most new themes.
Looks like I'll have to stand corrected on my comments about Chamber. It's just that, when I was watching it and Azkaban a few weeks ago before going to see Goblet, it seemed to me that the score for Chamber, or at least the score as featured-in-the-film, was largely recycled from Stone.
No you are correct. It was re-recorded and re-scored and moved around and tweaked, but a lot of the COS score was lifted from SS due to time constraints. Williams did 5 scores in a one year period.
Everytime I see the open of this movie, I think to myself "Hey, they made another matrix? Oh yeah, wait, it harry potter."
I more inclined to say I think im seeing Batman again when the Warner Bros logo comes up!
Yah that sounds nothing like The Matrix! It sounds totally Elfman like Batman.
Completly agree with the Elfman comparison for the opening. That's really the only point like it though.
I take it back, you're completely right. It is Batman.
I just got the soundtrack and absolutely love it. Favorite tracks, Story Continues, Golden Egg, Quiditch World Cup, Foreign Visitors Arrives, Harry in Winter and Voldemort.
Voldemort really doesn't get good until the Priori Incanteum to Harry using the Accio charm to get the Goblet.
Is it just me or did they put music on the soundtrack that was not in the film. It seems like during the Quidditch World Cup track, the Irish and Bulgarian entrances are longer musically than they appear in the film.