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Williams was scratched over by Williams

Yahzee Skellington
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  Responses to this Comment:
DKB
Williams was scratched over by Williams   Monday, November 8, 2010 (11:55 a.m.) 
• Now Playing: "Trained and Steady" Michael Giacchino  

Sorry to differ with your opinion, but the truth is that the lack of a musical identity for the Harry Potter franchise begun when John Williams himself chose to omit his owns themes in Prisoner of Azkaban, only keeping Hedwig's Theme. Gone were the motifs and themes for Harry, Ron, Voldemort, Hogwarts, etc.

No doubt Prisoner of Azkaban is an excellent score but it started the discontinuity. Doyle wasn't the one to blame, he only carried over the idea that maybe each film should have it's own music. Of course the three composers that followed Williams could have, and maybe should have, used more of Williams themes.

As it stands, that's almost my only problem with the whole franchise, and one I'll always regret when Star Wars for instance, even with the many years between the first and the last one it still plays like a cohesive musical journey, but this is because Williams stayed for all of them.

Maybe with Prisoner of Azkaban, Williams knew that he wouldn't return and decided that perhaps starting over was the way to go.



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DKB
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  In Response to:
Yahzee Skellington

  Responses to this Comment:
Will
Re: Williams was scratched over by Williams   Friday, December 31, 2010 (1:51 p.m.) 

Thank you for pointing this out, as it seems that the entire world forgot it - except for Hedwig's theme, Williams went tabula rasa with Azkaban, and although the music was excellent, it was a far less thematic score than his previous efforts - he clearly was in a period in his career where he was writing for events, not characters.

Williams is so popular that some people will never accept anyone but him as a composer, and so once he retired we were doomed to this lack of continuity. That said, this is definitely the most "Williams-esque" score since he left.

> Sorry to differ with your opinion, but the truth is that the lack of a
> musical identity for the Harry Potter franchise begun when John Williams
> himself chose to omit his owns themes in Prisoner of Azkaban, only keeping
> Hedwig's Theme. Gone were the motifs and themes for Harry, Ron, Voldemort,
> Hogwarts, etc.

> No doubt Prisoner of Azkaban is an excellent score but it started the
> discontinuity. Doyle wasn't the one to blame, he only carried over the
> idea that maybe each film should have it's own music. Of course the three
> composers that followed Williams could have, and maybe should have, used
> more of Williams themes.

> As it stands, that's almost my only problem with the whole franchise, and
> one I'll always regret when Star Wars for instance, even with the many
> years between the first and the last one it still plays like a cohesive
> musical journey, but this is because Williams stayed for all of them.

> Maybe with Prisoner of Azkaban, Williams knew that he wouldn't return and
> decided that perhaps starting over was the way to go.



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Will
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  In Response to:
DKB
Re: Williams was scratched over by Williams   Friday, January 7, 2011 (6:02 a.m.) 

True to an extent, but many of the new themes have the notes/progressions of Hedwig's theme at their core identities (Window to the Past, Aunt Marge's Waltz). Also the film is given a new central theme of it's own with Double Trouble - a feat Doyle dabbled in with Harry in Winter and Hooper with In Noctem, but something largely ignored in films 5 and 7.

It's easily argued that many of Williams' established themes that could/should have returned at some point in the franchise simply weren't necessary in Azkaban (no Voldemort, no Dobby, no Fawkes). A continuity enthusiast might still wish Voldy's material had been referenced a bit when his name was bandied about, but it's not quite as glaring as losing the material entirely for his on screen rebirth and ascent to power.

So while, Williams did begin to change the palette with Azkaban, the franchises primary identity was still at the core of the new themes, and the 'style' of the score - with a primary identity theme and a few very prominent supporters - was in keeping with the previous films.

With the later composers, I (and many others I assume) have been fine with the additional expansions to the palette - Doyle's more noble/British tones in Goblet, Hooper's haunted choir in Half-Blood, even Desplat's more subdued melodies -- but it's the loss of the thematic continuity that is lamented. Each composers should certainly be allowed to bring their voice into the mix, but to ignore the development that's already been given to these characters/situations is just lazy.



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