2 Jon Burlingame, Sound and Vision: 60 years of Motion Picture Soundtracks, (New York: Billboard Books, 2000), 186.ĭesplat uses, if infrequently. Although asserting some continuity with themes that Williams established, Desplat creates an atmosphere that enhances the film viewing experience, but in a much more subtle and nuanced fashion than Williams; he accomplishes this primarily through reliance on rhythmic drive, romanticism, and special effects.3 In contrast, Williams uses illustrative music and composes the most memorable themes of Harry Potter that are widely recognized as the iconic soundtrack of the Harry Potter enterprise. John Williams composed the music for the first three films. The score to the fourth film was composed by Patrick Doyle. The fifth and sixth film scores were composed by Nicholas Hooper, and Alexandre Desplat composed the music for the final two films.
The techniques of the two composers vary immensely. John Williams is widely recognized as one of the greatest film composers in the last forty years; his music has gained him international fame and he greatly increased the popularity of film music with his strikingly memorable themes.2 His compositional style primarily reinforces ideas that are seen on screen, while Alexandre Desplat is a bit more subtle with his scoring. Rather than doubling the action on screen, Desplat displays emotions or actions that are not necessarily portrayed by anything visually. However, since Williams composed music for the first three films, he established certain motives and themes that Karolyn Byers Professor Fülöp History of Film Music 21 December 2012 John Williams v. Alexandre Desplat: Approaches to Film Scoring for the Harry Potter Series I. Introduction The eightfilm series based on the Harry Potter novels by J.K. Rowling includes compositions by four different composers. Beginning with John Williams in 2001, the Harry Potter films over the years have also been scored by composers Patrick Doyle, Nicholas Hooper and Alexandre Desplat.1 The composers use different approaches to the film score and seek different levels of interaction between the music and film. In order to understand how Desplat and Williams each contribute something unique for their respective films, this paper will primarily focus on the music from Harry Potter and the Sorcerer’s Stone, and Harry Potter and the Deathly Hallows, and the differing approaches and styles undertaken by composers Williams and Desplat.
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