Disney+’s Hocus Pocus 2 marked a special moment for Emmy-nominated composer John Debney, who had previously scored the original Hocus Pocus film in 1993. Reflecting on the experience, Debney expressed a deep emotional connection to his past work, comparing it to reconnecting with a long-lost child. He recalled the joy of playing the same themes he had written as a young composer and acknowledged how they had shaped his career. “Performing those notes again, it was terribly – in the best way – emotionally deep,” Debney shared.
However, reimagining his previous work for Hocus Pocus 2 presented a unique challenge for Debney. With a new story and audience in mind, he needed to find a way to infuse his music with a fresh perspective. Debney recognized that his previous scores had been “fresh and brash,” representing his early exploration as a composer. In contrast, the sequel required a more mature and adult sensibility, pushing Debney to further expand his musical range.
To provide a familiar touchstone for the audience, Debney incorporated a heavily nostalgic version of the original theme he had composed three decades earlier. This nostalgic thread served as a link between the two films, allowing viewers to connect with the beloved characters and storyline. Building upon this foundation, Debney then created several new themes to capture the significant story points and character arcs in Hocus Pocus 2.
One of the key characters in the sequel is Winifred Sanderson, played by Bette Midler. To effectively underscore Winifred’s blend of comedic timing and dark side, Debney combined whimsical instruments like xylophones and marimbas with low woodwinds like bass clarinet and bassoon. This orchestration provided a balance between lightheartedness and the underlying danger associated with the character.
Related Post
In the case of Sarah Sanderson, portrayed by Sarah Jessica Parker, Debney sought to encapsulate both Parker’s free-spirited nature and the character’s pivotal moment of self-assertion. The resulting theme for Sarah became a waltz, reflecting her whimsical and spinning personality. Debney had always wanted to write something for Parker’s character, and the waltz perfectly captured her essence.
However, it was Hannah Waddingham’s portrayal of the Witch Mother that proved to be the biggest challenge for Debney. He needed to create a score that could seamlessly blend humor and fear while capturing the unpredictable twists and turns of her scenes. Despite the difficulty, Debney considers this score element as one of his favorites and expresses his hope for Waddingham to have a more substantial role in a potential third film.
With the suggestion of a third Hocus Pocus film and the desire for Waddingham’s continued involvement, the question arose as to whether Debney would score it. Laughing, he playfully responded, “I hope so. Wouldn’t that be fun?” It’s clear that Debney has thoroughly enjoyed his experience working on the Hocus Pocus franchise and looks forward to the possibility of future collaborations.
As a closing note, it is worth mentioning that this story originally appeared in a stand-alone issue of The Hollywood Reporter magazine. For readers who wish to receive the magazine, they can subscribe by clicking on the provided link.
In conclusion, John Debney’s return to the Hocus Pocus franchise with Hocus Pocus 2 was a heartwarming and challenging experience. As he revisited his past work, Debney found a balance between nostalgia and reinvention, creating new themes that reflected the sequel’s story and characters. With his ability to capture both comedic and darker elements, Debney has demonstrated his skill as a composer in bringing the magic of Hocus Pocus to life once again. The potential for a future third film adds an exciting possibility, leaving fans eagerly awaiting what musical delights Debney may create next.
