The Hollywood Reporter (Weekly) - The Hollywood Reporter Awards Special
A Witchy and Mischievous Reunion
Composer John Debney revisited the witch sisters of Salem to score the Emmy-nominated Hocus Pocus 2
Disney+’s Hocus Pocus 2 was an emotional homecoming for Emmy-nominated composer John Debney, who scored 1993’s Hocus Pocus in the early days of his career.
“To be playing some of the themes that I had written as a kid, I almost wanted to cry. It was like having a baby and then not seeing it for 30 years, then finally holding that baby again,” says Debney, 67. “Performing those notes again, it was terribly — in the best way — emotionally deep.”
But with the opportunity to revisit his past work came the unique challenge of having to reimagine it. For Hocus Pocus 2, Debney’s work would need to reflect a new story and audience — a process that allowed Debney to look back on his own journey as a composer. “The old scores were fresh and brash,” he says. “They were me, let out of my little cage, trying to find my way and fly. This one has a more adult sensibility.”
To give the audience a touchstone, Hocus Pocus 2’s score features a heavily nostalgic version of the original theme Debney wrote 30 years ago. From there, he created several new themes to reflect the sequel’s significant story points and character arcs, particularly those of Winifred (Bette Midler) and Sarah Sanderson (Sarah Jessica Parker).
“Winifred is very funny, but there’s that deadly part of her, too,” Debney says. To capture Midler’s exquisite comedic timing along with Winifred Sanderson’s dark side, Debney mixed whimsical instruments like xylophones and marimbas with low woodwinds like bass clarinet and bassoon.
When it came to Sarah, Debney needed a theme that would blend both Parker’s free spirit and her character’s pivotal moment when she finally — after two films — stands up for herself. “I had always wanted to write something for Sarah and, of course, it became a waltz. Sarah’s always spinning around, you know?”
Hannah Waddingham’s Witch Mother scenes proved the biggest challenge for Debney. “That [score element] was a tough one and became one of my favorites,” Debney recalls. “The scene had to be funny and scary, and I had to catch every twist and turn.”
Debney hints of a third film, with the hope that Waddingham will return: “I would love for her to be in it more.” When asked if he would score it, Debney laughs. “I hope so. Wouldn’t that be fun?”