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Patrick Doyle had to capture all the plots and subplots of the book, understand Newell`s attitude and contribute to the general picture with his score. Analyzing the film it is possible to say that Doyle`s sense of magic and humor along with solid experience helped him to create a perfect score for The Goblet of Fire.
From the first Potter adaptation directors of the movies have changed several times, and the consistency was achieved with the help of Rowling’s meticulous work on the screenplay, talented young actors who were getting older in the same pace with characters, and most notably, impressive soundtrack created by John Williams. His works were noticeable with particular accent on the title theme which has become a cut-away of the movie. However, it became known long before the fourth part adaptation that Williams would end cooperation with Warner Brothers, and Potter`s fans were eager to know who was going to take his place. Michael Newman who directed the film in 2005 found classical-inclined Patrick Doyle whom he knew from previous common works. Newell chose Doyle for his "sense of drama, his sense of magic, and his sense of humor" (Webster 208). Doyle was prominent with his ability to create tension in a contrast with the help of orchestra. His previous collaborations with Newman, Donnie Brasko and Into the West were marked by strong and persuasive scores.
Doyle looked like an ambivalent figure as he managed to create impressive scores for two films which eventually turned out to be failures from the cinematographic perspective, Great Expectations and Quest for Camelot. In the same time he showed himself in romantic comedy genre writing entertaining and joyful scores for Bridget Jone`s Diary ad Blow Dry. These skills became useful for adorning children wizardry tale with humorous tunes. The scores created for Nanny McPhee and Nouvelle France are regarded as Doyle`s top level works as well. Thus, it is possible to conclude that Doyle was optimal
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