• Categories

Vanilla 1.1.4 is a product of Lussumo. More Information: Documentation, Community Support.

 
    •  
      CommentAuthorBobdH
    • CommentTimeNov 25th 2010 edited
    Thor, I've got a serious question for Desplat, something I'm really wondering.

    Having just heard the score (not seen the film), it seems (certainly it its final parts) like it's only half a score. Which, in a way, it is of course, being just part 1 of a 2-parter. So, like Howard Shore was planning ahead in its thematic constructs of Lord of the Rings, how did Desplat approach this? Did he consciously not fully develop his themes, knowing he would complete them in part 2 of this journey and was he laying out ideas that he would plan to return to later on, or, since he probably didn't know if he'd return for part 2, did he approach part 1 as a full-rounded film? (even though it seems to end during a bridge towards the second half).

    And since he stated before that he'd love to quote John Williams' themes as much as he could or was allowed to by the material, I'm really hoping he ends with a reprise of themes like Harry's Wondrous World and Hedwig's Theme. It'd be great if he could say something about that, if he plans to end on a grand note for the end credits or something, some kind of homage to Williams, or make it full circle in a way...
  1. Or a similar question... 'if it had only been up to you, would you have delved more into Williams' themes for the series (beyond the obvious Hedwig hook) than you ended up doing for part one?'
    A butterfly thinks therefore I am
  2. I've notice that one of the Desplat's trademark sounds it's the fluttering flutes. He used it in The Ghost Writer, Tamara Drewe, Fantastic Mr. Fox and Deathly Hallows (especially in Lovegood). In which Desplat scores this instrument sounds?
  3. After listening to New Moon again, I would be ecstatic if Desplat got hired to score Breaking Dawn.
    •  
      CommentAuthorBregt
    • CommentTimeNov 25th 2010
    BobdH wrote
    Thor, I've got a serious question for Desplat, something I'm really wondering.

    Did he do that for The Golden Compass too?
    Kazoo
    •  
      CommentAuthorRalph Kruhm
    • CommentTimeNov 25th 2010 edited
    There is a nice interview here: http://www.aintitcool.com/node/47375
    Maybe you can take that and base your questions on those already answered and dig a bit deeper.
    •  
      CommentAuthorDemetris
    • CommentTimeNov 25th 2010
    Thor's interviewing Desplat?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeNov 25th 2010
    Actually, I'm not sure about that yet. I think the host will do the interviewing with him (she may even have conducted it in advance), while I'm the commentator/guest in the studio.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeNov 25th 2010
    You lucky bastard. wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeNov 25th 2010
    If it was me, and if i was permitted ('cause most of the times, these interviews focus only on someone's latest work because it's "currently hot" and sells) i wouldn't eat up all my time on Harry Potter, it doesn't interest everyone in the same degree; there's other stuff to ask him too which is equally interesting imo, like what does he think of some critics analysis on his musical style being too clinical and austere (you won't directly ask him this out in the cold, but you know, sideways wink ) or how does he see the overall state of film music these days in major hollywood productions, if he thinks we are in a transition status from the symphonic - leitmotific approach to modern soundscape scores and where does he stand in this 'battle', stuff like that. You know, screw Harry Potter a bit wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeNov 25th 2010
    Yeah, sure, but this is a big program on national radio, and you have to keep it somewhat simple and focussed. I would love to pose a lot of more general film music questions if I got the chance.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeNov 25th 2010
    Oh, in this case it will be standardized questions about his involvement with Potter and what he'll do for the next franchise along with the obligatory John Williams' themes' references wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorThor
    • CommentTimeNov 25th 2010
    Christodoulides wrote
    Oh, in this case it will be standardized questions about his involvement with Potter and what he'll do for the next franchise along with the obligatory John Williams' themes' references wink


    Probably, yeah. I'll do my best to go a little bit "outside the box".
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeNov 25th 2010
    My article on the HARRY POTTER scores, which work as a precursor to the radio program, is now up:

    http://montages.no/2010/11/harry-potter … alsk-magi/
    I am extremely serious.
    •  
      CommentAuthorBobdH
    • CommentTimeNov 25th 2010 edited
    iTunes now has track times and short samples up for the extra 3 tracks, also available for download, that are included in the DeLuxe digital release of Harry Potter:

    http://itunes.apple.com/us/album/harry- … mpt=uo%3D4

    27. Voldemort (Bonus Track) (4:18)
    28. The Dumbledores (Bonus Track) (2:09)
    29. Bellatrix (Bonus Track) (2:11)
  4. My favorite of thoses bonus tracks is Bellatrix. Very Hermann-esque and perfectly represents Bellatrix's crazyness and evil. I'm really looking forward to My Love is Always Here (I love choral songs punk ) and The Tale of the Three Brothers.
    •  
      CommentAuthorThor
    • CommentTimeNov 26th 2010 edited
    Well, I've finished my stint in the radio program. The interview was - as I suspected - conducted beforehand. But she has a couple of interesting questions to him nonetheless that move beyond the obvious. I'll provide the link later on so you can hear for yourself.

    Unfortunately, I have a terrible cold right now, so my voice was really bad and "muffled" - but with a little bit of editing, I'm sure she's going to work something out. smile

    What didn't appeal to me so much, was that she inserted a previous segment she had done about how Williams copies the classics for the Potter films. At least I got to air my slight disagreement with that segment, because even though he has his obvious inspirations, that should never take anything away from the fact that he's an artist with his own original voice.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeNov 27th 2010 edited
    You can now hear the Desplat/HARRY POTTER radio program with yours truly. Go to

    http://www.nrk.no/programmer/sider/musikkredaksjonen/

    and click the program for 26.11.2010

    The Desplat interview (which is the only bit in English) is about 2/3's in. The program is mostly about Williams, though.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeNov 27th 2010
    The program can also be accessed directly here:

    http://soundcloud.com/musikkredaksjonen … pes-101126
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 7th 2010
    THE KING'S SPEECH

    Review


    Desplat’s music floats over the film, never calling attention to itself, yet always supporting the drama. The power of the score grows with each repeated listen. THE KING’S SPEECH is simply one of the finest scores I’ve heard all year.


    Anyone heard this?

    http://www.filmscoreclicktrack.com/2010 … gs-speech/
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorScribe
    • CommentTimeDec 7th 2010
    I have it but I haven't listened to it yet because I'm waiting to be done with the other new Desplats...
    I love you all. Never change. Well, unless you want to!
  5. I haven't heard it because I'm still trying to process his works from 2009. He's a busy, busy man!!
    •  
      CommentAuthorCristian
    • CommentTimeDec 16th 2010 edited
    Alexandre Desplat describes The Tree of Life score as "orchestral, meditative and trance-like" http://blogs.indiewire.com/theplaylist/ … cues_fro/#

    Also a Variety article here: http://www.variety.com/article/VR1118028811?refCatId=16
    •  
      CommentAuthorDemonStar
    • CommentTimeDec 16th 2010
    Me likes the description! I love Desplat in that mode. smile
    •  
      CommentAuthorDemetris
    • CommentTimeDec 16th 2010
    he's writing the tree of life ?!?
    Love Maintitles. It's full of Wanders.
  6. Sounds like his work for Afterwards. Cool; here's hoping Malick doesn't mangle the score and opts for a bunch of random classical music instead...
    •  
      CommentAuthorDemetris
    • CommentTimeDec 16th 2010
    that is almost sure to happen. smile unless desplat impresses him as much as zimmer did.
    Love Maintitles. It's full of Wanders.
  7. Christodoulides wrote
    that is almost sure to happen. smile unless desplat impresses him as much as zimmer did.


    Thin red line has large stretches of Faure, Arvo Part, Charles Ives, Melanesian hymns, an old Christian hymn that is a theme in the score, and Arsenije Jovanovich. So even if there's 10 classical pieces in Tree of Life, it will still probably round out as the same amount of Desplat as there was of Zimmer.

    I'm hoping the use of Smetana's 'My Country' in the trailer means that will be in the film. Will be great to see that piece stamped assuredly onto a good film.
    A butterfly thinks therefore I am
    •  
      CommentAuthorDemetris
    • CommentTimeDec 16th 2010
    Yeah, but numbers aside, the duration of classical / source pieces in THE NEW WORLD / vs the score of Horner was much greater towards the former; hope he doesn't do the same with THE TREE OF LIFE.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorBobdH
    • CommentTimeDec 16th 2010 edited
    Christodoulides wrote
    he's writing the tree of life ?!?


    Has written, to be more precisely. When we met him in Gent over a year ago, he mentioned he had already recorded The Tree of Life. And as the article states, he started on the project way back in 2007.

    He could, of course, have come back for additional recordings, but Malick usually lets his composer write music first and then starts editing his film against the music. And his editing process usually, well, takes a while wink.