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      CommentAuthorCristian
    • CommentTimeDec 16th 2010
    BobdH wrote
    And his editing process usually, well, takes a while wink.


    Yes, but it's worth the waiting.
  1. Christodoulides wrote
    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.


    Ah, but that's got more to do with Horner's style of scoring than anything else. wink
    A butterfly thinks therefore I am
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      CommentAuthorDemetris
    • CommentTimeDec 19th 2010
    Review of his HARRY POTTER score, by James Southall:

    I couldn't agree more.


    In no way am I suggesting that Desplat is simply impersonating Williams here – he isn’t, and nor should he have done. But he has blended his own highly-individual style with that of the other composer (quite possibly aided by Conrad Pope, who worked with Desplat on the orchestrations here, a job he has done for Williams on numerous occasions) and this score is far closer to the one Williams would have written for this film than most people have admitted. It has by far the most emotional depth of any of the Potter scores (the irony with this series is that until now, after Williams departed, the films got deeper and the scores got shallower). I don’t think it quite reaches the rich heights of the composer’s work on The Golden Compass, but it’s still one of the year’s most highly-developed works. I for one can’t wait to hear what the composer does for the second part. **** 1/2


    http://www.movie-wave.net/?p=998#more-998
    Love Maintitles. It's full of Wanders.
  2. The score, predictably given its composer, is intricately detailed and rewards the patient listener willing to explore all its depths. In many ways, this seems to have proved to be its stumbling block amongst many mainstream film music listeners, who (in the 21st century way) seek instant gratification.

    I’m more a 19th century man myself, so to me this approach is wonderful – refreshing to see a film composer given the opportunity to write music of such colour when the landscape for scores for films of this profile is usually drawn these days in black and white.


    I agree. I listened the score a lot, and slowly, I started to notice new themes.


    The melodic highlight for many will be the heartbreaking “Farewell to Dobby”, so full of the kind of emotion which many of his detractors accuse this composer of not being able to convey.


    I agree. And I think that it helps the fact that Dobby is Desplat's favorite Harry Potter character.


    None of the above is particularly surprising; what I did find surprising was the action music. From the first big action set piece, “Sky Battle”, onwards Desplat offers a massive tip of his hat in John Williams’s direction. I have read a lot of online chatter about this score in which Desplat is accused of completely disregarding Williams’s earlier work on the franchise (criticism which was rarely aimed at either Patrick Doyle or Nicholas Hooper in their respective scores, mysteriously); from the thunderous brass through the beefed-up winds in the lowest register, some of the action music in this score could barely sound more like Williams’s modern style, leaving me utterly mystified at some of the comments.

    One review of the score says that the action music certainly doesn’t sound like The Emperor Strikes Back‘s “The Asteroid Field”. No shit, Sherlock. What it sounds like is the darker action music that Williams has written since the turn of the century, in such scores as Minority Report and certain moments of the second and third Star Wars prequels. If John Williams himself had scored this film, this is what the action music would sound like. The notion that he might score these very dark scenes with “Harry’s Wondrous World”, as suggested by many as the way Desplat should have gone, is completely absurd; Williams would no more have done that than he would have scored Anakin’s transformation into Vader in Revenge of the Sith using “Parade of the Ewoks”.


    I always thought that if Williams had scored DH Part 1, it could have been like War of the Worlds. But much more thematic.
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      CommentAuthorDemetris
    • CommentTimeDec 19th 2010
    That's one of the best reviews Southall ever wrote, imo.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorErik Woods
    • CommentTimeDec 19th 2010 edited
    I still think Desplat's Potter score is closer to Hooper's level than Williams! Not suggesting that Hooper is an equal to Desplat, which he isn't, it's just the scores written by Hooper from Potter franchise are comparable to Desplat's. All three of the recent Potter scores don't come anywhere near Williams and Doyle's efforts.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  3. Erik Woods wrote
    I still think Desplat's Potter score is closer to Hooper's level than Williams! Not suggesting that Hooper is an equal to Desplat, which he isn't, it's just the scores written by Hooper from Potter franchise are comparable to Desplat's. All three of the recent Potter scores don't come anywhere near Williams and Doyle's efforts.

    -Erik-


    I agree. But again, the last films are far from those fantasy films. So a restrained approach it's needed. Because the first Deathly Hallows was, a "road movie", not a epic movie. That one it's going to be Part Two. But Desplat's score was much more orchestral than Hooper's.
  4. I was going to link to that review, but it looks like I was beaten. As for the score, I think I would still like it even if Desplat didn't use "Hedwig's Theme" at all.
    • CommentAuthorPanthera
    • CommentTimeDec 19th 2010 edited
    Erik Woods wrote
    I still think Desplat's Potter score is closer to Hooper's level than Williams! Not suggesting that Hooper is an equal to Desplat, which he isn't, it's just the scores written by Hooper from Potter franchise are comparable to Desplat's. All three of the recent Potter scores don't come anywhere near Williams and Doyle's efforts.

    -Erik-


    Maybe the real problem is the director then. A composer ultimately has to make the director happy.
    • CommentAuthorMatt C
    • CommentTimeDec 19th 2010
    Erik Woods wrote
    I still think Desplat's Potter score is closer to Hooper's level than Williams! Not suggesting that Hooper is an equal to Desplat, which he isn't, it's just the scores written by Hooper from Potter franchise are comparable to Desplat's.


    Sorry, BIG disagreement there. When seen in context of the film, the score works so much better, as opposed to just underscoring the scenes (like Hooper did). Nor would Hooper be able to write something as furiously exciting like "Fireplaces Escape" or "Bathilda Bagshot"... some of the music I heard in the OST I really didn't care for until I saw the film.

    If you've seen the film and still think it's equivalent to Hooper's work -- fine. But it's far and above superior to Hooper's work IMO.
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
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      CommentAuthorSouthall
    • CommentTimeDec 20th 2010
    Panthera wrote
    Erik Woods wrote
    I still think Desplat's Potter score is closer to Hooper's level than Williams! Not suggesting that Hooper is an equal to Desplat, which he isn't, it's just the scores written by Hooper from Potter franchise are comparable to Desplat's. All three of the recent Potter scores don't come anywhere near Williams and Doyle's efforts.

    -Erik-


    Maybe the real problem is the director then. A composer ultimately has to make the director happy.


    That's very true, but Desplat took on a completely different approach from Hooper (I agree with Matt above), so I don't think the director was ever the problem. He simply selected a composer who wasn't up to it beforehand - a generous show of loyalty to the guy he'd worked with before making it in the major league, but ultimately a misguided one. Of course, people may not like the music any more than they liked Hooper's, that's all a matter of opinion, but in terms of approach to scoring the films, Hooper wrote on the surface and Desplat delved below it. It's like night and day to me.
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      CommentAuthorDemetris
    • CommentTimeDec 20th 2010
    The kind of musical intellect in this Desplat score is so rare in our days; very complex and in great depth of compositional levels. Truly admirable.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorPanthera
    • CommentTimeDec 20th 2010
    Southall wrote
    Panthera wrote
    Erik Woods wrote
    I still think Desplat's Potter score is closer to Hooper's level than Williams! Not suggesting that Hooper is an equal to Desplat, which he isn't, it's just the scores written by Hooper from Potter franchise are comparable to Desplat's. All three of the recent Potter scores don't come anywhere near Williams and Doyle's efforts.

    -Erik-


    Maybe the real problem is the director then. A composer ultimately has to make the director happy.


    That's very true, but Desplat took on a completely different approach from Hooper (I agree with Matt above), so I don't think the director was ever the problem. He simply selected a composer who wasn't up to it beforehand - a generous show of loyalty to the guy he'd worked with before making it in the major league, but ultimately a misguided one. Of course, people may not like the music any more than they liked Hooper's, that's all a matter of opinion, but in terms of approach to scoring the films, Hooper wrote on the surface and Desplat delved below it. It's like night and day to me.


    I'm actually really happy that Hooper was given a chance. It may not have been the best choice, but it is good to know that people value established working relationships and friendships within the industry.
  5. BTW, there's a mini-war going on in the comments section of Southall's review of HP. I had to jump in to stop the madness. wink
  6. Christodoulides wrote
    The kind of musical intellect in this Desplat score is so rare in our days; very complex and in great depth of compositional levels. Truly admirable.


    Yeah. I can't believe that some people are saying that this is generic and mediocre. For me, it's the best non-Williams Potter score. Desplat nailed the spirit of lonelyness, darkness and tragedy. Which is all about the first half of Deathly Hallows's book. I think that for the action-heavy Part 2, Desplat would make a much more greatest score, especially for the Battle of Hogwarts.

    I still hope that he use the Lovegood theme for the scene with [spoiler]Luna taking Harry to Ravenclaw's Common Room, looking for the Ravenclaw Horcrux[/spoiler]. And also that he use the tragic four notes motif from At The Burrow and Farewell To Dobby for the [spoiler]Fred, Lupin and Tonks's death scenes[/spoiler]
    • CommentAuthorTimmer
    • CommentTimeDec 20th 2010
    Kate Bush and now Enya? cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorDemonStar
    • CommentTimeDec 21st 2010
    Excellent review Southall, I totally agree. smile Glad to see the score receiving more praise, I was kinda surprised to see that most of the reviews on other sites were quite negative (because I personally liked it a lot and thought it's a colossal improvement from Hooper's scores). Been playing it quite a lot these days.

    Regarding the Enya song, I've been thinking that it would be great if they use it when [spoiler]Harry walks into the forest to sacrifice himself[/spoiler].
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      CommentAuthorDemetris
    • CommentTimeDec 23rd 2010
    Alexandre Desplat talks about THE KING'S SPEECH

    http://scoremagacine.blogspot.com/2010/ … kings.html
    Love Maintitles. It's full of Wanders.
    • CommentAuthorPanthera
    • CommentTimeDec 27th 2010
    BobdH wrote
    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)


    Is it preferred to listen to these at the end of the score, or to put them where they belong in chronological order? And what would that order be?
    • CommentAuthorTimmer
    • CommentTimeDec 27th 2010
    Ask Thor, he's the C&C expert.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  7. Panthera wrote
    BobdH wrote
    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)


    Is it preferred to listen to these at the end of the score, or to put them where they belong in chronological order? And what would that order be?


    Voldemort would be after Snape To Malfoy Manor, The Dumbledores before My Love is Always Here and Godric's Hollow Graveyard, and Bellatrix before Rescuing Hermione.
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      CommentAuthorErik Woods
    • CommentTimeDec 27th 2010
    Timmer wrote
    Ask Thor, he's the C&C expert.


    I nearly spit my beer all over my monitor!

    lol

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorsdtom
    • CommentTimeJan 4th 2011
    • CommentAuthorMatt C
    • CommentTimeJan 9th 2011
    Desplat will soon start work on Harry Potter and the Deathly Hallows: Part 2 shortly...

    http://www.guardian.co.uk/film/audio/20 … re-desplat
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
  8. Matt C wrote
    Desplat will soon start work on Harry Potter and the Deathly Hallows: Part 2 shortly...

    http://www.guardian.co.uk/film/audio/20 … re-desplat


    I loved what he said about Harry, Ron and Hermione being part of the families of all the world. You can notice that he likes the saga. I hope that what he said about editing doesn't mean that they're going to butchering his score for the second film like they did with the first one.
  9. By the way, he forgot to mention Hooper
    • CommentAuthorMatt C
    • CommentTimeJan 10th 2011
    Well, it's possible he was just providing some examples. Didn't mean he skipped Hooper on purpose...
    http://unsungfilmscores.blogspot.com/ -- My film/TV/game score review blog
  10. Matt C wrote
    Well, it's possible he was just providing some examples. Didn't mean he skipped Hooper on purpose...


    I know
  11. Interesting piece on The King's Speech and microphones!

    http://www.abbeyroad.com/news/story/?newsid=146
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn