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ALEXANDRE DESPLAT

General Discussions » ALEXANDRE DESPLAT (Posts 2251 to 2280 of 2309)

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      CommentAuthorThor
    • CommentTimeFeb 5th 2016
    *sigh*
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeFeb 5th 2016
    I have dear friends who hold that a peanutbutter covered floor is the epitome of art.
    I have dear friends who assert the zenith of tasteful interior design is a stripped out abandoned factory.
    I have dear friends who maintain that soundscaping drums is the pinnacle of film music.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  3. Relax, it's just imdb. They're nearly as bad as Wikipedia for posting all sorts of bullshit composer assignments.
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 5th 2016
    yeah
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSteven
    • CommentTimeFeb 5th 2016
    Edmund Meinerts wrote
    Relax, it's just imdb. They're nearly as bad as Wikipedia for posting all sorts of bullshit composer assignments.


    True, but it's certainly not outside the realm of possibility given Junkie Whatshisface's popularity (something which is truly baffling).
    •  
      CommentAuthorSteven
    • CommentTimeFeb 5th 2016
    Martijn wrote
    I have dear friends who hold that a peanutbutter covered floor is the epitome of art.
    I have dear friends who assert the zenith of tasteful interior design is a stripped out abandoned factory.
    I have dear friends who maintain that soundscaping drums is the pinnacle of film music.


    Is your friend Thor?
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 5th 2016
    Ugh! Why the fuck would Gareth Edwards pick JXL when he had a very fruitful collaboration with Desplat on Godzilla and then picked him to score ROGUE ONE... a fucking Star Wars movie? IMDB can suck it!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  8. My review of THE SECRET LIFE OF PETS, for anyone who's interested:

    https://moviemusicuk.us/2016/07/29/the- … e-desplat/

    Jon
    Movie Music UK http://www.moviemusicuk.us
    •  
      CommentAuthorSouthall
    • CommentTimeAug 28th 2016
    •  
      CommentAuthorchristopher
    • CommentTimeAug 28th 2016 edited
    Wow! I must hear this.

    And "Desplatsterpiece" is the best word I've encountered in a long time. :D
  11. My review of THE LIGHT BETWEEN OCEANS, for anyone who's interested:

    https://moviemusicuk.us/2016/08/30/the- … e-desplat/

    Jon
    Movie Music UK http://www.moviemusicuk.us
  12. FINALLY!!!! smile

    A good old-fashioned epic romantic Desplat score with him doing the thing he became famous for. It feels like years since he has done anything but quirky comedies and harsh action scores. Sounds like he was just as exhausted with that as I was...
    •  
      CommentAuthorThor
    • CommentTimeSep 2nd 2016
    I had a listen and found it absolutely dreary. I'll add it to my pile of other non-descript Desplat scores.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeSep 2nd 2016
    Morgan Joylighter wrote
    FINALLY!!!! smile

    A good old-fashioned epic romantic Desplat score with him doing the thing he became famous for. It feels like years since he has done anything but quirky comedies and harsh action scores. Sounds like he was just as exhausted with that as I was...


    Quirky comedies maybe, but action scores? uhm The last time he wrote a proper action score was Godzilla... two years ago. And he'd hardly written many before that. Yet he's written thousands of these sorts of scores (I wouldn't class this as 'epic', more 'Oscar bait').

    Bring on Rogue One.
  15. I did not mean to imply that I do not enjoy Desplat's other output. I just missed this kind.
    •  
      CommentAuthorSteven
    • CommentTimeSep 2nd 2016
    No, but you implied he's written a lot of action scores... which I wish was true, but isn't (at least not recently). And as for this kind, the subdued Oscar bait sort of thing, he's written far more of these than any other sort as far as I can tell. So, er, yeah. dizzy
    •  
      CommentAuthorThor
    • CommentTimeSep 2nd 2016 edited
    Can I continue my soap box opera on Desplat now?

    In all seriousness, I won't. But I do enjoy some of the stuff he wrote for Audiard way back in the 90s. Some other things too. But he hasn't done a single thing -- A SINGLE THING! -- (except maybe THE GHOST WRITER) that has impressed me since.
    I am extremely serious.
  18. Steven wrote
    No, but you implied he's written a lot of action scores... which I wish was true, but isn't (at least not recently). And as for this kind, the subdued Oscar bait sort of thing, he's written far more of these than any other sort as far as I can tell. So, er, yeah. dizzy



    Now that I think about it you are more or less right....it's just that this feels like a more Desplat-y Desplat than anything he has done since he went mainstream Hollywood in 2007 with The Golden Compass. Since that time there hasn't been much as purely Desplat as the music he wrote in the first decade of his career, while there has been Golden Compass, both Harry Potter scores, Ides of March, Argo, Zero Dark Thirty, Godzilla, The Imitation Game, Firewall, and all the quirky ones. So I've had this impression for a long time. Probably I should have said "drama and action", not plainly action. I agree there should be more of the latter!

    Also, I don't quite see how this score can be considered subdued...at least not the beginning and ending quarters of it. The first few tracks were so rousingly good I had to go praise it somewhere on the internet and that doesn't generally happen but half a dozen times a year...
  19. Thor wrote
    Can I continue my soap box opera on Desplat now?

    In all seriousness, I won't. But I do enjoy some of the stuff he wrote for Audiard way back in the 90s. Some other things too. But he hasn't done a single thing -- A SINGLE THING! -- (except maybe THE GHOST WRITER) that has impressed me since.

    I can't believe I'm actually stooping to your level and engaging with you on this, but...

    ...why not? Why do you think that is? Because Desplat is not a composer who makes my heart go pitter-pat or anything and I'm often mystified by the high degree of praise he gets from certain segments of the film music community...but at the same time, his music is so intricately constructed, so well-orchestrated and his body of work is so versatile that I can't help but be impressed at least to some degree. Surely you must at least acknowledge that he knows his way around the orchestra better than a large chunk of his peers.
    •  
      CommentAuthorThor
    • CommentTimeSep 8th 2016 edited
    I guess. But there has never been any emotional involvement for me. He's so hung up on his ostinato-based patterns in almost every score he does (no matter the genre), and the few times he's tried his hands on more elaborate melody lines, they've never seen to go anywhere (or not anywhere that has struck a chord with me, anyway). It just plods along. To be fair, though, I haven't heard every single thing he's done in the last 15 years. Who has? He's currently more prolific than Morricone was at his craziest. Hopefully, there is a gem or two waiting for me in there. Beyond THE GHOST WRITER, which I enjoy more for its spotting and sparseness than the actual music.
    I am extremely serious.
    •  
      CommentAuthorBregt
    • CommentTimeSep 8th 2016
    You don't even like BIRTH? Such a beautiful score!
    Kazoo
    •  
      CommentAuthorSteven
    • CommentTimeSep 8th 2016 edited
    The Girl With a Pearl Necklace has a wonderful theme.
    •  
      CommentAuthorThor
    • CommentTimeSep 8th 2016 edited
    OK, so "since the 90s" was a bit of an exaggeration. He did some fine things in the early 2000s as well.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeSep 9th 2016 edited
    Do you really not like much of his music even divorced from their films Thor? Fair nuff if you don't ( and me n' you been round long enough for me to see you change your opinion on Herrmann and even love some Barry wink ) but I think you may re-evaluate some of this great (IMO ) composers work somewhere down the line.

    Thor wrote
    He's currently more prolific than Morricone was at his craziest.


    He's done 20+ films in a year? uhm
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  25. Remember everyone: Norwegians survive on oxygen too. wave
    A butterfly thinks therefore I am
    •  
      CommentAuthorThor
    • CommentTimeSep 9th 2016 edited
    Timmer wrote
    Do you really not like much of his music even divorced from their films Thor?


    'fraid not. Him and Giacchino are are these two massive mastodonts of contemporary film composers that seemingly everyone loves, but who I can't stand. But I've not closed and locked the door on any of them. It's still slightly ajar. I'll wait untill I've sampled even more of their work, in hope of that one small gem to seep through.

    He's done 20+ films in a year?


    Perhaps not, but it feels like it at times.
    I am extremely serious.
  27. How long and elaborate does a melody line have to be to be satisfying though? The entire 2 minute opening track of Light Between Oceans seems to me to be one long melody. Of course there's an ostinato base but that's just how he writes....everyone does rhythm and harmony differently. But there's a piano and/or horns playing eloquently over top the whole track. I don't understand this criticism.
    •  
      CommentAuthorSouthall
    • CommentTimeOct 17th 2016
    •  
      CommentAuthorHumaid
    • CommentTimeOct 19th 2016
    Just reading the news that Desplat won't be scoring Rogue One! How did I miss that?!
    The article is from September.
    That's such a shame. I was really looking forward to this one, especially because of how much Desplat looks up to the original Williams' score.
    •  
      CommentAuthorThor
    • CommentTimeOct 19th 2016
    He, he...yeah, how DID you miss that? It was massively discussed in film music forums when it happened -- even here, I think? As I wrote in my news article on the issue: for me, it's like exchanging ketchup with mustard on your breakfast cereal, i.e. underwhelming either way (not a fan of D or G).
    I am extremely serious.

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