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    • CommentAuthorAnthony
    • CommentTimeNov 30th 2008 edited
    I think I'd probably enjoy it more than CCBB to be honest. Is there much action music ala David Arnold or is it mostly dramatic? Maybe we think the Desplat sound is different, because in those 8 tracks on the website, I hear Desplat! Not as much as I thought I would, but I still hear it!
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      CommentAuthorsdtom
    • CommentTimeNov 30th 2008
    More action music for sure
    listen to more classical music!
    • CommentAuthorAnthony
    • CommentTimeNov 30th 2008
    punk
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      CommentAuthorsdtom
    • CommentTimeNov 30th 2008
    I will review this week though I doubt if the film will be shown in the US
    listen to more classical music!
    • CommentAuthorAnthony
    • CommentTimeNov 30th 2008
    I think the movie is coming out next year sometime in the US, as is the CD. Apparently Colosseum will be releasing it in Europe on the 9th Dec, while the US will only get it on iTunes on the 16th (for now). cheesy
    • CommentAuthorTimmer
    • CommentTimeNov 30th 2008
    sdtom wrote
    That makes four of us. Jon is wrong on this one. Timmer they're talking about Broxton and his review.


    Ah, I see Tom. I haven't heard the score.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  1. Martijn wrote
    franz_conrad wrote
    On the other hand, the fact that you enjoy a Delerue score over in the Now Playing thread today suggests to me you should look closer.


    OK, I'm really confused now: Delerue is THE most emotional, romantic (to the point of sentimentalism) composer I have ever heard. Desplat, on the oter hand, writes lyrically at times, but always very restrained, and -as mentioned in another thread- with a recording control that borders on the clinical.

    What, apart from a French name, do these two composers possible share?


    For sure, there's an austerity to Desplat that you don't hear in a lot Delerue. And I'm obviously not thinking of SYRIANA when I compare the two. But in READ MY LIPS, the Wong Chia Chi theme of LUST CAUTION, the Griet theme and Colours of the Clouds of GIRL WITH A PEARL EARRING, the love theme of LUZHIN DEFENSE, the string-based theme of NID-DE-GUEPES... in all these things, I feel the emotion, lyricism and beauty I associate with Delerue, all things I hear in too few composers these days. It's never as unashamedly romantic (except in a couple of cases), for sure, so it's not a comparison I find myself bandying around often. He has as much of Delerue as he has of Williams, and not as much of either as he has of Herrmann and Satie.

    As for the Barry comparison, that one is not so clear to me.
    A butterfly thinks therefore I am
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      CommentAuthorSouthall
    • CommentTimeNov 30th 2008
    I can certainly hear some (early) Barry in his occasional action style. Let me add another name to the mix - there are bits of Benjamin Button where I was reminded a bit of Morricone! All in all though, he's got his very own, unmistakable voice. This austerity people talk about is one of the things I like so much about him - there's an obvious strive for perfection which some people might take as a lack of emotion, but I find one of his most redeeming qualities.
  2. sdtom wrote
    That makes four of us. Jon is wrong on this one. Timmer they're talking about Broxton and his review.


    I'm not wrong. i just have a different opinion. Thanks for painting everything in black and white. rolleyes
  3. To clarify my thoughts with a little less emphasis on one-upmanship, my comparison between Desplat and Delerue/Barry is NOTHING to do with their actual musical sound... clearly, you can never confuse the three.

    Where I heard Barry and Delerue in Desplat is in the clarity of the orchestrations - both Delerue and Barry always wrote very precise parts for the instruments which make their scores have a clean, crisp quality that you don't hear in many other composers. I also mean their use of recurring themes in different settings, and their reliance on those themes to drive the music. Delerue and Barry often wrote scores in which prominent, forthright themes were the primary element of their music - almost to the point of people accusing them of repetition. Desplat is also very adept at using clear, definable themes as the centerpieces of his scores. Of course, lots and lots of other composers do this too... but the strong themes COMBINED with the orchestral and instrumental clarity is where my comparisons come from.

    Also, I find Desplat's music to be VERY emotional... certainly not as sweepingly romantic as Delerue or Barry can be, but moreso than the vast majority of other composers working today; to be, in this vein, he is certainly carrying the torch these days.

    But as has been clearly pointed out, I'm wrong. So what do I know?
  4. Jon Broxton wrote
    But as has been clearly pointed out, I'm wrong. So what do I know?


    Well, you can console yourself with the knowledge that even when wrong, your reviews are exceptionally well-written, and that certainly can't be said for everyone who is right.

    wink
    A butterfly thinks therefore I am
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      CommentAuthorDemetris
    • CommentTimeDec 1st 2008
    Southall wrote
    This austerity people talk about is one of the things I like so much about him - there's an obvious strive for perfection which some people might take as a lack of emotion, but I find one of his most redeeming qualities.


    I call it elegance combined with refinery. So rare in our days.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTimeDec 1st 2008 edited
    Nobody said you're wrong Jon, apparently there's a difference in how we approach the similarities. I was talking more on the musical sound side of things on the surface, the direct resemblances which obviously aren't there to be found. But when you look it more in depth and as far as the philosophy behind the musical approach and the use of the orchestra / instrumentation and arrangements it's concerned, there can be parallels indeed; although not distinct and prominent at first.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSteven
    • CommentTimeDec 1st 2008
    Christodoulides wrote
    Nobody said you're wrong Jon


    sdtom wrote
    Jon is wrong on this one.
    •  
      CommentAuthorSteven
    • CommentTimeDec 1st 2008
    Christodoulides wrote
    I call it elegance combined with refinery. So rare in our days.


    Was there a time when it wasn't then?
    •  
      CommentAuthorDemetris
    • CommentTimeDec 1st 2008
    Steven wrote
    Christodoulides wrote
    I call it elegance combined with refinery. So rare in our days.


    Was there a time when it wasn't then?


    From Baroque to the late romantic era.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSteven
    • CommentTimeDec 1st 2008
    I think you'll find refinery was a lot more rare in those days. wink
    • CommentAuthorTimmer
    • CommentTimeDec 1st 2008
    Steven wrote
    Christodoulides wrote
    Nobody said you're wrong Jon


    sdtom wrote
    Jon is wrong on this one.


    word
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeDec 1st 2008
    Southall wrote
    I can certainly hear some (early) Barry in his occasional action style. Let me add another name to the mix - there are bits of Benjamin Button where I was reminded a bit of Morricone! All in all though, he's got his very own, unmistakable voice. This austerity people talk about is one of the things I like so much about him - there's an obvious strive for perfection which some people might take as a lack of emotion, but I find one of his most redeeming qualities.


    Perfectly said.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  5. That austerity was one of the things that really grabbed me about BIRTH, and I think it's why he has hit it off with the sensibility of so many 'serious' filmmakers who tend not to favour traditional film music. He can do the melodic thing, but in a way that tends not to feel sentimental. THE PAINTED VEIL, for example, somehow made that kind of score - the Jarre-style romantic epic score - new again for me. It was both old and new, romantic and cautious.
    A butterfly thinks therefore I am
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      CommentAuthorsdtom
    • CommentTimeDec 1st 2008
    You're right Jon and I'm wrong. Your entitled to your opinion. A poor choice of a word. Let's move on.
    listen to more classical music!
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      CommentAuthorsdtom
    • CommentTimeDec 1st 2008
    I find Desplat quite unique
    listen to more classical music!
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      CommentAuthorMartijn
    • CommentTimeDec 1st 2008
    franz_conrad wrote
    romantic and cautious.


    Now THAT's pretty much a contradictio in terminis!
    Properly Romantic -and as I prefer it- appeals to the Grand Emotion, the deepest inner feeling. Caution really doesn't come into it. The fact that there's a melodic aspect (and more power to him in this day and age) doesn't make him anything like a Romantic.
    In fact his austerity turns me off completely.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  6. Martijn wrote
    franz_conrad wrote
    romantic and cautious.


    Now THAT's pretty much a contradictio in terminis!


    It wouldn't be the first time that a contradiction was aesthetically pleasing! wink
    A butterfly thinks therefore I am
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      CommentAuthorDemetris
    • CommentTimeDec 1st 2008
    Martijn wrote
    franz_conrad wrote
    romantic and cautious.


    Now THAT's pretty much a contradictio in terminis!
    Properly Romantic -and as I prefer it- appeals to the Grand Emotion, the deepest inner feeling. Caution really doesn't come into it. The fact that there's a melodic aspect (and more power to him in this day and age) doesn't make him anything like a Romantic.
    In fact his austerity turns me off completely.


    I'd argue that several isolated parts of his music from LUST, CAUTION, THE PAINTED VEIL and GIRL WITH A PEARL EARRING just to name a few are deeply romantic in core.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorMartijn
    • CommentTimeDec 1st 2008
    franz_conrad wrote
    Martijn wrote
    franz_conrad wrote
    romantic and cautious.


    Now THAT's pretty much a contradictio in terminis!


    It wouldn't be the first time that a contradiction was aesthetically pleasing! wink


    Well, like Jon, you're wrong anyway, so I don't have to listen to you.
    :hands-over-ears: nana-na-nanaaaah
    tongue

    Christodoulides wrote
    I'd argue that several isolated parts of his music from LUST, CAUTION, THE PAINTED VEIL and GIRL WITH A PEARL EARRING just to name a few are deeply romantic in core.


    Several isolated parts of Metallica's Black album are deeply Romantic in core, and yet I hesitate in heading them under a Romantic banner...
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorDemetris
    • CommentTimeDec 1st 2008
    slant
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorsdtom
    • CommentTimeDec 1st 2008
    Martijn you have to tease. For once instead of getting upset I apologized for using "the wrong word" and you start up again. The disturbance is going to be banned to the West side of Baltimore.
    listen to more classical music!
    •  
      CommentAuthorMartijn
    • CommentTimeDec 1st 2008
    sdtom wrote
    Martijn you have to tease. For once instead of getting upset I apologized for using "the wrong word" and you start up again.


    I know. I'm bad. shame

    I deserve punishment.
    nurse
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorsdtom
    • CommentTimeDec 2nd 2008
    I sentence you to listen to George Bush tapes for the rest of your life.
    listen to more classical music!