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ALEXANDRE DESPLAT
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- CommentAuthorMartijn
- CommentTimeFeb 4th 2009
franz_conrad wrote
If you like Desplat in general, you'll like it. If you haven't been won over by anything so far, this won't be the score that does it.
Only having heard (and moderately enjoyed) The Golden Compass so far, what would in the opinion of my fellow film score enthusiasts be the Desplat score to win me over?
(Keeping in mind that subtle soft soundscaping really doesn't ring my bell, which is, I gather from different reviews, the majority of what Desplat turns out: functional to the film and not offensive to the ear).
And -and I realize this is actually a very different question- what would you say to date is his defining work?'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorSouthall
- CommentTimeFeb 4th 2009
Martijn wrote
And -and I realize this is actually a very different question- what would you say to date is his defining work?
For me, that would be Birth. -
- CommentAuthorBregt
- CommentTimeFeb 4th 2009
L'Enquête CorseKazoo -
- CommentAuthorDemetris
- CommentTimeFeb 4th 2009
THE GIRL WITH A PEARL EARRINGLove Maintitles. It's full of Wanders. -
- CommentAuthorFilmscoregirl
- CommentTimeFeb 4th 2009
Desperately wanting The Painted Veil and The Curious Case of Benjamin Button. -
- CommentAuthorTimmer
- CommentTimeFeb 4th 2009
Filmscoregirl wrote
Desperately wanting The Painted Veil and The Curious Case of Benjamin Button.
I haven't heard 'Button' yet but The Painted Veil is gorgeous.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSouthall
- CommentTimeFeb 4th 2009
Timmer wrote
Filmscoregirl wrote
Desperately wanting The Painted Veil and The Curious Case of Benjamin Button.
I haven't heard 'Button' yet but The Painted Veil is gorgeous.
Painted Veil is one of the most beautiful scores I've heard in a very long time. I've almost played the album to death.
I don't think Button is quite as good, but it is very good! -
- CommentAuthorAnthony
- CommentTimeFeb 4th 2009
Christodoulides wrote
THE GIRL WITH A PEARL EARRING
I'd probably agree, but Largo Winch, Firewall and Hostage are my favorites by far! -
- CommentAuthormarkrayen
- CommentTimeFeb 4th 2009
Syriana... its quite spare, and uniquely posseses both subtlety and clarity. The timing of the cello solo in the end credits was a stroke of wonder! -
- CommentAuthorErik Woods
- CommentTimeFeb 4th 2009
Still have yet to warm up to Desplat. The only score that has impressed me is Birth. I'm still waiting for him to brake out of his shell... but maybe he's not that kind of composer!
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorSteven
- CommentTimeFeb 4th 2009
Erik Woods wrote
Still have yet to warm up to Desplat. The only score that has impressed me is Birth. I'm still waiting for him to brake out of his shell... but maybe he's not that kind of composer!
-Erik-
I distinctly remember you being impressed by Hostage when you played it on your radio show? -
- CommentAuthorErik Woods
- CommentTimeFeb 4th 2009
Steven wrote
Erik Woods wrote
Still have yet to warm up to Desplat. The only score that has impressed me is Birth. I'm still waiting for him to brake out of his shell... but maybe he's not that kind of composer!
-Erik-
I distinctly remember you being impressed by Hostage when you played it on your radio show?
Oh ya... shit... forgot that one. That's a good one, too.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorRalph Kruhm
- CommentTimeFeb 4th 2009
I already loved his scores immensely before, but when Compass arrived I thought that to be quite a shell to crack open. It is such a complex and rich score; it takes Desplat´s usual approach and combines it with brilliant action and epic scoring. Having read the book, I can honestly say that, whatever you may think about the movie, the score fits the telling like a glove, and I think Desplat proved with this one that he´s up to every task you may daunt him with. -
- CommentAuthorDemetris
- CommentTimeFeb 4th 2009
I might try to re-warm to the Compass score as well; i never got around to fully appreciate it but you never know what time might do to you
Love Maintitles. It's full of Wanders. -
- CommentAuthorJoep
- CommentTimeFeb 4th 2009
Les Corps Impatients or De Battre Mon Cour S'Est Arrêté. I can't decide. -
- CommentAuthorRalph Kruhm
- CommentTimeFeb 4th 2009 edited
The Golden Compass needs more than one or two listenings before you start to appreciate what Desplat did with it. There are a lot of themes in it, some of them are kept rather small (probably to give them a more impressive treatment in the sequels, which, as I´m sad to notice, will never see the light of day), some very into the face, and some just there to be discovered like a hidden treasure. And the overall texture is full of adventure and excitement. A truly great orchestral score from one of the new masters, and I´m surprised how some people can dismiss Compass as a rather small achievement.
I must say it has been a long time since I´ve had so much fun "discovering" a score by giving it several listening over the course of two or three weeks, each time finding something new to smile about. -
- CommentAuthorErik Woods
- CommentTimeFeb 4th 2009
Ralph Kruhm wrote
I already loved his scores immensely before, but when Compass arrived I thought that to be quite a shell to crack open. It is such a complex and rich score; it takes Desplat´s usual approach and combines it with brilliant action and epic scoring. Having read the book, I can honestly say that, whatever you may think about the movie, the score fits the telling like a glove, and I think Desplat proved with this one that he´s up to every task you may daunt him with.
I personally don't think The Golden Compass is memorable or that good. Write all the themes and complex orchestration you want but if you can remember them or if they have no affect on the viewer whatsoever then what's the point. Again, Compass is technically impressive for sure (as most of his scores are) but not lasting.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorErik Woods
- CommentTimeFeb 4th 2009 edited
Ralph Kruhm wrote
The Golden Compass needs more than one or two listenings before you start to appreciate what Desplat did with it.
IMHO, that's where it fails. You only really have that one chance to impress an audience and IMHO first impressions carry a lot of weight.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorSouthall
- CommentTimeFeb 4th 2009
I have to say, I was bowled over by The Golden Compass from my first listen. I still love it now. There's a depth to it that you rarely hear in scores for blockbusters, especially these days. -
- CommentAuthorErik Woods
- CommentTimeFeb 4th 2009
Southall wrote
I have to say, I was bowled over by The Golden Compass from my first listen. I still love it now. There's a depth to it that you rarely hear in scores for blockbusters, especially these days.
I still think Desplat could have done more. And you know what, some of his earlier work in non-Hollywood productions has proved that he can.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorRalph Kruhm
- CommentTimeFeb 4th 2009 edited
One of the first themes that got a hold on me was the theme of the Witches, which is played to its full extend during the final battle. I had listened to the score one or two times before I saw the movie, and when that scene came, and the Witches came down hard on the enemies, with their theme played out loud, I was pumped up with a lot of adrenaline, I can tell you. After that, the theme stayed with me for days, and that´s only one them. The Journey Theme followed very soon, and then, after two or more listenings, the whole thing opened up to me like a complex symphony. It is perfectly able to entertain me and get all the right emotions out of me, so there you go.
BTW, when was the last time that a score hit you right in the face and screamed "I´m great" to you?
(For me, it was Lair, but it´s so hard in the face that there´s very little left to discover after some time, which, I think, makes it less great. Compass, on the other hand, I enjoy more and more with each listening - so which is the better score now, I´m thinking?) -
- CommentAuthorSouthall
- CommentTimeFeb 4th 2009
Erik Woods wrote
Southall wrote
I have to say, I was bowled over by The Golden Compass from my first listen. I still love it now. There's a depth to it that you rarely hear in scores for blockbusters, especially these days.
I still think Desplat could have done more. And you know what, some of his earlier work in non-Hollywood productions has proved that he can.
-Erik-
I really must get some more of Desplat's non-American stuff. I've hardly heard any of it. Might start with Afterwards (or whatever it's called). -
- CommentAuthorAnthony
- CommentTimeFeb 4th 2009
I love the Sky Ferry theme, but that's all that's ever caught my attention in that score. -
- CommentAuthorRalph Kruhm
- CommentTimeFeb 4th 2009 edited
Honestly, listen to "Battle with the Tartars", and loud! I promise you, two and a half minutes in, you´re pumped up as well.
And if you love the Sky Ferry Theme, try out "Ragnar Sturlusson", three and a half minutes in. And the Ice Bear combat, of course. -
- CommentAuthorSouthall
- CommentTimeFeb 4th 2009
Bregt wrote
L'Enquête Corse
What's this one like? I note they have it at amazon.co.uk -
- CommentAuthorfranz_conrad
- CommentTimeFeb 4th 2009 edited
Erik Woods wrote
Ralph Kruhm wrote
The Golden Compass needs more than one or two listenings before you start to appreciate what Desplat did with it.
IMHO, that's where it fails. You only really have that one chance to impress an audience and IMHO first impressions carry a lot of weight.
-Erik-
Well, in my opinion, anyone who pays $16 US to only listen to a CD once needs their head examined. They don't deserve to find the good music.
Not everyone gets them by the boxful. Most will give a CD multiple playings, and will discover..A butterfly thinks therefore I am -
- CommentAuthorfranz_conrad
- CommentTimeFeb 4th 2009
Southall wrote
Bregt wrote
L'Enquête Corse
What's this one like? I note they have it at amazon.co.uk
Bond pastiche-ish.A butterfly thinks therefore I am -
- CommentAuthorAnthony
- CommentTimeFeb 4th 2009
franz_conrad wrote
Southall wrote
Bregt wrote
L'Enquête Corse
What's this one like? I note they have it at amazon.co.uk
Bond pastiche-ish.
I'm interested already. Want! -
- CommentAuthorJoep
- CommentTimeFeb 4th 2009 edited
It's quite like Desplat's version of a comical Bond score with some very jazzy cues. But it's not particularly something you really need to hear, if you ask me.
His European drama scores are much more interesting. -
- CommentAuthorAnthony
- CommentTimeFeb 4th 2009
Joep wrote
It's quite like Desplat's version of a comical Bond score with some very jazzy cues. But it's not particularly something you really need to hear, if you ask me.
Anything like Largo Winch...but more lighthearted?