ALEXANDRE DESPLAT

Another new score? Does this man ever sleep? Or eat? or fudge?

His forthcoming film Zulu sounds interesting from the IMDB description. About time he had a new score to work on.

Four posts above yours! But thanks for the reminder. Sounds interesting from the clips.

I see what you did there.

A few more years of this and I will have more Desplat scores than Zimmer, Williams and Horner...

Praise for Alexandre Desplat's Score for 'Rise of the Guardians' Already Surfacing

http://www.hollywoodreporter.com/race/r … ers-379165

Argo fuck yourself, eh?

My own review of Argo:

http://www.movie-wave.net/?p=2879

But Desplat does it better.

Also, he tends to come up with original stylistic elements, rather than that same wispy wavey electronic background noise (don't know how else to describe it!) that HGW seems to use for suspense cues on every single score. It's as bad as Horner's danger motif in its own way...I'm surprised people don't complain about it more.

I'm not saying that it's bad but the really high ratings are puzzling.

-Erik-

Have you seen the film?

Soundclips from RISE OF THE GUARDIANS.
http://www.colosseum.de/product_info.ph … plat-.html

A huge "fuck yeah" from the samples I heard!

-Erik-

I saw ARGO tonight, which was an interesting experience. The film is likeable. It's a little too *direct* a movie (if that makes any sense) to be good enough to ever watch a second time. It's not MUNICH or ... THE INSIDER... for example. The evasion of the whole Delta Force disaster makes it look like the makers are trying to avoid anything that complicates a very Hollywoodized narrative.

One thing that was a disappointment, however, was the score of Desplat. Possibly because even in an average film I expect his work to be the best thing in it. I think I've only ever spoken ill of one Desplat score in the film -- THE GOLDEN COMPASS. Even there, I praised the music, but not the use of it in the film, since it mostly served as an emphatic running commentary pointing out everything going on in the scenes only occasionally getting under the skin of a scene. (Not that there was a lot of skin to get under, but anyway...) But ARGO is one of those scores that really does point out the obvious. When it's tense in the Middle East, well, we know what that sounds like. When we want to feel unavoidable pathos for what American hostages are going through with guns to their heads, well there's a sound for that too. And when the mission is successful (and the Americans all say the Canadians have to take the credit), you definitely know that sound. Hard to know what to say except that maybe Ben Affleck as director shares with Chris Weitz a bit of an on-the-nose sense of what music should do for a scene. Because Desplat normally enriches a film more than this.

Strangely enough, I don't think I noticed my favourite track on the album -- 'Sense of Death' -- in the film. But I'm not sure it would have fit really. A bit heavy for the film.

Btw, don't you find that the first half of "CLEARED IRANIAN AIRSPACE" is very similar to "Elegy" from Birth?