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ALEXANDRE DESPLAT

General Discussions » ALEXANDRE DESPLAT (Posts 1831 to 1860 of 2309)

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  1. I said Zimmer and his clones. Henry Jackman is not a Zimmer clone. Same thing with Powell. They're guys who had a MV phase but they're on their own now. Largo Winch 2 is not better than the first one but still there's some great cues.

    The Malunai theme is lovely (Especially in "Malunai", "Escape From The Camp", "Love In The Water" and "Noom"). And Desplat like he says there, he always tries to make his best in every score he makes.
  2. Yony, Jackman is still going through an MV phase, he is STILL working in Remote Control and, like Jim Dooley, he's not thinking of branching out yet.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorScribe
    • CommentTimeNov 12th 2011
    I'm sorry but, "working in Remote Control" and, "writing scores like Winnie the Pooh" should be two mutually exclusive concepts. wink
    I love you all. Never change. Well, unless you want to!
    • CommentAuthorAnthony
    • CommentTimeNov 12th 2011
    yonythemoony wrote
    The Malunai theme is lovely (Especially in "Malunai", "Escape From The Camp", "Love In The Water" and "Noom"). And Desplat like he says there, he always tries to make his best in every score he makes.


    I disagree and think this score is as massive disappointment and step back from the first.
  5. The film is very different from the first one. It's much more intimate. Though there's some cues tracked from the first film.
    • CommentAuthorAnthony
    • CommentTimeNov 12th 2011
    yonythemoony wroteThough there's some cues tracked from the first film.


    Even weaker in my opinion now.
    •  
      CommentAuthorDemetris
    • CommentTimeNov 12th 2011
    I don't hear anything rc in Jackman's sound that is anywhere close to rc clones. He is great.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorAnthony
    • CommentTimeNov 13th 2011
    Jackman sounds more like Powell, who doesn't sound remotely RC.

    Ha. Geddit?

    Geddit?


    *coat*
    •  
      CommentAuthorMarselus
    • CommentTimeNov 13th 2011
    Anthony wrote
    Jackman sounds more like Powell, who doesn't sound remotely RC.

    Ha. Geddit?

    Geddit?


    *coat*

    Coat is not enough. you'll need a better hedge.
    Anything with an orchestra or with a choir....at some point will reach you
    • CommentAuthorTimmer
    • CommentTimeNov 13th 2011
    Anthony wrote
    Jackman sounds more like Powell, who doesn't sound remotely RC.

    Ha. Geddit?

    Geddit?


    *coat*


    GO! And never darken this board again.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  11. Desplat prepares a concert of his scores in Brazil:

    http://www.tvsescsp.net/sesc/programa_n … _id=206024

    And he has composed and recorded the score of Extremely Close and Incredibly Loud in just three weeks.

    And another new proyect:


    filmmusicreporter.com/2011/11/22/alexandre-desplat-to-reunite-with-florent-emilio-siri-on-cloclo
    •  
      CommentAuthorRobinson
    • CommentTimeNov 23rd 2011
    Ive been listening to Desplat´s "Severus and Lily" from the Final Harry Potter film score and I have been truly touched by this amazing piece... One of the best themes Ive listened this year so far and one of the best Ive seen played on any film sequence in many years.... An absolutely very touching piece.
    Robinson
    •  
      CommentAuthorLSH
    • CommentTimeNov 25th 2011 edited
    I'm still finding it very difficult to get into this composer. And I mean that in a completely non-sexual way. (Honestly - I don't even know where he lives).
  15. lol. That reminds me, in Deathly Hallows Part 2, during the Courtyard Apocalypse scene, when the Battle of Hogwarts theme is played, Desplat uses his trademark synth pulse, which he used in DH1, in Sky Battle, The Will, Ministry Of Magic and The Locket. But it was cleverly hidden under the orchestra.
    •  
      CommentAuthorErik Woods
    • CommentTimeNov 25th 2011 edited
    Yay! Let's use an orchestration that no one can hear.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  17. It's not something from the orchestrations. It's because of the mix, like the big choral moments being buried under the orchestra. Both the synth pulse and choir we're better mixed in Part 1.
  18. http://t.co/1ZUdLGye

    Desplat goes to Brazil.
    •  
      CommentAuthorThor
    • CommentTimeNov 25th 2011
    Erik Woods wrote
    Yay! Let's use an orchestration that no one can hear.

    -Erik-


    biggrin
    I am extremely serious.
  20. Desplat uses the synth pulse in Statues (no wonder there was barely bass sound), The Grey Lady and The Chamber Of Secrets too.
  21. LSH wrote
    I'm still finding it very difficult to get into this composer. And I mean that in a completely non-sexual way. (Honestly - I don't even know where he lives).


    no problem, me neither (about the getting part and about the living part)
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  22. Looks like Desplat is double-nominated for this year's Grammy for "Best Score Soundtrack For Visual Media." Both Deathly Hallows Part 2 and The King's Speech are so honored.
  23. I don't understand why do they nominate him for part 2 instead of part 1. Normally, the Grammy nominates scores from 18 months ago (like Munich winning in 2007 and being from 2005). DH1 is a year ago, just like The King's Speech.

    Talking about DH2, there's a video from Desplat performing the score in Sao Pablo. He played other scores like The Queen, New Moon, Girl With A Pearl Earring, The King's Speech and The Curious Case Of Benjamin Button. This is the only video so far from the concert:

    http://www.youtube.com/watch?v=cxKxEtyVxLc

    Now that sounds great, the instruments are better mixed, without the dry mastering.
  24. From Conrad Pope's Facebook:


    Off to Avatar Studios in Manhattan to conduct the recording of Alexandre Desplat's latest music for Wes Anderson's newest film "Moonrise Kingdom"- a film with such a unique sensibility and style that it is as hard to describe as its charm is to resist.


    Poor fellow can't take a break.
  25. http://moviereach.com/2011/12/interview … B+Feeds%29

    Tom Hooper told me it was your idea to use the Beethoven for the climactic scene in “The King’s Speech.” Can you tell me what made that music right for that scene?
    It was my idea not to replace it! The editing was so perfectly shaped to the 7th Symphony and the dramaturgic build was so strong that I would never have improved it with my music. Always stay humble, especially in front of the Masters!
    •  
      CommentAuthorDemetris
    • CommentTimeDec 16th 2011
    Extremely loud and incredibly close is incredibly melodic and extremely good.
    Love Maintitles. It's full of Wanders.
  27. I think it must be my favorite Desplat score of the year.
    •  
      CommentAuthorStavroula
    • CommentTimeDec 16th 2011
    yonythemoony wrote


    http://www.youtube.com/watch?v=cxKxEtyVxLc

    Now that sounds great, the instruments are better mixed, without the dry mastering.


    Trully excellent! Lily's theme is so much in mood these days. And I have come to love it very much by playing it in the piano.
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
    •  
      CommentAuthorsdtom
    • CommentTimeDec 17th 2011
    I enjoyed the Desplat arranged Twilight material for chamber orchestra.
    Tom
    listen to more classical music!
  30. http://www.youtube.com/watch?v=yj32V8cWxtM

    Desplat scored the new Studio Canal logo.

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