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Found 10 results

  1. I do. I’d go so far as to say he could very well be the next John Williams. He can do big, grand, lighthearted stuff like The Secret Life of Pets, and quirky, simpler but no less effective scores like Fantastic Mr. Fox and Isle of Dogs. He can also turn on a dime and do moodier, more subtle work, like The Imitation Game and his Deathly Hallows scores. He’s such a versatile composer. He’s won two Oscars in the past four years, a great feat for any composer. One for his magnum opus The Grand Budapest Hotel, and one for his gorgeous and well-earned The Shape of Water. He’s already established himself as one of the most consistent and prolific composers working today, and I firmly believe he will be remembered as one of the greats. Anyone else feel the same?
  2. New score from desplat out today : Have you guys given it a listen?
  3. There's so many threads with Giacchino love and ZImmer love on this forum I thought it wouldn't be out of line to start a Desplat thread. The funny thing about Desplat is how his music has grown on me. When I first heard his stuff, it was while reviewing Hostage for FSM years back. I thought he had a good style but perhaps a little melodramatic for that film. I said at the time that his music would have fit a comic book film very well though. The Painted Veil was the next score I heard and I became more interested but, like a few here, I was left a little cold by his music- like I enjoyed it on a technical cerebral level but couldn't "feel" it. Then The Curious Case of Benjamin Button came out and I was instantly transfixed by it. All of the quirky elements that initially didn't resound with me did. I loved his use of the flute section (something I also enjoy on Birth), the long themes, the evolving harmonies that recall Satie, Debussy and Saint Saens, and the exquisite sense of orchestral coloration. Even his use of the rhythm from the opening motif from Rachmaninov's 1st Symphony (some would ascribe as Horner's "danger motif") wasn't stale or chliche'd because he had the sense to alter the intervalic relationships between notes. Then came New Moon which at first I didn't care for because the main theme was a little sappy and too basic, especially for a composer who had exhibited a high degree of musicality and breadth of styles up to then. But I kept listening and as the score unfolds, the latter cues especially give way to some amazing, energetic action writing, the likes I hadn't heard from Desplat, even on things like Largo Winch. I also really enjoy Lust Caution. The main theme for that is truly moving to me. Something about how he constructs his lines, balances them with their harmonies, and applies a clear sense of orchestration- he also uses countermelodies, something that I haven't heard in ages. I won't say that Desplat is the next John Williams. I have learned my lesson well about those kind of declarations. But, I will say this composer, above anyone else, has given me back that sense of joy, excitement, and expectation for his upcoming releases the way Williams did when he was actively composing. I cannot say that about any other composer out there...well, except for Yared, Chris Gordon and Jonny Greenwood. But that's another thread...
  4. Being that this is the first Star Wars score that will not be composed by Williams, What do people think about the decision of having Desplat do it? I never really got into him until recently, mostly "imitation game," "danish Girl," and "unbroken." The man definitely has talent but... Star Wars talent? Maybe he'll pull some great themes out of his ass but what I'v observed is that he excels in more "thoughtful" movies, ya know, the ones where the theatre is filled with a whole lot of white people sitting with their legs crossed and fingers folded on their lap. Not that that is all he does, but the music from "godzilla" or "zero dark thirty" never really stood out to me as much as the ones mentioned above. I might be completely off, but I still feel like someone along the lines of Giacchino would be a better pick? I just don't get the sense that Desplat can make a more than serviceable star wars score based on my experience with his music. Then again, i totally didn't see "The Secret Life of Pets" score coming from him, and that one's great! Thoughts?
  5. Desplat will score The Secret Life of Pets. The first animated film he's scored, methinks. http://filmmusicreporter.com/2015/12/03/alexandre-desplat-to-score-the-secret-life-of-pets/
  6. http://www.legendary.com/films/godzilla
  7. Have you guys heard this? Sounds absolutely kick-ass! Very old-school, I can't believe it isn't already being discussed here...
  8. This might come a bit late in the game since the Academy Awards came and went already but Jim Svedja of KUSC Classical interviewed John Williams before the Oscars and here is the 30 minute talk they had. Also on the same site are the interviews with other three of the five Oscar nominees of 2014 and of course all the older KUSC programmes, including previous year's Oscar nominee interviews. John Williams is his humble and gracious self in the interview but what shines through very clearly during this talk is his truly deep appreciation for his colleagues, musicians and music itself. A fine listen. I am off to hear what Desplat, Price and Newman had to say!
  9. Here's an exclusive first listen to the soundtrack composed by Alexandre Desplat for the new Kathryn Bigelow movie: http://blogs.indiewire.com/theplaylist/exclusive-hear-alexandre-desplats-score-to-zero-dark-thirty-20121210#.UMYbE6Uv_y0.facebook
  10. http://www.varesesarabande.com/servlet/the-1076/Rise-Of-The-Guardians/Detail
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