Harry Potter And The Deathly Hallows Part 1 by Alexandre Desplat

[David Coscina 4]

Well I think Williams in his most generic Jango's Escape action writing is superior to anything on the DH pt 1 soundtrack

Which is totally fine- it's your opinion and this is, after all, a place where different opinions are voiced, and sometimes collide with one another. We both like Yared's music so while I don't see eye to eye with you on this score, I do on others.

steb, I do agree. We are a passionate bunch which is better than being apathetic. Sometimes it spills over to heated debates. I guess we could all work on tolerance for other people's opinions, although I will submit that if people better articulated their positions, less turmoil could result from it. Just my 2 cents.

[steb74 53]

Ultimately, and I agree with Dave up there, if one just admits that aesthetically they don't enjoy the score then it's fine. It's your personal opinion. But when you go saying that it's completely ineffective, bad writing, then that is something else. Desplat actually wrote REAL MUSIC here. If you don't enjoy it then that's fine, but that doesn't make it a "bad score".

I agree man and that was my point, that it's how a decent slice of Williams' work is treated here.

steb, I do agree. We are a passionate bunch which is better than being apathetic. Sometimes it spills over to heated debates. I guess we could all work on tolerance for other people's opinions, although I will submit that if people better articulated their positions, less turmoil could result from it. Just my 2 cents.

Indeed man

...something boring as usual...

Can't you bring back that cute avatar you used to have where you were sat in your bath robe reading the paper, drinking your morning coffee and wriggling around in your plastic dildo undies?

[King Mark 3,631]

Well I think Williams in his most generic Jango's Escape action writing is superior to anything on the DH pt 1 soundtrack

Which is totally fine- it's your opinion and this is, after all, a place where different opinions are voiced, and sometimes collide with one another. We both like Yared's music so while I don't see eye to eye with you on this score, I do on others.

Actually why don't you explain to me why Sky Battle is better than Jango's Escape? Since it's hard to fault Williams writing on a technical basis , I can't wait for your explanation

[steb74 53]

Jango's Escape is one of the most exciting Williams pieces I've heard in the last 10 years, I honestly love that track man

[King Mark 3,631]

So Jango's Escape vs Sky Battle.

I want someone who favors Sky Battle to explain to me in objective terms why it's better

[David Coscina 4]

Well I think Williams in his most generic Jango's Escape action writing is superior to anything on the DH pt 1 soundtrack

Which is totally fine- it's your opinion and this is, after all, a place where different opinions are voiced, and sometimes collide with one another. We both like Yared's music so while I don't see eye to eye with you on this score, I do on others.

Actually why don't you explain to me why Sky Battle is better than Jango's Escape? Since it's hard to fault Williams writing on a technical basis , I can't wait for your explanation

Uh I never said Jango's Escape was worse than Sky Battle. Please don't create straw-man arguments Mark. And I don't particularly feel obligated to explain why I LIKE Desplat's HP7 any more than I have during this long and tiring thread. As far as I know, I never ever said Desplat was a better or more competent composer than Williams. I did say and still maintain that his respect for Williams is clearly abundant throughout HP7 in how he approaches different aspects of Williams' seminal compositional qualities. There's the non-metered writing in the music, the suspension chords especially in the brass, the use of rhythmic ostinatos in the melodic instruments, the use of contrasting textures in the orchestration, more than a few quotes in various guises of Williams' motives and themes from his HP work, etc etc.

I guess I'm starting to get a little a little annoyed with the idea that I have to substantiate my personal enjoyment of this score with detailed music prose lest I be charged with the blinded fanboy tag. I'm probably more annoyed at the fact that I see these types of posts as trolling- the intention to illicit a desired response, usually of frustration or anger. Mark, as I mentioned, I've definitely agreed with you on some listening preferences, but if you keep needling myself or anyone else here about WHY they like this score, I see some rather heated responses coming your way. This is about as composed a response as I can make. If I was not a masochist, I would just leave this thread once and for all but then again, I have really enjoyed reading the observations of fellow HP7 enthusiasts.

[Nemesis 247]

I listened the last week 4 times to the Desplat score.

I find it very well orchestrated. He's really a fine composer.

But I didn't get warm with his score. From time to time it happens with some scores I listen.

Last time was Giacchino's Star Trek, but after listening to it a few times it really growed on me.

With Desplat's HP nothing happened. But this does NOT mean that it's bad music or that he's a bad composer.

That's just what is releated with my person.

[BLUMENKOHL 1,070]

So Jango's Escape vs Sky Battle.

I want someone who favors Sky Battle to explain to me in objective terms why it's better

TRRRRRRRRRRRRRRRRRRRRRRRRRRRRROOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLLLLL!!!!!

TROOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOLLLL!!!! IN THE DUNGEON!

Thought you would like to kno---

[David Coscina 4]

I listened the last week 4 times to the Desplat score.

I find it very well orchestrated. He's really a fine composer.

But I didn't get warm with his score. From time to time it happens with some scores I listen.

Last time was Giacchino's Star Trek, but after listening to it a few times it really growed on me.

With Desplat's HP nothing happened. But this does NOT mean that it's bad music or that he's a bad composer.

That's just what is releated with my person.

Perfect! And I would never invalidate your view. In fact, for those not enamoured with Desplat, I do like to hear their views if they are incisive or thoughtful- meaning they don't just say "it sucks". So nemesis here has qualified his personal view with the adjective "cold". Fair enough. Obviously there's something in Desplat's chord choice, melodic choice and/or orchestration that doesn't get those good 'ol shivers-down-the-spine response going. No problem.

It is so interesting that the first time I heard Obliviate, when it builds to that big modulation and the strings imitate the horn line, it totally sent shivers down my spine. I don't often get that response much out of film music any more and I used to all the time with Williams or Goldsmith or Horner. Their music was able to push those buttons. Giacchino's "Parting Sorrows" also hits me that way. In my books, that's the best thing music can do- move someone so emotionally that it becomes a physiological response.

[King Mark 3,631]

How is this trolling exacly? I'm not going on a Desplat message board to give my opinion on this score

I can say what the hell I want to about it because I've been following the Harry Potter books/movies since 2001 like everyone else here. This thread is not only for the people that want to praise this score and I'm not sure why some of you are so freaking protective of it either.

And nobody here has any problem with anyone saying Hooper's HBP just sucks with no further explanations

[BLUMENKOHL 1,070]

I think I've finally narrowed down my three favorite tracks of this score, and because they're my favorite I'm going to explain why in connection to how they make me feel and why:

"Ministry of Magic" -> Especially the section about 0:38 seconds in that underscores the Nazi travesties against mudbloods. It's fairly simple, harps + strings, but the suddenness of it against the otherwise bustling tune of the track delivers spine tingling contrast to me.

"Godric's Hollow Graveyard" -> A beautiful moment and then creeeeeeeeeeepy. Once again, I love the range of the track, from tender, sad, to daaaaamnnn creepy and oppressive. When the 2:15 you begin to feel like you're being watched.

"The Deathly Hallows" -> Magical, mysterious. If you actually stop and listen to this track, I believe you'll find we've not heard a track of this demeanor in quite some time from any composer. This is one of those things that I think only Herrmann/Goldsmith/Williams could really capture well. Outside of them I've not felt the way this track makes me feel since that first mysterious statement of the theme for for the one ring in "Keept it Secret, Keep it Safe" about ~3:00 in to that track.

Honorary mentioned: The end of Death Eaters. Best statements of the Death Eater theme!

How is this trolling exacly? I'm not going on a Desplat message board to give my opinion on this score

Because you're just trying to get people to waste their time explaining why they think one think is superior to another, and you know it's not going to change your opinion. Why bother?

[David Coscina 4]

Mark, if you don't honestly believe that baiting people into substantiating their enjoyment of a non-Williams score is undesirable, I cannot help you out. If you extract all of the personal reflections about why the score is enjoyable to some throughout this thread, you would actually have a pretty good analysis made by several people.

Once again, you're creating a straw-man argument or perhaps a non-sequitur. no one is telling you that you cannot express your disappointment. No one told SF1 he couldn't voice his opinion. It's the manner in which you guys have that has in turn created heated opposition. At some point, one of you guys accused us with being "fanboys", or plain "wrong" about enjoying this score. How in the hell can our own personal preference be WRONG? That is what gets me, Koray, Blumenkohl, Miss Padme ticked off. Not your own opinion but the stances that we're somehow deluded. I'm sure you wouldn't like it if the tables were reversed.

I'm sure someone will create a Desplat forum/website and I will happily move over there to discuss this score and will limit discussion on this forum to John Williams.

EDIT- Look over every post I have made about HP and you will not find anything bad about Hooper. Why? Because I never saw those films nor bought the scores, so I don't have an opinion to share.

[ChrisAfonso 188]

And nobody here has any problem with anyone saying Hooper's HBP just sucks with no further explanations

I have

[Joe Brausam 215]

Half Blood Prince seems to have defnitely been written more to serve the film than to serve as a listening experience, but it's really not a terrible score. "In Noctem" is a very nice track too..

[King Mark 3,631]

ok fine

The score doesn't suck. It's just perfectly average and fails to the high standard I was expecting even from Desplat. His Twilight score is better than this

I just don't get how it's getting elevated to near masterpiece status now.

[David Coscina 4]

I like New Moon as well. Dreamcatcher is a beautiful theme.

[SF1_freeze 131]

I agree with Miss Padme on this. The fact is, we don't know all of the discussions and work process of the filmmakers and how they ended up with what they did. Obviously no filmmaker or artist goes into any venture thinking "I'm going to mess this up".

SF1, my continual problem with your posts is that, much as you vehemently deny it, your position is motivated by personal bias. Even when you're supposedly speaking "objectively", you're using adjectives that are based on subjective opinion assertions like "forgettable themes" or something to that effect ARE personal reactions- they aren't objective. Objective would be "Desplat uses an alternating string ostinato of a minor 3rd to major second as a basis to begin Obliviate. He then introduces the theme which modulates to a new key with the horns playing a suspended 4th chord as a means of changing the key center of the piece providing contrast to the previous sectional build. This is musical observations. It's as objective as saying 2+2=4.

Well as you admitted in a later response we all are a bit biased when we discuss especially when we are dissapointed in a score. Sry for that but i can't be completely objective all the time, no one on this message board can. The reason is that we all have a subjective feeling after listening to the music.

As i don't study music i cannot do an accurate musical analysis on the scores so i will always take the focus on other points like the overall level of technique (which i can differ through lots of sountrack hearing), the thematic and melodic side, the memorability, creativity and continuity (if franchise).

Just for you Fiery i try to be as objective as possible. The only objective things i can say as a non music student about this score would be the following:

The themes Desplat employed are not as complex as Williams themes because they are shorter and don't contain complex B-parts like Hedwig's theme B-part which seem like new themes

Hedwig's theme was used extremely rare and only with the first few bars

No other old theme was used -> So plainly said the thematic continuity was almost non existent

No real central and continuously developed new theme existed eg. main theme of the score (Desplat said that himself in an interview and it was done on purpose because he thought that because of all the different setpieces and the ongoing journey it wasnt possible in his eyes)

The orchestrations in a lot of tracks were done in a Williams kind of way

One motif Desplat developed was not used in the film at all (Lovegood)

Desplat developed some of his motifs throughout the movie

The majority of the music was subtle

The action tracks and the stuff concerning the ministry of magic had similarities to Williams style

The action music track sky battle seems very complex and done with a lot of technical finesse

Drawing a conclusion from an objective fact like "the thematic continuity is almost non existant" means that the thematic continuity is so low that even if you consider that they maybe did this on purpose all the people who see thematic continuity as important in a franchise will be automatically dissapointed!

Drawing a conclusion from the fact that there is no new central continuously developed theme means that people who love a central complex new theme developed throughout the whole movie will be dissapointed.

[David Coscina 4]

Well, SF1, I do appreciate your last post. You've done a better job at identifying the elements you find wanting from Desplat's effort. However, as I have listened to this score every day this week, I must disagree with your charge that there is a lack of thematic continuity and development. The theme introduced on "Obliviate" is recapped later in the latter half of Dobby with a different resolution. And the more emotive parts in this track are varied to great effect on Ron Leaves both in that opening motif (the 4 note figure that goes from I-II-II-iii on the scale). This is fully fleshed out into its own sounds and theme. The writing on this track also is very much Williams in how Desplat shapes his string lines.

The stately theme introduced on Polyjuice Potion is remarkably recapped as the main heroic figure on Sky Battle except instead of it going from Dmaj to Cmaj (I-VII chord) it's in the key of Cmin and moves from Cmin to Abminor (i-flat vi chord) but the intervals in the theme stay the same. Meaning they move from the dominant (V) up an octave to the minor 3rd to the root, and finally up a major 6thI also noticed Desplat is using a semi-tone relation within the inner voicing of the brass much like Williams has done with his brass writing over the years to blur the harmony somewhat. The B and C notes within the Ab minor chord create a lot of tension and almost dread. Desplat/Pope obviously use some busier counterlines with the violins playing a repeated arpeggiated figure tremolo in the Sky Battle version to add excitement and urgency as well as an answer in the trumpets which is an ascending arpeggiation of the same Cmin chord.

If I had time, I'd do a proper Doug Adams' styled piano reduction on an audio track to show how Desplat does provide quite a bit of thematic development throughout the score but I'm scoring a film myself and I think I've used this thread to procrastinate long enough.

ok fine

The score doesn't suck. It's just perfectly average and fails to the high standard I was expecting even from Desplat. His Twilight score is better than this

I just don't get how it's getting elevated to near masterpiece status now.

See my music post below. I never call anything a masterpiece right out of the gates. Time will reveal whether any music has enduring qualities or not. I still love Benjamin Button and it's as fresh today as it was 2 years ago. I don't play, for example, KotCS anywhere as often. I find it plastic and one dimensional. So for me, BB is far more effective. That's not to say WIlliams is suddenly a hack. The guy is a monster and always will be.

Does Desplat write at the same complex level as Williams? Ahem, HELL NO! But guys, I would submit that probably barely anyone has in the history of film scoring. Herrmann didn't and I love him. Korngold did but I don't like his music as much as Williams. Goldsmith, whose music I adore also didn't. If complexity defines enduring or good, we'd have to chuck a lot of composers from our fave lists. Not all of Williams' works are classics in the sense that is Star Wars or Raiders or ET is. But I think some of his most moving music has been simpler. Omaha Beach from SPV is one of my favourite "new" Williams era pieces. If you think about it, Home Alone is built largely on major third intervals, which he also exploited (much better IMO) for the Hook music.

Desplat is not a simple composer by any stretch though. He writes melodies and counterlines while adhering to the principles of formal counterpoint, something I really have a hard time hearing in much of Hollywood composers' output these days. There is a difference between "layering" sounds on top of one another and true contrapuntal writing. To my ears, the latter sounds better, smoother, more effective.

Geez, I keep getting sucked into this thread....DANG IT!!

[ChrisAfonso 188]

No real central and continuously developed new theme existed eg. main theme of the score (Desplat said that himself in an interview and it was done on purpose because he thought that because of all the different setpieces and the ongoing journey it wasnt possible in his eyes)

Whatever Desplat has said, the rising minor motif/theme from "Obliviate" is clearly central to the score, pops up frequently in all kinds of guises, especially in the emotional centerpieces "Ron Leaves" and "Farewell to Dobby" where it's developed into (different) longer forms. You could even call the part from 2:16 in "Obliviate" the "B-section", as it's also used in the mentioned tracks as a continuation of the main theme.

[gkgyver 1,646]

Well, if Desplat really said no real main theme was done because of the "different setpieces", then, pardon me for pissing again, that reflects poorly on his skills. Creating a main theme for a film does indeed need the capability of the composer, and the flexibility of the theme, to be tweaked so that it can fit different settings.

Why else would you write a main theme?

I actually like the score better as music alone, without the film.

Same here.

You don't have to be SOMEONE SPECIAL to have a better idea than someone else (even a skilled and respected composer). Look for example at Spielberg, one of the best directors on earth. He perfectly knows how to achieve something, is highly creative and skilled but he delivers sub par movies from time to time where the majority of the people would cut one thing out and the film would have been much better.

So in that cases the majority (ordinary people) would have had a better idea or approach than the great Steven Spielberg... (Example: the ridiculous ape and vine swinging scene in crystal skull...I'm sure 90 percent of the people would have told him that this is shit if he asked on the street... and pls don't blame it on Lucas... Spielberg was director and he could have cut it out)

Since both film and score are made for the audience, I indeed believe that the general audience is the only crowd to determine how far off- target director/composer are.

How is this trolling exacly? I'm not going on a Desplat message board to give my opinion on this score

I can say what the hell I want to about it because I've been following the Harry Potter books/movies since 2001 like everyone else here. This thread is not only for the people that want to praise this score and I'm not sure why some of you are so freaking protective of it either.

And nobody here has any problem with anyone saying Hooper's HBP just sucks with no further explanations

Well, defense for Hooper was rarely heard because simply a lot of people realise it's very average, even if they like the score to some degree.

The matter with Desplat is on a slightly different level because 1) it's better music, and 2) ironically, even though it is better music, it is far more hidden in the film.

Today, while driving in the car, I listened to the OSTs of all three Williams scores, and I just thought (besides the usual feeling that PoA is a freaking masterpiece from start to finish) how well these scores play because Williams can take a random moment and lift it. And if there is one thing DH (the movie) needs, then it is a lifting of random moments.

Desplat may use his tiny themes nicely, but never ever could he take one of his themes and work it into a completely different context, like Williams constructed "Quidditch Third Year" from "Double Trouble".

[SF1_freeze 131]

Well, if Desplat really said no real main theme was done because of the "different setpieces", then, pardon me for pissing again, that reflects poorly on his skills. Creating a main theme for a film does indeed need the capability of the composer, and the flexibility of the theme, to be tweaked so that it can fit different settings.

Why else would you write a main theme?

Well i interpreted it that way, read the answer from Desplat yourself...

QUESTION What would be your main theme for Deathly Hallows? And in what way can this theme refer to your own style as a composer?

ALEXANDRE DESPLAT That’s a question you should answer, actually. If you listen to my previous scores and find what it is related to. I can’t say, actually. Blank there. I have no idea what it sounds like to my previous ones. But, what I can say is that there’s many themes in Deathly Hallows. There couldn’t only be one theme. It didn’t work, actually. Because there’s too many things happening, there’s too many different moments. They are changing places all the time. They’re on the road. They operate here, they operate there. And all the moods change all the time. There was no way to keep one theme just repeating itself and coming back. No. It was impossible. And also, this movie is very dark. And if one theme could have been recurring, full of darkness from letter ‘A’ to letter ‘Z’, it would have been very, very, very, very boring. And, so we’re actually following the characters in their journey with different moods and atmospheres. The only theme is recurring, that again is very specific, the Obliviation theme. And the other theme is Voldemort’s theme. Dobby theme we’ll hear at the prompt and will hear again at the end. But, apart from that, it’s more by episodes. It’s more like a journey through different countries. And you hear the music of each country as you go into the country. That’s more the way it was built.

[gkgyver 1,646]

"Help me, they are changing places ALL the time ...!"

[Docteur Qui 1,544]

Again, I'll say that - to me - the lack of one central thematic idea in the score reflects the situation of the characters. Isolation, unfamiliarity, alienation... I don't really see a problem with it.

[gkgyver 1,646]

That's a completely random interpretation of the score, which Desplat most likely never intended. I'm pretty sure people don't listen to the score of such a big movie to marvel at the ingenius decision to omit a central theme to reflect the aimlessness of the characters.

A score can only be effective in a film through the things it's doing, and not the things it's not doing (except for remaining silent of course, duh).

If they notice the music, nobody watches a movie and goes "what a nice touch I didn't hear any central musical element".

But people go out of a movie and say "that music was great."

And anyway, what are we talking here? We're talking Harry Potter, not some delicate art movie.

[scallenger 487]

I'm fairly sure that:

- Voldemort should go between Snape to Malfoy Manor and Polyjuice Potion

- The Dumbledores between The Will and Death Eaters

- Bellatrix between Captured and Tortured and Rescuing Hermione

I've seen the film for the third time tonight. With the above iTunes bonus tracks, it doesn't sound like there is much, if anything, significant missing from the score. The only major thing I noticed was that there is a percussion over-dub in the film during "The Elder Wand".

I think you are right, the only one that confused me was "The Dumbledores". Does it really cove the scene where Doge and Muriel are talking about the Dumbledore family? I don't know where else it would go but I could have sworn there was different music during that scene. Also, as for unreleased music, I think there was some music leading up to their walk to Lovegood's house that wasn't released which probably was a replacement track for "Lovegood". It isn't anything too special, though.

[Incanus 5,723]

And remember folks that the Collector's Box set comes with another 3 extra tracks so the score might be quite complete when those are released.

Perhaps the modern scoring with wall-to-wall tendencies has created expectations that every score should run for at least 2 hours and we tend to think there is always considerable amounts of unreleased music. By the sounds of the reviews and reports from the fans this film is not exactly wall-to-wall scored nor score heavy so it could really be that Desplat's whole score fits on a single CD plus those 6 extra tracks on the Collector's Box bonus CD.

[Thor 7,560]

You can now hear the Desplat/HARRY POTTER radio program with yours truly. Go to

http://www.nrk.no/programmer/sider/musikkredaksjonen/

and click the program for 26.11.2010

The Desplat interview (which is the only bit in English) is about 2/3's in. The program is mostly about Williams, though.

The program can also be accessed directly here:

http://soundcloud.com/musikkredaksjonen/harry-potter-spes-101126

[Incanus 5,723]

It was a nice show but one thing that is deplorable is the way people dismiss Williams and his music as derivation of his musical predecessors and with a slight patronizing smile look at it like some inferior creation that is nice yes but certainly wearing borrowed clothing. The music examples and their comparisons with Prokofiev or Shostakovich or Bernstein are there only to reinforce this. I am not denying that Williams certainly owes some of his sound to these masters but it is sad how his music will never escape the accusations (or subtle suggestions) of plagiarising the classics.

Desplat is quite tight lipped about the final chapter of the Potter saga and perhaps he has not been contracted officially yet to score the final film. I am sure he will do it though. His favourite instrumental choices were certainly interesting. Mandolin is a funny little thing isn't it.

[Thor 7,560]

It was a nice show but one thing that is deplorable is the way people dismiss Williams and his music as derivation of his musical predecessors and with a slight patronizing smile look at it like some inferior creation that is nice yes but certainly wearing borrowed clothing. The music examples and their comparisons with Prokofiev or Shostakovich or Bernstein are there only to reinforce this. I am not denying that Williams certainly owes some of his sound to these masters but it is sad how his music will never escape the accusations (or subtle suggestions) of plagiarising the classics.

I agree wholeheartedly, which is why I aired my disagreement after the segment.

[Incanus 5,723]

It was a nice show but one thing that is deplorable is the way people dismiss Williams and his music as derivation of his musical predecessors and with a slight patronizing smile look at it like some inferior creation that is nice yes but certainly wearing borrowed clothing. The music examples and their comparisons with Prokofiev or Shostakovich or Bernstein are there only to reinforce this. I am not denying that Williams certainly owes some of his sound to these masters but it is sad how his music will never escape the accusations (or subtle suggestions) of plagiarising the classics.

I agree wholeheartedly, which is why I aired my disagreement after the segment.

Yes I noticed and was glad you did. I could follow the show more or less with my understanding of Swedish. I was surprised how much I could understand actually.

[Thor 7,560]

It was a nice show but one thing that is deplorable is the way people dismiss Williams and his music as derivation of his musical predecessors and with a slight patronizing smile look at it like some inferior creation that is nice yes but certainly wearing borrowed clothing. The music examples and their comparisons with Prokofiev or Shostakovich or Bernstein are there only to reinforce this. I am not denying that Williams certainly owes some of his sound to these masters but it is sad how his music will never escape the accusations (or subtle suggestions) of plagiarising the classics.

I agree wholeheartedly, which is why I aired my disagreement after the segment.

Yes I noticed and was glad you did. I could follow the show more or less with my understanding of Swedish. I was surprised how much I could understand actually.

Cool! Kudos to your language skills! Is Swedish second language in Finland?

[Incanus 5,723]

Cool! Kudos to your language skills! Is Swedish second language in Finland?

Yes it is.

[ZackR 95]

I haven't been able to listen to the show. On vacation with limited internet access via my phone but Desplat wasn't making those suggestions/accusations about Williams, was he?

[Docteur Qui 1,544]

That's a completely random interpretation of the score, which Desplat most likely never intended. I'm pretty sure people don't listen to the score of such a big movie to marvel at the ingenius decision to omit a central theme to reflect the aimlessness of the characters.

A score can only be effective in a film through the things it's doing, and not the things it's not doing (except for remaining silent of course, duh).

If they notice the music, nobody watches a movie and goes "what a nice touch I didn't hear any central musical element".

But people go out of a movie and say "that music was great."

And anyway, what are we talking here? We're talking Harry Potter, not some delicate art movie.

How is it completely random? Reading the quotes that have been strewn though this thread, it sounds like that's exactly what Deplat intended. Nearly everyone I've spoken to who has seen the film has commented on how different it is from the other ones, mainly as it's not set at Hogwarts but rather in unfamiliar and alien territory. I can't imagine anyone who has seen the film who wouldn't get the same reaction. You're selling Desplat short if you reckon he wasn't thinking that when he wrote the score. Desplat may not be Williams, but he's not stupid, and he's most certainly not incompetent, which - judging from some of your previous posts - you seem to think he is. That really bothers me, as there's a huge difference between music that is badly written and music that one simply doesn't like.

[Incanus 5,723]

I haven't been able to listen to the show. On vacation with limited internet access via my phone but Desplat wasn't making those suggestions/accusations about Williams, was he?

No Desplat was as appreciative and humble as always and praised Williams. The other section of the radioshow that dealt with the music of the previous instalments in the Potter-saga had a commentator who really wanted to point out and in a "good natured way" show us the similarities with JWs and some other composers' works.

[ZackR 95]

Thanks! I figured he wouldn't but just wanted to be sure.

Thanks again!

[David Coscina 4]

That really bothers me, as there's a huge difference between music that is badly written and music that one simply doesn't like.

That's pretty much why this thread has gone on so long. Some people just cannot differentiate personal preference with lesser skills on the part of the composer. Most of the group who are not nuts about Desplat's score pretty much acknowledge it's their own personal preference why the score doesn't work for them. There are just a couple members who think it's their mission to convert those of us who do enjoy the score over since we cannot be of sound mind and body to enjoy this score. That to me is selling us and Desplat short. I think he did a marvelous job. I cannot remember the last score (aside from Powell's HTTYD) that got as much spin time on my CD player. I love all the layers of the music. And I do honestly feel a little badly for the people who don't enjoy it, some of whom I call friends on this forum. It think it's a treasure but then again, I don't get the Giacchino craze so it's all a matter of perspective.

[gkgyver 1,646]

There is also a difference between badly written music and badly conceived music.

Hooper's music was badly written music well-placed, and Desplat's music is good music placed and conceived on a sub-par level.

[scallenger 487]

I forgot to note, and not sure if anyone else has, that the Nick Cave song O' Children would chronologically go right after "The Exodus" (or right before it, can anyone else say for sure?). I think the song fits well in the atmosphere of the score, personally.

[Wojo 2,453]

What's happening during "The Exodus," by the way? That's the only track I can't seem to remember from watching the film.

[gkgyver 1,646]

A montage of the trio sleeping around.

[David Coscina 4]

Wow, is the movie rated R then? <_<

[King Mark 3,631]

well I still haven't seen the film

Tuesday>>>>>>>>>Imax

[gkgyver 1,646]

Wow, is the movie rated R then?

They could have developed Ron's Horcrux vision a little further ...

Then Ron can get out his wand and ... err ...

[Gruesome Son of a Bitch 6,489]

I haven't seen the movie either and I've had little desire to. The last couple were kind of dull and I hear this one is more of the same, if not worse.

[gkgyver 1,646]

If you find the two Yates films dull, you won't be able to bear Deathly Hallows part 1.

When I first saw it, I just barely felt the story unfold, when the intermission came. I was like "What? Nothing happened yet, and the film is halfway done?"

[Wojo 2,453]

Did you read the book? What were you expecting to have happened by this point in the movie?

[gkgyver 1,646]

I had not read the book since it was originally released. I have no idea what I was expecting, but surely, even with the extremely slowly moving material at hand, the movie lacked some, well, motivation and flow?

Why not include the "resolution" to the Hallows story

which is basically that Harry thinks he already owns one (cloak) and the stone is in the snitch? That happens well before the Malfoy Manor scenes in the book.

That would have at least added more justification for the Hallows story to be included for a different purpose than loaning the movie title.

[Wojo 2,453]

Motivation = stay away from Voldemort's minions and find horcruxes to weaken Voldemort so they can kill him as a mortal.

They start the film knowing that two horcruxes were destroyed and that they're close to finding a third. Once they find it, it takes them a while to figure out how to destroy it and once they do, they have no idea where to find the other two that they think they need to find (the Ravenclaw and Hufflepuff artifacts), though they haven't mentioned yet they suspect the snake is also a horcrux.

So if the film feels as if they're treading water without any real direction...it's doing what it's supposed to: cast a feeling of dread onto the audience that Harry's mission will fail. Dumbledore can't help, Harry can't go to the Hogwarts library or ask Hagrid for help, he can't go to the Weasley's house for protection, his face is on wanted posters all over the Kingdom, the Ministry is against him, and he can't retreat to the Order and compromise their safety.

In regards to the Hallows story, in the book, the trio escapes Xeno Lovegood's house into the wild for another few weeks. It is at this point they digest and discuss what Lovegood told them, Harry becomes convinced he has always owned 1/3 of the Hallows, can't get to the second, and insists that Voldemort is after what may be the most powerful of the three. Hermione and Ron team against him to state that their most important mission is to find horcruxes and that the Hallows are just a myth. Then they slip up, speak Voldemort's name, and are captured to Malfoy Manor.

I believe that the filmmakers thought another slim escape by the trio from the Snatchers would result in the audience losing faith in the Snatchers' ability to capture ANYBODY and would wonder why Harry doesn't dance around for all to find. The filmmakers decided to compress events by turning the trip to Lovegood's house into the event that catalyzes the trio's capture, which moves the Hallows discussion to after their escape from Malfoy Manor, when they will have plenty of downtime anyways hiding at Bill and Fleur's house.

That will be the scheduled time to discuss specific wands with Mr. Ollivander, which is applicable to your comment, as well as the circumstances surrounding another horcrux adventure with someone else they rescued. Any mention of the Hallows that Harry may or may not already possess would be moot because the film was constructed in such a way that one item was not used at all and the other item cannot be used until the final act of Part II, so any mention of them now would be wasted momentum as we repeat them later. The memory of a moviegoer is much more short-term than that of a reader.

[scallenger 487]

I thought the film was much better than the last two. And I am not quite a fan of Yates in saying that. I especially disliked Phoenix. To me that is, and probably will always be, the worst one to me. Only Umbridge and Luna save it.