TheUlyssesian 2,478 Posted June 25, 2014 Share Posted June 25, 2014 Desplat's third consecutive work with Wes Anderson. And it might again get him an Oscar nomination yet again.It works great in the film and contains Desplat's most attractive main idea in sometime, it is a very wistful and sentimental little riff for the Zero Mustafa character. You can listen to it on the album. Can't find it on youtube.The movie is basically a caper and has lots of chase music and scherzo type stuff, and it is all rather fun in a kind of pastiche manner. But the main idea is a keeper.Anybody else like it? Link to comment Share on other sites More sharing options...
crocodile 8,017 Posted June 25, 2014 Share Posted June 25, 2014 Yes!Karol Link to comment Share on other sites More sharing options...
Jay 37,367 Posted June 25, 2014 Share Posted June 25, 2014 On 25/06/2014 at 12:09 PM, TheUlyssesian said: Desplat's third consecutive work with Desplat. I recently saw the film and enjoyed the score in it quite a bit. Really supported the film very well, gave the whole story a forward drive. I had previously listened to the OST on it's own and not been impressed, but now that I've seen the film I look forward to giving it another chance. Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted June 25, 2014 Share Posted June 25, 2014 Desplat's third consecutive work with Desplat. He obviously meant Wes Anderson! Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted June 25, 2014 Author Share Posted June 25, 2014 Oh yes Wes Anderson! I'll edit the main post. Link to comment Share on other sites More sharing options...
Smeltington 1,440 Posted June 25, 2014 Share Posted June 25, 2014 I've been enjoying the album too. It feels more like background music/wallpaper than some of Desplat's other recent work, but it's a lot of fun. Canto at Gabelmeister's Peak is my favorite track. Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted June 25, 2014 Author Share Posted June 25, 2014 Its incorporated well in the movie. That entire cue is passing off a theme form section to section of the orchestra as the characters escape various situations. It is very interesting that when they enter a church, the entire church joins in on the chorus of the background score! I think that was interesting.The film itself is Wes Anderson's masterpiece. Link to comment Share on other sites More sharing options...
Smeltington 1,440 Posted June 25, 2014 Share Posted June 25, 2014 That's a nice touch. I do appreciate all the various styles and instruments Desplat incorporated. And I was surprised how much buzz the film seemed to get... there was a long line at the local art cinema opening night, which I don't see often. Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted June 25, 2014 Share Posted June 25, 2014 Wes Anderson is like king of the hipster crowd. Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted June 25, 2014 Author Share Posted June 25, 2014 His movies are very quirky and kinda drolly esoteric but you can't look past how skillfully made they are. Budapest is a wondrous feat of film direction. Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted June 25, 2014 Share Posted June 25, 2014 Oh I love him, personally, just sayin'. Something about his quirky auteur nature that appeals to hipsters. Link to comment Share on other sites More sharing options...
Once 605 Posted June 25, 2014 Share Posted June 25, 2014 I've seen it six times on the big screen. It is, to me, a perfect film, everything is how it should be. Including Desplat's amazing score! Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted June 25, 2014 Author Share Posted June 25, 2014 Desplat always gets nominated for boring shit like Argo and what not. This would be a not unwarranted nomination.But more importantly, I hope this film breaks through and gets nominated across the board. Its about time a Wes Anderson film hit big at the Oscars and I think this could be it. Once 1 Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted June 26, 2014 Share Posted June 26, 2014 He was nominated for Fantastic Mr. Fox... Link to comment Share on other sites More sharing options...
SafeUnderHill 205 Posted September 4, 2014 Share Posted September 4, 2014 Link to comment Share on other sites More sharing options...
BloodBoal 7,538 Posted September 4, 2014 Share Posted September 4, 2014 Once 1 Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted September 4, 2014 Share Posted September 4, 2014 EDIT: it's NOT one of my favorite Desplat scores crocodile 1 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted September 4, 2014 Share Posted September 4, 2014 How could anyone think they were supposed to be realistic? Link to comment Share on other sites More sharing options...
crocodile 8,017 Posted September 4, 2014 Share Posted September 4, 2014 it's my favorite Desplat score with Benjamen ButtonAt first it seems quite repetitive, and in many respects it can be, but there so many little motifs and themes. It's really cool combination of ethnic influences. Witty.Karol Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted September 4, 2014 Share Posted September 4, 2014 ooo0h wait, I don't like that oneI was thinking of Monuments Men Link to comment Share on other sites More sharing options...
crocodile 8,017 Posted September 4, 2014 Share Posted September 4, 2014 And for a second I thought you were finally seeing some sense. But yes, Monuments Men is great.Karol Link to comment Share on other sites More sharing options...
KK 3,307 Posted September 4, 2014 Share Posted September 4, 2014 I was actually really disappointed with this one. I consider myself a Wes Anderson, and I liked the growing scale of his style, especially with Moonrise Kingdom. But I felt things got out of hand in The Grand Budapest Hotel, where all the desserts and colourful sets began to overcrowd the film, that narrative and character got lost in all of it. And the usual awkward silences in Wes Anderson's films weren't as whimsical and entertaining as they were in past efforts. This time, it was actually just awkward, ultimately affecting the pacing negatively. I was also not a big fan of the bookend bits the older version of the bell boy.Ralph Fiennes was great though, but it's a shame the film as a whole couldn't have been better. Link to comment Share on other sites More sharing options...
SafeUnderHill 205 Posted September 4, 2014 Share Posted September 4, 2014 Link to comment Share on other sites More sharing options...
KK 3,307 Posted September 4, 2014 Share Posted September 4, 2014 That's the kind of the point. It's a stylistic choice Anderson uses to give it a kind of poppy, whimsical, storybook feel. Link to comment Share on other sites More sharing options...
SafeUnderHill 205 Posted September 4, 2014 Share Posted September 4, 2014 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted September 4, 2014 Share Posted September 4, 2014 It's a stylistic choice which is a typical for the director. If you didnt like it here, you wont like it in The Life Aquatic, or Moonrise Kingdom. Link to comment Share on other sites More sharing options...
SafeUnderHill 205 Posted September 4, 2014 Share Posted September 4, 2014 Link to comment Share on other sites More sharing options...
TheUlyssesian 2,478 Posted May 4, 2019 Author Share Posted May 4, 2019 A beefed up version of the main theme. I like it! Smeltington and Once 2 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted January 16, 2020 Share Posted January 16, 2020 Hallelujah! Thank the maker! Grand Budapest is finally getting a Criterion release! Once 1 Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted January 16, 2020 Share Posted January 16, 2020 Yep took a little longer than I anticipated. Wonder when Isle Of Dogs will get the same treatment. Link to comment Share on other sites More sharing options...
Popular Post Jay 37,367 Posted January 14, 2022 Popular Post Share Posted January 14, 2022 I listened to this OST album today, I probably had not heard it in 7-8 years or so. Speaking of which, I can't even believe the film is that old, it still feels like the most recent Wes Anderson movie to me in my head (probably because Isle of Dogs was animated and I haven't seen French Dispatch yet) Anyway, I enjoyed the OST album a lot, as expected, it's really fun. My listen was via the physical CD edition, which I opened up for the first time. It's got a nice 12 page booklet full of photos from the film, and some nice information. There's a whole page that contains a long note from Wed Anderson talking about some musical instruments seen in the film and used in the score, a bit about the film's setting, some lauding of Desplat, and some information about the non-Desplat selections on the album. He even calls out Mark Graham as the arranger / conductor as an important collaborator! There's a musicians list of not only the main orchestra (which includes Desplat himself whistling!), but also the London Voices Choir, the Ludmilla Zykina State Academic Russian National Balaika Ensemble, and the Orchestra de Balalaikas Saint-Georges. Desplat gets a thank you section, where he once again highlights Mark Graham - "Mark Graham has been a unique companion during these demanding recordings. Merci, Mark. Where and when can a film composer use alpenhorns, whistles, balalalikas, pipe organ, choir, bells, and cymbalom? Well, only in Wes' World. Thank you, Wes" TSMefford, Holko and Once 3 Link to comment Share on other sites More sharing options...
Bespin 8,483 Posted January 14, 2022 Share Posted January 14, 2022 I loved the movie, and yes, the score was very fun too. Link to comment Share on other sites More sharing options...
Jay 37,367 Posted January 14, 2022 Share Posted January 14, 2022 Yea, I liked the movie a lot too It's nice to go through these physical CD OST editions and see all the little things you'd never learn just by listening to the album on streaming. It's extra fun now knowing that Desplat himself is one of the whistlers Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted January 15, 2022 Share Posted January 15, 2022 One of my favorite scores in recent years. Glad you got to revisit it! Not sure if anyone has ever laid out all the differences between the Film, OST, and FYC, but if anyone is curious I'd be happy to do a big long post about it since the FYC is almost exclusively made up of notable Alternates & Alt Mixes that are not present on the OST or even in the film. Also, there's a great little behind the scenes look at the recording sessions on the Criterion Collection Blu-Ray, mainly featuring the Orchestra de Balalaikas Saint-Georges and an interview with Music Supervisor Randall Poster: Link to comment Share on other sites More sharing options...
Jay 37,367 Posted January 15, 2022 Share Posted January 15, 2022 I would love to see a breakdown on the differences between the OST, FYC, and film! Link to comment Share on other sites More sharing options...
Popular Post TSMefford 1,509 Posted January 15, 2022 Popular Post Share Posted January 15, 2022 34 minutes ago, Jay said: I would love to see a breakdown on the differences between the OST, FYC, and film! Cool! I'll write it up! First off. I have no clue where I got these from... it might have been the crew that shot the video from above as some appear to match some of the shots, but here's some pictures from the sessions: crocodile, Once, Disco Stu and 1 other 3 1 Link to comment Share on other sites More sharing options...
Popular Post TSMefford 1,509 Posted January 15, 2022 Popular Post Share Posted January 15, 2022 In nearly all cases the OST most closely resembles the versions and mixes used in the film. with the exception of some micro-editing. The FYC matches the film in length of the cues, but consistently uses Alternate Mixes that are sometimes drastic enough that they may as well be complete alternates. I am honestly assuming there was a lot of tinkering with the score between the original recordings and the final mix. Perhaps even tracking in outtakes or elements from the separately recorded pieces into other cues (or maybe they were overdubbed later). I am also theorizing that the FYC uses the original recordings before they were altered for the film. REEL 1 1m2 The Alpine Sudetenwaltz (Alps Horn) OST02 OST features the cue with sound effects from the lift overlayed. 1m3 Mr. Moustafa Part 1 OST03 / FYC01 OST03 matches the film, with the exception of some micro-editing during the section at 1:55-2:01 FYC01 is a drastically altered mix (each has identical performance noise). The bass Balalaikas are much louder and the ensemble Balalaikas performing the tremolos underneath are extremely quiet. Compare 0:32 in each track. 1m4 Mr. Moustafa Part 2 FYC02 The cue on the FYC matches the length and content of the film. Hard to say if the mixes are different on this one. In the film, the cue is processed with effects to sound like it's being played on a speaker in the room. I will note that the tremolo Balalaikas are dry in the film and unaffected by the "speaker" processing. 1m5 Overture: M. Gustave H OST04 / FYC03a OST04 matches the film perfectly, in mix and in content. FYC03 features another drastically altered mix which changes the timbre of the triangle and again features much quieter tremolo Balalaikas. 1m6-7 A Prayer For Madame D OST05 / FYC03b OST05 matches the film in mix and content. FYC03b has similar mix differences as the previous cues, but notably hardly features the Organ at :35 in OST05, if at all. 1m8 A New Lobby Boy OST06 / FYC04 OST06 matches the film mix, but has micro-editing in various points to reduce repetition. FYC04 again changes the mix so much that it alters the timbre of the instruments, if it weren't for performance noise you'd think it was a different take. However, the FYC does feature a new cymbal crash at 1:06 that has been dialed out in the film and on the OST. 1m11 The Trans-Alpine Yodel FYC04 This cue is only featured on the FYC and in the film. The film appears to have remixed and edited this cue a little bit, especially in the beginning, but notably the FYC is missing the final Balalaika note present in the film completely. With some crafty editing, you can add elements from the film to get this cue closer to the film version. Perhaps this was tracked from another cue? I haven't pinpointed the source yet. Been a long day, so I will turn in, but more to come tomorrow! EDIT: Okay. I lied. One more update: REEL 2 2m1a Daylight Express to Lutz Part 1OST08a / FYC06a OST08a matches the film in mix and content. FYC06a has an altered mix. Not as drastic as some of the previous ones, but it does alter the timbre of the snare quite a bit. Almost like they completely mixed it from different mics. 2m1b Daylight Express to Lutz Part 2OST08b / FYC06b OST08b matches the film in mix, but has micro-editing. FYC06b matches the film in length, but has a different mix. Again this mainly affects the snare, which almost sounds like it's rhythm is inverted, but it appears they just mixed the mics very differently here. 2m2 Schloss Lutz OvertureOST09 OST09 matches the film in mix and content. 2m3 The Family Desgoffe Und Taxis Pt 1OST10a OST10a matches the film in mix and content. 2m4 The Family Desgoffe Und Taxis Pt 2OST10b OST10b matches the film in mix and content. 2m5 The Family Desgoffe Und Taxis Pt 3OST10c OST10c matches the film in mix and content. 2m6 Last Will and Testament Part 1OST11a / FYC07a OST11a matches the film in mix and content. FYC07a featured a mix with much more subtle differences. Mostly the Cimbalom at 0:21 is buried a little more under the tremelo Balilaikas. 2m7 Last Will and Testament Part 2OST11b / FYC07b OST11b matches the film in mix, but after editing out repetition is nearly a minute shorter than it's appearance in the film. FYC07b matches the film in content, but is a slightly different mix, mostly reducing the Cimbalom in volume. 2m8 Last Will and Testament Part 3OST11c OST11c matches the film in mix and content. 2m9 Last Will and Testament Part 4OST11d OST11d matches the film in mix and content. 2m10 Up the Stairs and Down the HallOST12 / FYC08 OST12 matches the film in mix and content. FYC08, however, appears to be an alternate and features the Cimbalom played an octave lower. 2m11 Boy With Apple Part 1OST04 / FYC09a If we listen to the performance noise, it turns out that FYC09a is just 1m5 (FYC03) again, but with the triangle removed. The film also tracks in 1m5 here, but uses the full recording with the triangles and matches OST04 in mix. 2m12 Boy With Apple Part 2FYC09b FYC09b matches the film in content, but appears slightly different in mix. 2m13 Night Train to NebelsbadOST13 / FYC10 OST13 matches the film in mix and content. FYC10 is the same content, but with an altered mix that features more prominent bass. 2m14 The Lutz Police MilitiaOST14 / FYC11 OST14 matches the film in mix and content. FYC11 is a noticeably different mix. This again alters the timbre of the snare drum and makes it sound quite different. More notably, however, the FYC features a Cimbalom that was removed in both the film and OST versions. 2m15 Check Point 19 Criminal Internment CampOST15 / FYC 12 OST15 matches the film in mix and content. FYC12 is a noticeably different mix, featuring Cimbalom that was removed from the film and OST version as well as featuring organ underneath the final note at 0:08. Now I really should go to bed. lol. A lot of these differences are relatively minor so far, with some exceptions, but the next few reels are going to have some major differences. Edmilson, Jay, ragoz350 and 3 others 5 1 Link to comment Share on other sites More sharing options...
Popular Post TSMefford 1,509 Posted January 15, 2022 Popular Post Share Posted January 15, 2022 Alright everyone I'm back! I should specify that I did my own edit of this score and never wrote down all the differences I found while creating. So I am, essentially, re-analyzing my edit, the film, OST, and FYC to write it down properly, so anytime I mention "crafty editing" it's because I've already done it. I will also say that some of the reel numbers are guesses as there seem to be discrepancies between the FYC Slates and slates present on sheet music. For example, 1m5 is "Overture: M. Gustave H" on the sheet music photos above, but the FYC labels 1m5 as "A Prayer For Madame D", but since it combines "Overture: M. Gustave H" and "A Prayer For Madame D" into a single track perhaps they just used the first slate number and named it for what takes up the most runtime? It's a bit of a mess. Also, I will provide a more succinct summary in a final post at what you would need from each release if you just want to make a quick playlist that covers all the most important unique material. REEL 3 3m2 J.G. Jopling, Private Inquiry AgentOST17 / FYC13 OST17 matches the film in mix and content. FYC13 is an alternate mix with some significant differences. The organ from :00-:15 is much quieter in the FYC mix, more so favoring the Cimbalom. At :49 new vocals come in that are removed in both the OST and the film, they're mixed quieter overall than the OST version, but they are present throughout the rest of the cue. Vocals do not enter in OST17 until 1:06. 3m3 A Letter from M. GustaveFYC14 FYC14 appears to match the film in content and there are no notable mix differences. 3m4 A Dash of Salt (Ludwig's Theme) Part 1UNRELEASED This cue really functions as an intro to OST18. Much more sparsely arranged. One of only 2-3 cues that remains completely unreleased. 3m5 A Dash of Salt (Ludwig's Theme) Part 2OST18 OST18 matches the film in mix and content. 3m7 Traces and ShadowsFYC15 FYC15 is the only representation of this cue we have released. It matches the film in length, but seems to have a different timbre to the mix than the film. Even more noticeably, the film includes vocals at 1:00-1:08 and again at 1:24-End. FYC15 has no vocals at all. With some crafty editing, using the film, you can add the vocals back in pretty decently. 3m8 The Cold-Blooded Murder of Deputy Vilmos KovacsOST19 OST18 matches the film in mix and content. Only reducing the silence and break at 2:29 between Parts 1 & 2. I just went ahead and split this into two cues. REEL 4 4m1 Pt 1 Escape ConcertoOST20 / FYC16a OST20 matches the film in mix, but is edited down quite a bit to remove repetition, also removing a final section that's present in the film and in FYC16a. FYC16a matches the film in content and length, but is a different mix with notably quieter tremolo Balalaikas and a very different timbre on the snare. The FYC does restore all micro-edits and the final section of the cue from 2:56-3:34. 4m1 Pt 2 The War (Prelude)OST22a / FYC16b OST22a matches the film in mix and content. FYC16b is an alternate mix which now features some light Cimbalom on top of the tremolo Balalaikas. 4m2 The War (Zero's Theme)OST21 / FYC17a OST21 matches the film in mix and content. FYC17 is an alternate mix with some subtle differences. Difference in timbre of the tremolo Balalaikas and featuring louder Cimbalom starting at :38, compared to the OST/Film version. 4m3 No Safe HouseOST22b / FYC17b Okay we've got some massive differences here. OST22b matches the film in mix and content. Unfortunately the opening notes are blended under some tremolo Balalaikas from the ending of 4M1 Pt1. Just a note from editing. FYC17b is an alternate mix, but is so vastly different it's a full blown alternate. It has that signature different timbre on certain instruments and a lower level for the Cimbalom, but mostly it restores several instruments that were removed from the OST and Film Versions. Referencing only the timing of the FYC: During the first section we're greeted with a drum that counters the rhythm of the tambourine/sleigh bells. At :14 some new stomps and claps come in and continue the rest of the cue (these are not on the OST until about :24). At :30 there's an explosion of new material. This section now features Brass, Woodwinds, and robust percussion. The OST and Film is much sparser, only featuring the Vocals, Cimbalom, and smaller percussion. 4m4 The Society of the Crossed KeysOST23 / FYC18 OST21 matches the film in mix, but micro-edits and reduces repetitive areas, also reducing the lengthy timpani roll and triangle at the end (and blending it into 4m5). FYC18 is a significantly different mix, but matches the film in length, also pretty much a full blown alternate. Now featuring tremolo Balalaikas underneath the strummed ones. In fact, the strummed ones don't kick in until 5 seconds in. However, the Cimbalom is far far quieter under this opening build. The reveal of the title card at :53 now includes Tubular Bells/Chimes, making this section feel much bigger. The remainder of the cue has mix differences, percussion has a different timbre to it and the Cimbalom continues to be extremely quiet, almost gone completely. FYC restores the long timpani roll that ends the cue. 4m5 M. IvanOST24 OST24 matches the film in mix and content. 4m5B Lot 117OST25 OST25 matches the film in mix and content. 4m6 Third Class CarriageOST26a / FYC19 OST26a matches the film in mix and content. FYC19 is a different mix, with a far lower level of the tremolo Balalaikas. 4m7 Agatha's GarretOST26b / FYC20 OST26b matches the film in mix and content. FYC20 is...confusing. It actually uses here what the OST/Film uses for "2m10 Up the Stairs and Down the Hall" in OST12 with the Cimbalom up an octave and combines that cue with an Organ statement. I haven't placed where it's from yet. It's honestly difficult to tell what happened here. If the FYC is to be believed then the OST/Film use what was originally meant to be 4m7 in place of 2m10, replacing the FYC's version of 2m10? 4m8 UNRELEASED More material for Jopling. It's an interesting little variation on material present in 3m2, 3m7, and 3m8. Entirely unreleased and only available in the film. The final reel is coming up! EDIT: Noticed I didn't paste in the final cue of Reel 4. Re-added. Disco Stu, Jay, ragoz350 and 1 other 3 1 Link to comment Share on other sites More sharing options...
Jay 37,367 Posted January 15, 2022 Share Posted January 15, 2022 Wow, soooo many differences!! TSMefford 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted January 15, 2022 Share Posted January 15, 2022 5 minutes ago, Jay said: Wow, soooo many differences!! Indeed. "No Safe House" blew me away when I heard it on the FYC. Lol. Still more differences to come! Link to comment Share on other sites More sharing options...
Popular Post TSMefford 1,509 Posted January 15, 2022 Popular Post Share Posted January 15, 2022 Here we go. Reel 5 is fun. LOL. REEL 5 5m1-3 Gabelmeister's Peak StationOST27 / FYC21 Alright, this cue is a mess of different sections and alternate segments. Like usual, OST27 is closest to the film version and matching the mix, but micro-edits out some areas particularly near the end. Like usual, FYC21 is a different mix, but I'm convinced was the original version. Whereas the OST/Film may have recorded some new inserts or overdubs or something, while removing other instruments. It's best we take it a section at a time. 0:00-2:02 Mostly just slight mix differences. 2:02-2:20 FYC only features a low bass organ performance here. OST features some higher notes on top and more closely matches the orchestration of the next organ section. 2:20-2:37 Nearly identical, probably some slight mixing difference, but they match well here. 2:37-3:01 While the OST & Film continues the solo Organ from the previous two sections, the FYC goes in a completely new direction, opting for a sparse arrangement reprising some material from the first 2 minutes of the cue. The organ is still there, but it's buried under the new material. 3:01-3:38 Back in line here. Mostly just mix difference. FYC has more bass and lowers the level of the Cimbalom. 3:38-3:47 OST has Cimbalom overtop this section, which either is not present in the FYC or is so low in the mix that it's not audible. 3:47-4:15 Back to subtle mix differences. Very similar. 4:15-4:33 Major change here. The OST & Film feature a pretty kick-ass Cimbalom solo over top of some Percussion and Organ. The FYC instead features new vocals singing "Ha Ha Ha" on top of much louder organ, brass, plus the same percussion as the OST/Film. 4:33-4:58 Back to subtle mix differences. Very similar. 4:58-End OST is edited and removes some sections present in the film, but the mixing matches. The FYC has the length of the film version, but has a new element: Plucked Balalaika. The OST also removed the bass Balalaika during the final section (5:19-End on the OST, 5:25-End on the FYC) 5m4-5 A Troop's Barracks OST28a / FYC22a OST28a matches the film in mix and content, with the exception of the slight micro-editing around 4:20, just shortening the pause. FYC22a is a different mix, mainly with much more roomy percussion especially on the Timpani and Snare, which sounds much more distant here. There's also some additional Cimbalom from 2:33-2:50 not present in OST28 or the film. 5m6 OST28b / FYC22b OST28b matches the film in mix and content. FYC22b lacks the bass plucking, I assume it's Balalaika, from :12 onwards that's present in OST28b and the film leaving the Timpani solo. 5m7 Cleared of all Charges OST29 / FYC23 OST29 matches the film in mix and content. FYC23 is a different mix for sure and appears the be an alternate with nearly 9 seconds before it gets to the sleigh bells, which arrive in OST29 and in the film within 2 seconds. Perhaps the film version is a remix / edit of the original cue, which appears as FYC23, and the film remix was carried over to the OST? 5m8 The Ceremony OST30 / FYC24 OST30 matches the film in mix and content. FYC24 is the same recording, but is a new mix and adds a flute-like woodwind instrument overtop of the whistling in the first 22 seconds, it also let's the tremolo Balalaikas play out a little longer over from :19-:22. The rest of the cue is pretty much the same. 5M9 Mr. Moustafa Pt 3 FYC25 FYC25 is the only source for this cue outside the film. The film mix is a little difference and has much less bass and also removes the flute-like woodwind instrument (same one from FYC24) starting at 1:10 in FYC25. So there you have it! Like I said in my other post, it seems like the score was tinkered with a lot in post. Instruments were removed, some new material was added in inserts/overdubs, vocals were added or removed in various places, etc. Plus, the mixes are quite different. The Film & OST mix the music much brighter, with less of the bass instruments, and more direct signals for some of the instruments. This is especially notable when you listen to the percussion. The FYC overall feels much softer and more roomy than the Film & OST. I suppose the mix you prefer can be up to you. Honestly, it's interesting to me that the OST ended up matching the Film Mix and choices. I don't feel like that usually happens in cases like this, where the music and mixing were altered quite a bit between what I assume are the original recordings and the final film mixes. It's also intriguing that the FYC seems to use the original recordings & mixes, seemingly violating the rule that the music must be showcased as it appears in the film. EDIT: Now, here's a quick and succinct playlist you can make that combines everything. This prioritizes the film mixes and minimizes editing, so the FYC is mostly relegated to the "bonus" section other than to fill in holes on the OST: S'Rothe-Zäuerli (OST 01) The Alpine Sudetenwaltz (OST 02) Mr. Moustafa Part 1 (OST 03) Mr. Moustafa Part 2 (FYC 02) Overture: M. Gustave H (OST 04) A Prayer For Madame D (OST 05) A New Lobby Boy (OST 06) Concerto For Lute and Plucked Strings I. Moderato (OST 07) The Trans-Alpine Yodel (FYC 05) Daylight Express To Lutz Parts 1 & 2 (OST 08) Schloss Lutz Overture (OST 09) The Family Desgoffe Und Taxis Parts 1-3 (OST 10) Last Will and Testament Parts 1-4 (OST 11) Up the Stairs/Down the Hall (OST 12) Boy With Apple (FYC 09) Night Train To Nebelsbad (OST 13) The Lutz Police Militia (OST 14) Check Point 19 Criminal Internment Camp (OST 15) The Linden Tree (OST 16) J.G. Jopling, Private Inquiry Agent (OST 17) A Letter From M. Gustave (FYC 14) A Dash of Salt (Ludwig's Theme) Part 2 (OST 18) Traces And Shadows (FYC 15) The Cold-Blooded Murder of Deputy Vilmos Kovacs (OST 19) Escape Concerto (OST 20) The War (Prelude) (OST 22a) The War (Zero's Theme) (OST 21) No Safe House (OST 22b) The Society of the Crossed Keys (OST 23) M. Ivan (OST 24) Lot 117 (OST 25) Third Class Carriage (OST 26a) Agatha's Garret (OST 26b) Gabelemeister's Peak Station (OST 27) A Troops Barracks (OST 28) Cleared of All Charges (OST 29) The Ceremony (OST 30) Mr. Moustafa Part 3 (FYC 25) Kamarinskaya (OST 31) Traditional Arangement: "Moonshine" (OST 32) BONUS: Mr. Moustafa Part 1 [Alternate Mix] (FYC 01) Overture: M. Gustave H / A Prayer For Madame D [Alternate Mix] (FYC 03) A New Lobby Boy [Alternate] (FYC 04) Daylight Express To Lutz Parts 1 & 2 [Alternate Mix] (FYC 06) Last Will and Testament Parts 1 & 2 [Alternate Mix] (FYC 07) Up the Stairs/Down the Hall [Alternate] (FYC 08) Night Train To Nebelsbad [Alternate Mix] (FYC 10) The Lutz Police Militia [Alternate] (FYC 11) Check Point 19 Criminal Internment Camp [Alternate] (FYC 12) J.G. Jopling, Private Inquiry Agent [Alternate] (FYC 13) Escape Concerto [Alternate Mix] (FYC 16a) The War (Prelude) [Alternate] (FYC 16b) The War (Zero's Theme) [Alternate Mix] (FYC 17a) No Safe House [Alternate] (FYC 17b) The Society Of The Crossed Keys [Alternate] (FYC 18) Third Class Carriage [Alternate Mix] (FYC 19) Agatha's Garret [Alternate Mix] (FYC 20) Gabelemeister's Peak Station [Alternate] (FYC 21) A Troops Barracks [Alternate] (FYC 22) Cleared Of All Charges [Alternate Mix] (FYC 23) The Ceremony [Alternate] (FYC 24) Let me know if you have any other questions and I can try to answer. ragoz350, Disco Stu, Jay and 1 other 2 2 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,079 Posted January 15, 2022 Share Posted January 15, 2022 On 16/01/2020 at 1:26 AM, Disco Stu said: Hallelujah! Thank the maker! Grand Budapest is finally getting a Criterion release! What's the advantage of a Criterion release for such a recent film? Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted January 15, 2022 Share Posted January 15, 2022 28 minutes ago, Jurassic Shark said: What's the advantage of a Criterion release for such a recent film? Bonus features! Criterion have been releasing Wes Anderson’s movies for 20 years. It’s a tradition. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,079 Posted January 15, 2022 Share Posted January 15, 2022 Oh. I practically never watch bonus features. Link to comment Share on other sites More sharing options...
Popular Post Disco Stu 15,495 Posted January 15, 2022 Popular Post Share Posted January 15, 2022 Bonus features are the reason I love DVDs. Criterion is one of the only companies that still goes all out for them. The Anderson releases especially. TheUlyssesian, Once and Holko 3 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted January 15, 2022 Share Posted January 15, 2022 33 minutes ago, Jurassic Shark said: What's the advantage of a Criterion release for such a recent film? Here's everything new to the Criterion release, to be exact: New audio commentary featuring Anderson, filmmaker Roman Coppola, critic Kent Jones, and actor Jeff Goldblum 3 New Featurettes 'Vising The Grand Budapest Hotel' Design/Special Effects (25:21) Music (5:24) The Models and Miniatures of The Grand Budapest Hotel (2:10) The Making of ‘The Grand Budapest Hotel' B-Roll (21:28) Storyboards Animatics Hotel Intro (5:18) Washer Woman (1:00) Killing of Kovacs (2:37) Prison Escape (3:07) Gabelmeister's Peak (7:27) Hotel Show-down (6:10) Video Essays Wes Anderson Takes the 4:3 Challenge" by David Bordwell (23:23) "The Grand Budapest Hotel" by Matt Zoller Seitz (16:08) Disco Stu and Jurassic Shark 2 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted March 28, 2022 Share Posted March 28, 2022 From the Instagram of JoAnn Kane Music Service - Mark Graham discusses working Desplat's "The Grand Budapest Hotel" https://www.instagram.com/p/CbiultkFa7S/ fommes and Disco Stu 2 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted March 28, 2022 Share Posted March 28, 2022 Just realized I'd never actually seen a photo/video of Mark Graham before this, despite seeing his name so many times in credits or print interviews. He's older than I imagined, though I hadn't consciously decided on how old I thought he was. TSMefford 1 Link to comment Share on other sites More sharing options...
DangerMotif 1,038 Posted December 31, 2022 Share Posted December 31, 2022 On 28/3/2022 at 12:59 PM, TSMefford said: From the Instagram of JoAnn Kane Music Service - Mark Graham discusses working Desplat's "The Grand Budapest Hotel" https://www.instagram.com/p/CbiultkFa7S/ Does anyone know what exactly went down with this score? Because it seems like Graham did a lot of work and Desplat wasn’t at recording session?? Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted January 1, 2023 Share Posted January 1, 2023 5 hours ago, Gibster said: Does anyone know what exactly went down with this score? Because it seems like Graham did a lot of work and Desplat wasn’t at recording session?? Not entirely sure. I wish I knew more, for sure, as well. I hesitate to imply that Graham did most of the work and Desplat did very little. That's likely not the case. We only have footage and photos of the Balalaika Ensemble and a single photos of the Organ being recorded and Alpine Horns being recorded. The vibe that I get is that all the different groups of instruments were recorded at different times and different locations. So it's unrealistic to expect Desplat to be attending in person for all of them I would think. The Balalaika's were recorded in France at Studio Guillaume Tell. Air Studios, Abbey Road, and St. Jude-on-the-Hill (a church) were also used to record in. Graham does mention a "brass session", we know there were Balalaika sessions, the Alpine Horn session, the organ in there somewhere. Desplat was definitely at some kind of session as he is one of the whistlers. I'm only assuming this is the case of how it was done, as I haven't yet seen any group comprising of more than one type of instrument pictured together. They also drop in and out certain things in the film mixes (present on the OST, the FYC seems to use what was originally intended by Desplat) so it would make sense that they recorded so separately. Really not sure myself though, just guessing. I'd love to know more about the process. I'd also add it does seem there was a lot of creativity and ideas thrown around late in the game and while they were recording. Link to comment Share on other sites More sharing options...
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