I'm not a Desplat fan [but then there's much of his stuff I'm not familiar with] but it could have been Zimmer or a Remote Control guy, so I'm happy. Being a huge Godzilla fan, I'm hoping this film will wash away the foul stench left by the 1998 pile of crap.
For me, one of the best recent scores is Desplat's 'Zero Dark Thirty'. Obviously, I have no idea how he'll approach Godzilla but this cue shows his approach for a tense scene building up to action in the earlier movie.
[ (incidentally -- and if you must know -- the thread attracted me because I'm interested in a new GODZILLA film, but not necessarily Desplat's involvement) ---------------- This thread is in the General discussion section so it's about film scores, in this case for Godzilla for which Alexandre Desplat has been signed. Therefore most people will be discussing that news. A thread with general discussion about Godzilla should be set up on the Non-Film Score Discussion thread.
When I first starting hearing scores by him (my first exposure was Hostage, while watching the film in the cinema, which blew my socks off) I really thought we had a new James Horner style arrival*. Subsequent listens like Birth and Girl With Pearl Earrings only confirmed this excitement. Then, around the time he seemed to be scoring every other film released, I lost interest in his music and it became less exciting and fresh to my ears. Every now and then, I hear bits that still sound real nice (parts of The Queen and King's Speech, plus the Finale music in Argo) but generally his music has fallen flat to me. I thought his Potter scores were a crushing disappointment. I expected much more from him for them.
*I am aware he was active in France for years before, I'm talking about his Hollywood debuts.
I'm not a Desplat fan [but then there's much of his stuff I'm not familiar with] but it could have been Zimmer or a Remote Control guy, so I'm happy. Being a huge Godzilla fan, I'm hoping this film will wash away the foul stench left by the 1998 pile of crap.
I totally agree with you about that giant turd that passed for a kaiju film in 1998. I tried watching it again and just couldn't. It's sooooo bad. Compare that to Godzilla vs The Thing or Destroy All Monsters and it's just pitiful. Heck, I even prefer Son of Godzilla.
Of course my all time favorite kaiju film (second to Gojira of course) is DaiMajin. For 2/3 of the film, it could be mistaken for a samurai epic. Then the final act all hell breaks loose and the giant stone statue starts his rampage of death and destruction aided by Ifukube's thunderous score. Ahhh, good times.
For me, one of the best recent scores is Desplat's 'Zero Dark Thirty'. Obviously, I have no idea how he'll approach Godzilla but this cue shows his approach for a tense scene building up to action in the earlier movie.
You know, I am a big Desplat fan but I didn't hear this one. This track is exactly up Godzilla's alley.
People hating on Desplat's Potter are still bitter that Williams didn't do it. Otherwise, they would have being able to appreciate the variety of sounds, styles, themes, and approaches that Desplat brought to the franchise.
Also, the scores brought a lot of japanese influence (taiko drums, shakuhachi), moments of suspense ala War Of The Worlds (Bathilda Bagshot and Underworld are a clear example), big choral material (besides the choral song My Love Is Always Here, the choral parts -both the ones that are audible or buried under the orchestra -) and new tricks from Desplat (Besides his typical synth pulse, there's also a bass organ pedal), which not only gave Harry Potter a sound that truly deserved (and much more better than Williams's generic Hook sound), but also something different from Desplat, who in that time was only knew for scoring comedies and writing waltzes.
He developed that sound with Largo Winch 2 (moments of suspense, plus the shakuhachi) and Rise of the Guardians (organ pedal, taikos, choir, and Renee Fleming performing the main theme). That kind of sound in Godzilla would be perfect.
People hating on Desplat's Potter are still bitter that Williams didn't do it. Otherwise, they would have being able to appreciate the variety of sounds, styles, themes, and approaches that Desplat brought to the franchise.
People hating on Desplat's Potter are still bitter that Williams didn't do it. Otherwise, they would have being able to appreciate the variety of sounds, styles, themes, and approaches that Desplat brought to the franchise.
Or they just have a different opinion to yours.
Indeed. I am a Desplat fan, but I could never warm up to his "Potter" scores. I suspect the director's demands for a lower-key approach than Desplat might have done on his own (pure speculation, that) was some of the reason. But who knows?
People hating on Desplat's Potter are still bitter that Williams didn't do it. Otherwise, they would have being able to appreciate the variety of sounds, styles, themes, and approaches that Desplat brought to the franchise.
Or they just have a different opinion to yours.
Indeed. I am a Desplat fan, but I could never warm up to his "Potter" scores. I suspect the director's demands for a lower-key approach than Desplat might have done on his own (pure speculation, that) was some of the reason. But who knows?
Desplat used a full orchestra and choir (male, female, boy voices, and vocal soloists) in almost every cue of the score (the full sessions have five hours of music), he made the most thematic scores of the series since the first two, besides honoring the styles of the previous composers, and bringing a lot of styles and sounds of his own (djembes, hand drums, taikos, shakuhachi, pedal organ, synth pulse, bendir, daikos, electric and acoustic guitars, theorbo, lute) to redefine the musical landscape of the franchise. That doesn't sound like a low key approach. In fact, he never has done something as big since The Golden Compass (and the only score to come close of this ever since was Desplat's Guardians, and Lockington's Percy Jackson)
Also, Desplat scored the most emotional and intimate films of the series, imagine if he would have done Goblet Of Fire or Order of the Phoenix, it would have being different. Also, Desplat being a fan of the books, the films, and the scores, he understood perfectly what the story needed. Another composer wouldn't have written something like Courtyard Apocalypse, or Lily's Theme (if Hedwig's theme was perfect to start the series, this one was perfect to finish it) that truly represented what the Harry Potter world was supposed to sound like.
Yony, it's obvious you're passionate about these scores (your avatar makes that plain), and that's terrific. I'll try them again, before long. I certainly didn't hate them, and yes, there are themes and a big orchestra/choir. And yet… I don't know, they just haven't clicked with me.
[ (incidentally -- and if you must know -- the thread attracted me because I'm interested in a new GODZILLA film, but not necessarily Desplat's involvement) ---------------- This thread is in the General discussion section so it's about film scores, in this case for Godzilla for which Alexandre Desplat has been signed. Therefore most people will be discussing that news. A thread with general discussion about Godzilla should be set up on the Non-Film Score Discussion thread.
The thread was about the new GODZILLA film and Desplat's association with it. There was no "only salutations are allowed!" comment in the first post, so I assumed all kinds of reactions were allowed. If that was not the case, I apologize.
Also, Desplat scored the most emotional and intimate films of the series, imagine if he would have done Goblet Of Fire or Order of the Phoenix, it would have being different.
Thank gods Desplat didn't do Goblet of Fire. Doyle's is by far the best score in the series.
Also, Desplat scored the most emotional and intimate films of the series, imagine if he would have done Goblet Of Fire or Order of the Phoenix, it would have being different.
Thank gods Desplat didn't do Goblet of Fire. Doyle's is by far the best score in the series.
AZKABAN is the best...by FAR! But I would agree that Doyle competes for second place.
