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Posted: |
Dec 5, 2010 - 4:23 PM
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By: |
Gunnar
(Member)
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Mike, thanks for taking the time to come up with those detailed examples! I will keep an ear out for them! Although I pay attention to instrumentation, I never really did comparisons during different periods of Williams' writing so far.
But just when I was typing the last sentence, "Fireplace Escape" came up, and the finale of that track reminded me a lot of JURASSIC PARK - those frenzied woodwinds on top of a repeated pattern. So, I'm slowly starting to pick up more instances where Desplat carries over a flavour of Williams' music without ever aping him - the whole score is still very much Desplat.
Daniel, thanks for your "Order of the Phoenix" review! I don't own that soundtrack, but I appreciate your positive comments, as I found the wave of negativity that Hooper's work received back in its day a bit unfair. I think all of the composers served the series quite well with their particular contributions, even if I don't consider all of them perfect listens away from the film. I think the worst would have been if we had gotten a series of laboured Williams pastiches.
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Posted: |
Dec 5, 2010 - 5:23 PM
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By: |
Gunnar
(Member)
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Well, my sample size is still small in both cases, but I found Young's score for CREATION absolutely addictive in its beauty (http://filmscoremonthly.com/board/posts.cfm?threadID=63434&forumID=1&archive=0). As for Yared, I love THE LIVES OF OTHERS for a small, almost chamber-music like approach (although I'm less happy with the album, because I always have to program around the East German pop songs). THE ENGLISH PATIENT and, more recently, AMELIA, I love for their very rich, melodic, diverse (but never bombastic) character. It would be awesome if there was finally a chance to hear his rejected score for TROY, too.
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I've just added my Nicholas Hooper interview to the blog. It was conducted way back when The Order of the Phoenix was released. Have fun reading! My postscript to my Desplat review will be up in a couple days, want to get it right without jumping to any swift conclusions!
http://danielthomaschampion.blogspot.com/
Oh yeah, I agree with Marlene, The digital presentation of this film was flawless. Good to hear Desplat's score accompanying the film in lossless audio too - a delight that 35mm cannot offer.
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Posted: |
Nov 30, 2014 - 3:08 AM
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By: |
Mike West
(Member)
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after revisiting the scores for both parts, I felt the last chapter, 7.2, did not really prove as a longliving scores, did it?
What do you think?
I think that 7.1 had an interesting start with a lot of interesting thematic threads,
and then 7.2 somehow did not use some of them,
like the fantastic death eater in the beginning of 7.1., this is not coming back somewhere.
I miss some thematic integrity, a lot of music without thematic references, though there are
plenty of opportunities.
A lot of people liked that RC-inspired music when in Hogwards everyhting goes down,
I did not so much, it felt like a stranger part of the score not connecting to what did come before.
Also the finale, I felt a bit disappointed about it.
So for me it felt like a missed opportunity, part 7.2
Having said that, I admire Desplat's music very very much, though I exeperience that I tend to not have the motivation to go back to it as much as I have that with other music.
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I simply love "Obliviate" - what a wonderful piece of music, conveying the sadness, the longing and the hope. Perfect Desplat!
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