The Shape of Water - Alexandre Desplat (2017)

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Janusz Broxton

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Nawet dla takiego perfekcjonisty jak Olek profesjonalny "gwizdacz" był zbyt profesjonalny Więc zagwizdał sam

Alexandre Desplat
“The Shape of Water"

For Guillermo del Toro’s “The Shape of Water,” composer Desplat had the unenviable challenge of both grounding and accentuating the fantasy in a story that is part fairy tale, part Cold War spy thriller, part erotic creature movie.

“When I saw the film the first time,” he said, “it’s such a flow of love, of energy, of beauty on-screen, of incredible performances. The music has to make you believe that it’s real, but also have this little sense of fable depth, that you’re entering into a submarine world. There’s a current, and you let the current guide you and take you through.”

He was inspired by the fluidity of Del Toro’s constantly moving camera, and by the importance of water to the story. He wrote music for 12 flutes along with harp and other “watery” instruments. Even his main melody for Elisa (Sally Hawkins), which bobs on top of two undulating chords, has “the shape of water.”

Elisa is mute, but she whistles — so her tune is often whistled in the score.

“I whistled on the demos,” Desplat said, “but at Abbey Road, we brought in a world-champion whistler. He was amazing. He could really whistle anything, and in tune, and it was perfect. When we played it back, we realized it was too perfect. [It] had killed the emotion. The fragility in my whistling was just warmer.”

The composer nodded to the mysterious Latin American origins of the aquatic creature by assigning his melody to accordion, played like a bandoneon from Argentina. Whistle and accordion dance in a waltz as the two outcasts fall into friendship, and the themes gradually swell into the full orchestra.

There’s music for the cowardly spy, the wicked military man, and the danger the oppressed protagonists find themselves in — but at its core, the film is a love story, and an unusually earnest one at that.

“It’s Tristan and Isolde,” said Desplat. “It’s a real, deep love story, and that’s what makes the movie, to me, with no doubt, a classic — because there’s no fear of showing love, and showing a love story with elegance, but at the same time with passion.”

http://www.latimes.com/entertainment/en ... story.html

[Kaonashi]

Mogli temu gwizdaczowi nalać wódki przed sesją, to by był bardziej naturalny.

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Może Olek wolał sam tej wódki się napić Najlepiej Żubrówki

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Klip z muzyką (Elisa & Zelda):
http://www.filmweb.pl/video/fragment/El ... lski-44800

[Koper]

Ty nie poleciałeś do tej Kanady??

[Wawrzyniec]

Skoro to "Shape of WATER" to może tam popłynie?

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Promocji ciąg dalszy (kolejna ciekawostka na temat instrumentarium, tym razem w utworze The Escape):

Scoring the Life Aquatic

In Guillermo del Toro’s “The Shape of Water,” everything becomes an aquatic metaphor in this 1962 love story between a mute night janitor named Eliza (Sally Hawkins) and a majestic aquatic creature (Doug Jones) who cannot speak.

“Guillermo’s opening the door to a fairy tale and I tried to figure out how I could bring the audience into that world and capture the sound of water, the sound of impossible love, the sound of danger, the sound of torture,” said Oscar-winner Desplat (“The Grand Budapest Hotel”).

The composer found a haunting melody that plays like waves, orchestrated in a way that evokes the sensation of being underwater. The composer first focused on the opening scene, which he described as an underwater dream, a “Once Upon a Time,” introducing Eliza floating serenely.

“It’s a musical and the music sings for them. It’s a way of communicating and is in the DNA of the film,” Desplat said. “It starts very gently and grows…not just in little streams but in wider, deeper territory. Piano, piano, 12 flutes, La Bella strings, my whistle, an accordion, which would become the instruments of the characters. The whistle represents Eliza and the accordion the creature.”

There’s ominous music when the creature appears. It’s a moment of danger and uncertainty, but from the start, the music helps reassure us that Eliza has made the right choice in being drawn to the merman. “There’s the love story motif and the Eliza motif and sometimes that grows into the love story motif,” added Desplat.

Even in scoring a suspenseful action sequence for Eliza’s heist of the sparkling river god, the composer went unconventional. “For the first time in the score, I brought in some South American instruments: percussions, bongos, congas. I wanted a South American vibe to appear discreetly, and also remind us of the many scores from the early ’60s.”

The love vibe extended to Desplat’s reworking of the pop standard, “You’ll Never Know,” for which he enlisted opera star Renée Fleming. She recorded a jazz version that he arranged and recorded later with the London Symphony Orchestra. “Strangely enough,” admitted Desplat, “if I look back, I didn’t write so many romantic, passionate love stories.”

http://www.indiewire.com/2017/12/oscars ... ssion=true

[Koper]

Skoro to "Shape of WATER" to może tam popłynie?

Z uchodźcami na tratwie, jak przystało na lewaka z krwi i kości.

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Matko święta, Olek doczekał się swojego konta VEVO


youtu.be/HA8dDFFvOUw

[Adam]

cóż, ludzie zaczynają mądrzeć, że bez social media nie istnieją

[hp_gof]

Myślę, że to raczej kampania oscarowa Foxa

[Adam]

aha, a konto na insta mu też założył Fox i wrzuca filmiki ze studia... jasne

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A ma konto na insta? Nie zauważyłem...

[Adam]

takiś fan ma od jakiegoś czasu i fonem filmiki kręci