![Smile :)](./images/smilies/icon_smile.gif)
youtu.be/ULaWQSh4SgU
haha ale to był hit.
http://www.awardsdaily.com/2017/08/31/v ... ape-water/The camera leads us into a sunken world of floating objects and hushed, emerald-colored dreams. In the background, the sound of French accordion rises and falls to a most beautiful tune (more on Alexandre Desplat’s Oscar-caliber creation later) so beguiling you’re immediately taken out of the realm of reality.
[...]
If there’s one stand-out, however, it’s probably the aforementioned score by Desplat. The striking main theme carries at once notes of mystery, awe and tenderness. With one sudden dip in melody it can send you dropping down from giddy anticipations to the depths of lovesick solitude. Incredibly evocative work.
https://moviesroom.pl/publicystyka/spra ... human-flowzarówno walory produkcyjne, aktorstwo i muzyka autorstwa Alexandre'a Desplata są wspaniałe.
http://www.theupcoming.co.uk/2017/08/31 ... d-jenkins/How was working together on the score and the process of composition? Reconciling romanticism and darkness.
Alexandre Desplat: I’m French! [laughs] Well, Guillermo understood the importance of emotions for storytelling. So we tried to emphasise that with the music without being pushy or patronising. Music was coming out of the film like water flowing inside and outside. There were some French and Italian references – Nino Rota and Georges Delerue – and then it was just a matter of finding the right dynamic of the emotion, never going to far: settled but as moving as we can.
GT: I love Alexandre’s music. We had lunch one day in LA, one week after the shooting, I showed him the film. He asked me what references and I said Nino Rota and Georges Delerue. I wanted true emotion. From that moment on I had to make the sacrifice to go to Paris many times – I still paid for the trips [laughs]. We would go to great restaurants and talk about the movie. The crucial moment was when we were looking for instruments in the studio and I asked: why don’t you whistle it? In a movie about water it’s great to have air. Alexandre is the one who whistles in the film. With emotion you need to have a good partner and I think that between Mexicanness and Frenchness we found emotions and some control. Mixing Mexican and Italian would be crazy!
American Pastoral
Owszem, Light Between Oceans należy do gatunku dramatycznegoKaonashi pisze: Ja słuchałem ze 2-3 miesiące "Light Between Oceans" - to był dramat.![]()
http://awardswatch.com/forums/showthrea ... ost3082408I've used this software to recognize the music from the trailers, apparently with the results coming in:
2nd track in the first trailer: "Nobody Speak"-Run the Jewels
2nd track in the UK trailer:"A Summer Place(Young Love)"-City of Prague Philharmonic Orchestra
Both first tracks can't be recognized by the algorithm so they're likely from original score.
http://www.hollywoodreporter.com/review ... 17-1034831And Alexandre Desplat's score works overtime, shifting from sleepy cocktail jazz into needling agitation before pulling out all the stops and going the full Bernard Herrmann.
http://www.thewrap.com/suburbicon-revie ... -brothers/Composer Alexandre Desplat channels Bernard Herrmann as hard as he can to provide this movie with some genuinely suspenseful underpinnings, but the music winds up offering far more than the film can handle.
https://www.screendaily.com/reviews/sub ... 19.articleAlexandre Desplat’s jaunty score helps keep the period mood bubble in place even when the going gets rough.
http://theplaylist.net/suburbicon-venic ... -20170902/It’s a place, the announcer-voice tells us over Alexandre Desplat’s piping, cheerily parodic score, that is “a melting pot of diversity” in that it features blindingly white families from New York, Ohio and “even Mississippi” smiling apple-pie smiles.
http://www.firstshowing.net/2017/venice ... s-perfect/The whimsical score by Alexandre Desplat was another nice addition, and the set design is outstanding.
http://www.cine-vue.com/2017/09/venice- ... eview.htmlViolence increasingly takes the place of punch lines - not so much Grand Guignol as Petit-Bourgeois Guignol - and throughout the whole film Alexandre Desplat's score is as ubiquitous as the music in a Tom and Jerry cartoon.
https://mixedsign.com/2017/09/02/review ... uburbicon/These two boys are very important, they are the future generation and, thanks to the music of composer Alexandre Desplat, optimism is the final emotion that the spectator feels.
https://www.unospitedivenezia.it/74th-f ... e-clooney/In un’escalation di tensione, in un ritmo serrato, colpo di scena dopo colpo di scena, Clooney con i fratelli Coen e il fidato Heslov, mettono in scena una commedia nera dagli echi Hitchcockiani (aiutati dalle sublimi musiche di Desplat) in grado di intrattenere con estrema intelligenza, senza eccedere mai, ma portando sotto gli occhi l’America di oggi.
http://www.finanziamentiagevolati.org/2 ... e-clooney/Un doveroso plauso anche al regista George Clooney, che si lascia alle spalle il passo falso di Monuments Men dimostrando la propria maturità artistica con una perfetta direzione di assolute eccellenze nei rispettivi campi, come il suo fedele direttore della fotografia Robert Elswit, abile a patinare al punto giusto la perfetta apparenza di Suburbicon e a esaltare il suo lato oscuro, lo scenografo Jim Bissel e la costumista Jimmy Eagan, autori di un’azzeccata finta impeccabilità nelle location e nei vestiti dei protagonisti, e il compositore Alexandre Desplat, che adatta il suo stile ormai inconfondibile al lato più torbido della storia, enfatizzandone il crescendo di tensione e violenza.
https://www.cinematographe.it/eventi/fe ... ntervista/Next, composer Alexandre Desplat took the floor on his Suburbicon soundtrack:
There is a rage under the film, but in the end there is light, because those guys are hope. In this little city created for love and humanism everything is crumbling except these two. I tried to keep it in mind while I was composing.