Alexandre Desplat

[hp_gof]

Najpierw obejrzyjmy film, a potem oceniajmy czy to źle, że nie wydali muzyki

[Adam]

nic nie napisałem o muzie

[hp_gof]

Bardzo elegancki odcinek
https://player.pl/programy-online/najpi ... E05,124550

[bartex9]

No Olek się zbytnio nie napracował. W filmie jest może z 15 minut muzyki Wszystko opiera się na całkiem ładnej "pieśni", głównie na chór dziecięcy, choć pojawia się również w innych aranżacjach. Melodia bardzo ładna, wpadająca w ucho ale nic ponadto.

[Wawrzyniec]

To tyle po drugim Crimson Tide, Hunt For The Red October, Das Boot, K-19, czy Gray Lady Down

Spoiler:

youtu.be/8dENYJbN1z4

[Adam]

czyli standard :

[hp_gof]

Film jest moim zdaniem średni, gatunkowo zdecydowanie dramat, natomiast muzyki łącznie z ładną suitą z napisów końcowych będzie ponad 20 minut. Szkoda że nie wydadzą, choćby w cyfrze, bo ten główny motyw/pieśń jest świetny. I mam potwierdzenie w napisach końcowych, że Olek napisał do tej chóralnej pieśni muzykę, a tekst kto inny. Śpiewał chór London Voices, nagrywała Philharmonia Orchestra. nagrywali w kilku londyńskich studiach, w tym w Abbey Road. Na więcej muzyki potencjału w filmie niestety nie było, ale i tak pozytywne zaskoczenie i doświadczenie

[Radek]

Hapek, cóż za gustowny nowy avatar. Jestem pod wrażeniem.

[Adam]

Czyli jak do Romka - jeden temat i to tyle jeśli chodzi o muzykę w filmie.. Szkoda angażować takiego kogoś do takiego joba, bo za jego gażę dziesiątki kompozytorów z mniejszym nazwiskiem by nagrało większy i dłuższy score.

[hp_gof]

Hapek, cóż za gustowny nowy avatar. Jestem pod wrażeniem.

Och, Radek, również i Twoja czapeczka niczego sobie

[hp_gof]

Ciekawy wywiad z Olkiem na francuskim portalu. Wklejam intrygujący fragment o Rogue One i Valerianie przetłumaczony przez Google Olek się rozgadał.
http://www.underscores.fr/rencontres/in ... e-desplat/

It's been different on Rogue One? What really caused your departure?

It is very simple. I had to record in July, then in August, then in September, then finally in October ... I had met Luc Besson six months before and I absolutely wanted to do Valerian . Besson is really one of our major directors, who has never really been recognized, except by the public in France, which I find a little pity anyway. Because as a director he is damn strong. And Valerian was a sci-fi universe that I liked. Where, in the end, I thought I might have found a different universe. A new universe. That the universe of Star Wars did not offer. When dates began to exceed three months, I knew I was going to lose Valerian . I had already started writing almost two or three reels, but I did not want to lose that project.

Could some of your compositions for Rogue One have filtered to Valerian?

Not at all. It never happens to me. I would love to have drawers full of stuff, but there is nothing in my drawers. There is no drawer, actually. In my drawers there are only pencils or pens, but there is no music. When I take notes it's chords, patterns, little things ... And the models, they are at the bottom of my computer, I have never re-opened and never re-listened. No, it's part of a universe. It's as if I was going to look in my sketches of The Grand Budapest Hotel for something, I do not know me, for Monuments Men . It does not make sense.

Luc Besson usually works with Eric Serra. Why did he come to get you for Valerian?

I asked him the question, when I met him, because I did not want to go into the wall. And the only thing he said is, "I want a symphonic score with melodies, so I want it to be you. The thing was clear. There was no ambiguity. He did not want me to write music like Eric Serra could have done. There was an extremely bright field. I really liked working with him, it's a type of efficiency, a sharpness in the work absolutely incredible. Absolute calm. Of surgical precision. He has a crazy ear. Once he hears a five-minute piece, he tells you: "So, that passage, the trumpet I think it's too strong, and here I do not like the oboes towards the end on the characters ... "He's super strong. Working with him was really one of my best collaborations. For the next, if he beckoned me, I would go back with him. He is super strong. He impressed me a lot.

You recorded it with the NFB, at the Maison de la Radio, at Studio 104. Why and how?

First of all, I was not the one who realized that, it's Solrey, because she played a lot with the radio band when she was a violinist, she knew the flowchart to try to create something there. So it's really thanks to her, I have no credit to draw from that. But this film was shot in France, in Luc's studios, and we found that going abroad to record it did not make much sense. So we tried to find solutions. There is no studio in Paris where you could record. No studio of the right size to put 95 musicians. And Solrey said, "Why would not we try to record it at Radio House? I will try to convince everyone. Michel Orier (Director of Music and Cultural Creation at Radio France, Editor's note), Eric Denut (Music Delegate at the Directorate General of Artistic Creation of the Ministry of Culture, Editor's note) followed us and it was fantastic. The teams were great, the sound is wonderful and the orchestra was fabulous. We managed together to do a professional job, relaxed, demanding. It was great. For me it was one of the most beautiful experiences, as beautiful as with the LSO or an orchestra in Los Angeles.

That's what led to the concert scheduled for December at the Maison de la Radio?

Absolutely yes. It is this collaboration. We will also play Valerian in concert, which I have never done. A continuation certainly of The Shape Of Water too. And then there is still a soloist who is invited, it is Emmanuel Pahud, our great flutist - even if he is Swiss, he is a little French (laughs) - who will interpret my concertante symphony for flute and orchestra, for the first time entirely in Paris, and a piece for solo flute.

Tutaj fragment o niewydanych scorach:

Of all your movies, there are a lot of things that do not come out on record. There are reasons for that?

It's a question of conjuncture. It may be because the film came out and did not really work, and I say, "What's the point of releasing a record? It may be that I am not satisfied with the recording for many reasons, or that I think it sounds too much like a score I have written before, and that finally it will not do much, 'hear that it's not the revolution either, so what's the point ... Maybe if one day there's a compilation, I'll take a piece of one, a piece of the other and I will put together. It's been ten years since Lerouge talks about it so maybe we'll get there one day. I said I did not want to do it before the first Oscar. We'll wait for the third maybe ...

[Adam]

Jedno pytanie - piszesz coś przez kilka msc, NAGRYWASZ 2 godz muzy, i mamy uwierzyć, że podsumowanie tej pracy to wzruszenie ramionami i cały ten score poszedł do śmieci i nic a nic z niego nie wykorzystał na późniejsze projekty? Bez jaj Nawet Williams sobie pisze do szuflady a potem z niejednego pomysłu korzysta...

[hp_gof]

Zapytaj go o to w maju Łatwo jest heheszkować na forum, możesz się skonfrontować z nim face-to-face i zarzucić kłamstwo Ale pewnie będziesz wolał polecieć na klęczkach po kolejnych 10 autografów wciskając kit, że kochasz score, który tak naprawdę zlewasz Just sayin'

[Kaonashi]

[Adam]

Knashi mnie ubiegł