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Desplat wins French Cesar for film scoring

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Author	Topic: Desplat wins French Cesar for film scoring

Bond1965 Standard Userer	Alexandre Desplat won the Best Film Score award last Saturday night for his score to De battre mon coeur s'est arrêté (The Beat That My Heart Skipped). The other nominees were: Joyeux Noël - Philippe Rombi Marche de l'empereur, La - Emilie Simon Va, vis et deviens - Armand Amar I guess this makes up for his lack of an Oscar nomination for Syriana or Hostage. To be honest, De battre mon coeur s'est arrêté is one of his least interesting scores. I found Rombi's score to Joyeux Noël to be the best of the bunch nominated. James
posted 02-26-2006 05:27 PM PT (US)

DavidOC Standard Userer	It must have been one hell of a weak year if that score could garner any kind of award. It's listenable but a VERY undistinguished score to say the least! Obviously Desplat is becoming just as overrated in his own country as he's becoming in the rest of the world.
posted 02-26-2006 06:02 PM PT (US)

BMikeJ Standard Userer	Which score are you talking about?
posted 02-26-2006 06:17 PM PT (US)

franz_conrad Standard Userer	quote: Originally posted by DavidOC: Obviously Desplat is becoming just as overrated in his own country as he's becoming in the rest of the world. He's not that over-rated yet... I've not heard Firewall yet, but all his other English language films are really superb examples of scoring.
posted 02-26-2006 08:31 PM PT (US)

Dinko Standard Userer	Of the French scores that Desplat has done, not a single one has caught my attention much. I think he was just as overrated back then as he is now - with respect to his French scores. His recent Hollywood scores are far more interesting than any of the French stuff I've heard thus far.
posted 02-27-2006 09:30 AM PT (US)

franz_conrad Standard Userer	quote: Originally posted by Dinko: His recent Hollywood scores are far more interesting than any of the French stuff I've heard thus far. Les Milles is great... I don't really know the other stuff. But isn't that strange - the films that are probably of better quality had less interesting scores... film scoring is a strange art.
posted 02-27-2006 03:33 PM PT (US)

sean Standard Userer	O.K., what is the big frakin' deal with Alexandre Desplat!?! I've listened to Hostage; I've listened to Syriana; and I've listened to Firewall in a big effort to hear music from a supposed musical "genius" or whatever the hell he's being put on some kind of pedestal for (mainly from FSM) ... and guess what? They all suck or are just plain uninteresting. Perhaps I'm just missing the big picture here, but what score of his is supposed to show what a great "new" composer he is? Because it's pretty obvious to me, from the three I mentioned above, that there's nothing bloody special about this dude's scores; they're all mediocre. Is he big in France or something? Anyway, I'd really love to what is so special about his music. And to original post-er of this thread, Why on Earth should Alexandre Desplat be nominated for either Syriana or Hostage? Is anyone else mad that Alexndre Desplat wasn't nominated for an Oscar for either Syriana or Hostage? (Being nominated for the latter would be like nominating Mark Mancina and Trevor Rabin for Con Air, given the stupidity of Hostage.)
posted 02-27-2006 04:43 PM PT (US)

Dylan Standard Userer	Overrated?! What the hell? Do that many people even like him? Personally, I felt that Desplat's "Birth" was a unique masterpiece and it truly feels like something I haven't heard before. I can't imagine anybody even remotely interested in film music not appreciating it. I would put that score in my top twenty of all time. "Girl with a Pearl Earring" and "Reines d'un jour" are great as well. I don't find "Hostage" to be as listenable, personally, but it's one of the better action scores of the day. "Syriana" is interesting, but also not all that listenable. I haven't heard "Firewall," but what I have heard isn't as good as "Hostage." I'm still waiting for a more interesting director to approach him... Meanwhile, I heard "The Beat That My Heart Skipped" is only a twenty minute score. Philippe Rombi is very good (especially Jeux D'Enfants...is "Merry Christmas" anything like that?), but I think Desplat is better. Dylan [Message edited by Dylan on 02-27-2006]
posted 02-27-2006 05:07 PM PT (US)

BMikeJ Standard Userer	quote: Originally posted by sean: O.K., what is the big frakin' deal with Alexandre Desplat!?! I've listened to Hostage; I've listened to Syriana; and I've listened to Firewall in a big effort to hear music from a supposed musical "genius" or whatever the hell he's being put on some kind of pedestal for (mainly from FSM) ... and guess what? They all suck or are just plain uninteresting. Perhaps I'm just missing the big picture here, but what score of his is supposed to show what a great "new" composer he is? Because it's pretty obvious to me, from the three I mentioned above, that there's nothing bloody special about this dude's scores; they're all mediocre. Is he big in France or something? Anyway, I'd really love to what is so special about his music. And to original post-er of this thread, Why on Earth should Alexandre Desplat be nominated for either Syriana or Hostage? Is anyone else mad that Alexndre Desplat wasn't nominated for an Oscar for either Syriana or Hostage? (Being nominated for the latter would be like nominating Mark Mancina and Trevor Rabin for Con Air, given the stupidity of Hostage.) Sean, sometimes you are so ignorant, it makes my gums bleed. Desplat has been writing music for film since 1985. If you took five seconds to look him up on IMDB, you would see that he's been around. Most of his output has been in France and you obviously haven't heard it. Here's an idea... Why don't you come up with something that resembles a valid criticism, apart from "this music sucks, dude". You don't like what you've heard from him so far? Fine. Nobody says you have to like everything. But at least have a little courtesy for others.
posted 02-27-2006 05:41 PM PT (US)

franz_conrad Standard Userer	quote: Originally posted by sean: Is anyone else mad that Alexndre Desplat wasn't nominated for an Oscar for either Syriana or Hostage? (Being nominated for the latter would be like nominating Mark Mancina and Trevor Rabin for Con Air, given the stupidity of Hostage.) You're talking about the films sharing a certain stupidity I imagine. Because any comparison of the compositional finesse of Rabin and Mancina with Desplat is indescribably shallow. Their innovative power chords and syncopated rhythms leave the Frenchman's contrapuntal elegance and austere themes for shame. Dylan, I too was overawed by BIRTH, LUZHIN DEFENSE and GIRL WITH A PEARL EARRING. SYRIANA is an excellent film score, if slightly awkward as an album. HOSTAGE worked great in the film and on album. UPSIDE OF ANGER isn't bad either.
posted 02-27-2006 06:29 PM PT (US)

sean Standard Userer	quote: Originally posted by BMikeJ: Sean, sometimes you are so ignorant, it makes my gums bleed. HAHA! That's awesome! Your posts, on the other hand, don't phase me. Here's the thing: your posts aren't what I'd consider intelligent by any means ... remember that hissy-fit you had about The Family Stone, you crazy mf. All I was saying, in my own special way, was that desplat's music is nothing special and nobody should be upset that Hostage or Syriana aren't nominated for Oscars ... besides, the best scores (almost) never win or are nominated, so screw that noise. And I obviously, honestly, couldn't give a damn about Alexandre Desplat's past; I just wanted to know what score would make me believe he's a composer worth looking into. To franz: yeah, I was talking the films Hostage and Con Air; they're both silly. Hostage probably has a better score, yet both films demand different approaches so its a bad comparison.
posted 02-27-2006 07:34 PM PT (US)

BMikeJ Standard Userer	What hissy fit are you talking about, you ignorant moose? Do you have me confused with someone else who might have called your ignorance into question? You're just what this board needs. Another ass who wears his ignorance like a badge.
posted 02-27-2006 08:17 PM PT (US)

PeterK FishChip	This could be a good discussion. Come on. I'm taking both sides, and talking to both sides.
posted 02-27-2006 08:21 PM PT (US)

BMikeJ Standard Userer	There is no discussion here, Peter. That's my point. It's just sean and his jibbajabba. If he took two seconds to articulate what he doesn't like about the music, we might have something to talk about. Instead, we get "Dude, the music sucks"... Regardless of how sean feels about Desplat, the composer has been working for at least two decades and he's been nominated for Golden Globes and other awards. Somebody thinks he knows what he's doing and just because sean doesn't hear it, he feels the need to attack it. If you're going to talk about something you're interested, you ought to be able to do so critically... and if you can't, you ought to at least admit that you can't and maybe consider reading up on how to think critically.
posted 02-27-2006 08:32 PM PT (US)

PeterK FishChip	Then coax it out of him without the "ignorant moose" part. That's hardly going to get the discussion to the point where we'd all benefit. Thanks for understanding where I am coming from.
posted 02-27-2006 08:37 PM PT (US)

sean Standard Userer	I think Peter's right about this being a potentially good discussion and I also think he's right about you (BMikeJ) calling me an "ignorant moose" ... nice one; great way of being articulate and displaying your formidable intelligence in regard to film scores. And as far as being a member of this board, I've evidently been here longer than you and am betting I've more to show for it than you do. You seem only interested in lecturing those who don't agree with you, and writing at someone like myself as if I were sub-human—now, I don't take you seriously, so keep at it, but just know that you're putting your foot in your mouth. Its obvious that I mistook you for someone else (Bond1965) about The Family Stone, so that's that; a thousand apologies. But I do remember your holier-than-thou words about Kingdom Of Heaven and about me, personally. I fail to see why you take my words to heart (and strangely enough, it must give your dentist a head ache too, given your comments above), and why they anger you so much. Your attitude is still disturbing and for all your high and mighty talk, you've got nothing to show for it; you couldn't even point me in the right direction to a good Alexandre Desplat score that might erase my supposed "ignorance." Back on topic: I hear Birth is rumoured to be a great score. Is that true? Is it worth checking out? [Message edited by sean on 02-28-2006]
posted 02-28-2006 04:26 PM PT (US)

BMikeJ Standard Userer	sean, you may have signed onto this board a mere 4 months before me but I have posted quite a bit more than you have. And I would say that me calling you an ignorant moose is kinder than the words that you used for me. I believe you called me a crazy mf. Perhaps Peter did not notice that in your post since you chose not to spell it out. Whatever... Why should I point you towards anything? Your ignorance entitles you to nothing. [Message edited by BMikeJ on 02-28-2006]
posted 02-28-2006 04:46 PM PT (US)

Bond1965 Standard Userer	I see no point in trying to "enlighten" Sean. He wasn't kind enough to take any suggestion on posting "spoilers." Franzie...you're pretty spot on about "Syriana." But I have found on repeated listenings that it does hold up on CD. In the film, its subtle use was extremely effective and the track "Fathers and Sons" was a very moving coda to the film. James
posted 02-28-2006 04:57 PM PT (US)

PeterK FishChip	OK! Great. Mike and Sean appear to have washed themselves of one another (I hope both you guys feel better by doing so). Not particularly nice reading there, but forget about it. Let's get to where we're going with this. I always thought Desplat was a force to be reckoned with when The Luzhin Defence arrived on the scene. It apparently was a flash in the pan when "nothing" happened for three years after that (those enlightened ones can preach to me now about all the French cinema he'd been scoring during that time). But now, he's big on the scene and takes honors as the composer of the year 2005 in many circles. This is good. I like his work, although I've said nothing significant to prove it. You can shoot me down, or you can tell me which one of his you like best of his career output. So far, I still think Luzhin is his strongest, but I've not heard Upside of Anger on its own (it was appropriate in the film, but didn't really stand out for me), nor Birth (big woops on me, yep). Hostage must be amazing in the film cuz I don't understand how that gets good marks on its own. Tough one.
posted 02-28-2006 08:29 PM PT (US)

BMikeJ Standard Userer	Rent a great little French action film called The Nest. The story is pretty thin but its well made. Desplat's score is really exciting, channeling both Bernard Herrmann and John Williams. The French title of the film is Nid Des Guepes. I've enjoyed all of his output in this country and most of the French output that I've heard. His latest score is a little bit over the top but still enjoyable to me.
posted 02-28-2006 09:00 PM PT (US)

franz_conrad Standard Userer	quote: Originally posted by sean: Back on topic: I hear Birth is rumoured to be a great score. Is that true? Is it worth checking out? My thoughts under 'Michael McLennan' here: http://www.musicweb-international.com/film/2006/feb06/2005picks.html quote: I have never heard a score like the one Desplat has crafted here. Like a cantata for a modern day fairy tale, this abstract but moving score unfolds with both classical elegance and startlingly original choices. ‘Prologue’ lays out the pieces of the board in their most unified statement in the film – a true overture, and that repeated flute ostinato is insanely catchy. ‘The Engagement’ takes some of the same pieces and re-arranges them as a delicate solo piano waltz. ‘The Kiss’ and ‘Birth Waltz’ are deliriously romantic string-lead waltzes. ‘Elegy’ raises the dramatic stakes about as high as they can go with its slow reprises of the principal thematic material. With throbbing bass pulses nicely mixed to the superb London Symphony Orchestra performance, this score amazes again and again. Were it not for Girl with a Pearl Earring, Les Milles, The Luzhin Defence, Hostage, The Upside of Anger, and just about everything else Desplat’s ever done, it would be tempting to call this the breakout of the year. But it’s clear Desplat was always this good. His is the definitive modern symphonic romantic voice among the younger composers. Bondie... I am yet to see SYRIANA, but I can imagine the score works very well. Personally it's a strong listen for me, just its more amelodic nature makes it not quite the listening experience BIRTH and GIRL WITH A PEARL EARRING were.
posted 02-28-2006 09:22 PM PT (US)

franz_conrad Standard Userer	quote: Originally posted by Bond1965: Franzie...you're pretty spot on about "Syriana." But I have found on repeated listenings that it does hold up on CD. In the film, its subtle use was extremely effective and the track "Fathers and Sons" was a very moving coda to the film. "Fathers and Sons" is gorgeous. I really look forward to seeing the film tomorrow night.
posted 03-01-2006 02:38 AM PT (US)

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