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I think it's less repeating himself than just spreading himself so thin that even his writing seems really thin, too. It's not helping things when he _seemingly_ doesn't score anything for the first 10 months of the year, then has 8 prestige movies coming out at once.
I don't want to say his scores are super cerebral or anything, but it seems like it takes a while for his more recent works to settle in and differentiate themselves from the pack.
Either way, excited to hear whatever he has coming. Looking forward to more waltzes and low-end bass throbbing.
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It's not helping things when he _seemingly_ doesn't score anything for the first 10 months of the year, then has 8 prestige movies coming out at once.
Many of the films that are being released at the end of year were scored earlier in the year.
Desplat does not work on them all at once.
Hence the word "seemingly," friend! I know how reality works!
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Hence the word "seemingly," friend! I know how reality works!
I know but you're implying that because Desplat has all his scores coming out at the same time and this results in "thin" work? I don't get it... 
The glut of Desplat releases at the end of the year causes them all to kind of sound the same to me at first, then as the following year unfolds, I start to pick out things here and there from each one that helps to separate them musically.
All I'm saying is that despite the fact that all of his scores are released at one time of the season, he works so much during the preceding 11 months that it's making his music sound less vibrant and less interesting by comparison to his earlier scores that made him popular in the first place.
But when you're hot, you're hot.
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One of the only two films (the other is "Inside Llewyn Davis") that I had been looking forward to seeing in December. (I had also hoped that Wes Anderson's "The Grand Budapest Hotel" - also to be scored by Desplat - would open before the end the year as well.) 2013 is turning out to be a very thin movie year. I have no films yet on my top favorites list. ("The Great Gatsby" is entertaining, but not necessarily top 10 worthy.) Here's hoping "Llewyn" and Payne's "Nebraska" live up to their good reviews at Cannes. I also have some films from earlier this year to catch up with - "Upstream Color," "Trance," "This is Martin Bonner" and "The Grandmaster."
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If Alexandre Desplat score doesn't compite for awards this year, I think the set up for best original score at Oscars is pretty predictable at this moment. I am pretty sure the nominees will be:
John Williams for "The Book Thief"
Thomas Newman for "Saving Mr. Banks"
Steven Price for "Gravity"
Randy Newman for "Monsters University"
Hans Zimmer for "12 Years a Slave"
What do you think? Is there anything which could surprise us?
I don't think there's any way Newman gets nominated for Monsters University, and I'd hope that Gravity wouldn't just get the nomination based on the quality of the film itself, but you know how that goes. What's the dark horse candidate, the first-time composer scoring a prestige movie, for this awards season?
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But he's not an "outsider" or anything, he's just relatively new to the game. I'm thinking someone who doesn't actually score a lot of films. Hell, you KNOW what I mean, man!
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That's what I mean, you just know there's going to be some weird-ass no-name swooping in to win it again this year. Price has done more movies than just Gravity, man!
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If Alexandre Desplat score doesn't compite for awards this year, I think the set up for best original score at Oscars is pretty predictable at this moment. I am pretty sure the nominees will be:
John Williams for "The Book Thief"
Thomas Newman for "Saving Mr. Banks"
Steven Price for "Gravity"
Randy Newman for "Monsters University"
Hans Zimmer for "12 Years a Slave"
What do you think? Is there anything which could surprise us?
I´d rather have a great score than a surprise.
But that list seems to be very accurate.
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