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Well, the studio screened a rough cut of Part One in Chicago. One reviewer said that several scenes, as well as the title cue, were temp-tracked with Zimmer cues.
I hope that doesn't 'influence' Desplat's final score. I'd hate to see a Zimmer-'influenced' Desplat score, especially in a Harry Potter film.
I wouldn't worry. Desplat is the polar opposite of Zimmer and I doubt he will use that style since he hasn't displayed any of that in his other scores.
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100+ minutes? I want every second!!
Screw the "Thor" release... 
And MClayton I posted that a few posts ago, what Desplat said translated to English.
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Posted: |
Oct 10, 2010 - 7:04 PM
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By: |
MClayton
(Member)
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Pope also said, rather intriguingly, that he cannot talk about the music until after the film's release as he promised the producers. Why would they be keeping music under wraps?
It's like any non-disclosure agreement. Pope can talk loosely about the music, like about how different it is or how good it is. But he can't say specifics about it, like how many themes were composed for the film or whether Desplat incorporated more of Williams' themes (apart from "Hedwig's Theme") until after the film's release.
I had to agree to a similar verbal agreement. Coincidentally, it revolved around the novel version of Deathly Hallows three years ago. I preordered the book from DD, and it had shipped 3,000 copies of the book ahead of street date. I got the book on Tuesday, read it and received a call from Scholastic on a Wednesday. They couldn't prevent me from reading the book, but I had to promise not to discuss the book's ending until the Sunday after the book was officially released in stores.
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).
