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 Posted:   Nov 25, 2010 - 7:03 AM   
 By:   Thor   (Member)

Thanks for the link, Thor! Thankfully, Google Translate by now is good enough to give me a fairly sensible translation of it. I think I would personally rank the scores a bit differently, but this is a matter of taste. Where I have to strongly disagree though, and won't back off a single inch, is this: SPIDERS ARE NO INSECTS! smile

He, what are they?

 Posted:   Nov 25, 2010 - 7:07 AM   
 By:   Gunnar   (Member)

They are beasts of their own, called "arachnids". Just like insects, they are arthropods, but many things set them apart from the insects. 8 legs are always a giveaway for an arachnid!

 Posted:   Nov 25, 2010 - 4:07 PM   
 By:   Gunnar   (Member)

Having seen HP 7-1 and listened to the score for a few times over the last two days, I have to say that I really, really like it. Throughout the whole film, I found it very fitting, and as a standalone listening experience, I find that it has almost a sort of hypnotic pull, although my very first listen was not overly enthusiastic.

To me, David Yates did everything right with his films, and HP 7-1 is possibly my favourite film of the whole series. He took advantage that six films already introduced the magic aspects of the Harry Potter world and now uses magic with great restraint, focusing more on the human side of the story. If there is magic, it's generally breathtaking in its beauty (the death-eater's smoke trails) and perfection (Kreacher). But very often, it's wonderfully subtle, like the protection charms when the trio is hiding, which is mostly done only by changes in sound.

As for the music, I found the change in style that Yates went for by using first Hooper and then Desplat totally justified. The first films mainly had to introduce us to this new world - hence the slightly formulaic storylines in the first to parts. We learned about this world through Harry, and his boyish sense of wonder and excitement was perfectly captured in Williams' scores. Also, these scores had to convince us to believe in this new world and all its magic (and might have had to help out here and there when the visual effects were less than perfect).

Now, towards the end of the series, the characters have matured, the magic has become normal, and the personal development as well as the more threatening developments in this world have taken over. I can hear all of this in Desplat's music, and hence, for me it works. I also cannot see great set-pieces in this film, and hence the absence of equally great standalone compositions is only consequential. And finally, if we buy into the idea that Hedwig and her theme were our guides and introduction to the world Harry encountered after his 11th birthday, its virtual absence is justified by both the way the poor owl is dispatched in HP 7 and the fact that this world that Harry encountered, through the rise of Voldemort, is no more.

Sorry for the rambling post, I will step off my soap box now.

 Posted:   Nov 27, 2010 - 5:52 AM   
 By:   Thor   (Member)

You can now hear the Desplat/HARRY POTTER radio program with yours truly. Go to

and click the program for 26.11.2010

The Desplat interview (which is the only bit in English) is about 2/3's in. The program is mostly about Williams, though.

 Posted:   Nov 27, 2010 - 6:23 AM   
 By:   Thor   (Member)

The program can also be accessed directly here:

 Posted:   Nov 28, 2010 - 8:10 PM   
 By:   TM   (Member)

The score has grown on me with every listen. Initially I was really hesitant to endorse it (much as I love Desplat's music), but after 5 or so listens it won me over, after 20 I was getting really enthusiastic about it and now after having seen the movie I'm absolutely BLOWN AWAY by how well it works in the film. Some of the more subtle spots in the score have utterly profound effect where they shine through at spots in the film, and I actually got chills at how well the action music fit some of the sequences. BRAVO!!!! A really worthy Harry Potter score indeed.

 Posted:   Mar 30, 2011 - 12:20 PM   
 By:   MClayton   (Member)

So, Conrad Pope has flown to London to help orchestrate Desplat's score for Part 2. Does anyone know if Desplat is recording at Abbey Road again or Air Lyndhurst?

Just wondering...

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