HARRY POTTER COMPOSER MOVIE

Your last huge fantasy film was for The Golden Compass. Maybe itвЂ™s also the simplicity of my melodies and the transparent, but still refined orchestrations requiring virtuosity from the players.

HARRY POTTER COMPOSER MOVIE

This movie is different from the other Harry Potter films since the heroes are now young adults away from Hogwarts. I think our director David Yates appreciates my approach of the dramaturgy more than anything else.

What do you think it was about your music that got you such a plum assignment? I already had quite a good sense of what John Williams had invented for the series. I kept myself away from listening too closely to the previous scores.

I watched the movies again before I started writing. I have read the books, seen the films, and heard all the scores. Were you familiar with the film, and literary worlds of Harry Potter before taking on The Deathly Hollows? As bold as it is clear of orchestrational excesses, DesplatвЂ™s first Deathly Hallows ranks very high indeed in Harry PotterвЂ™s musical saga, casting the kind of old-school symphonic spell that fully takes this graduating class into a new world of suspenseful magic and emotional hurt, mixing a sense of wonder with the sinister rites of adulthood as the score starts to ring Hogwarts out with a bang. A longing piano and violin tells of childhoodвЂ™s end as brooding symphonic storm clouds speed us to the cliffhanger- all of course with the classic Williams theme making several, subtle appearances. Ominous choruses mix with swashbuckling action, the eerie strings of the Dark Lord wisping about like fog as exotically Oriental music casts its spell. Where Hallows set up of numerous deaths might promise a black cloud of symphonic moroseness, DesplatвЂ™s approach here is thankfully light on its broomstick, and no less thrilling for it.

No stranger to gracing such fantastical sagas, Desplat has mixed the emotions of age and fantasy with Birth and Benjamin Button, not to mention brought in the symphonic thunder in the supernatural battles of Twilight: New Moon and The Golden Compass, Now Desplat enters Hogwarts with an inimitably lush score that could be described as being more Williams than Williams, while more than retaining DesplatвЂ™s own thematically rich voice that has made him HollywoodвЂ™s most in-demand French musical import since the days of such Master melodicists as Maurice Jarre and Georges Delerue. Yet in a film that truly thrusts its once cherubic leads screaming into the вЂњrealвЂќ world, the one thing about Hallows where everything new is old again rests in its terrific score by Alexandre Desplat. The near decade of six Potter films so far have certainly gotten bleaker for our young heroes with the rise of their nemesis Lord Voldemort, who makes the triumvirate of Harry, Ron and Hermione grow up like never before in the most terrifying, and exciting way possible for the first of the two cinematic chapters that will bring an end to PotterвЂ™s epic saga with The Deathly Hallows. These acolytes have ranged from William Ross to Patrick Doyle and Nicholas Hooper, each bringing their distinctive touch of fantastical wonder and darkness during their sojourns. Since a grand musical wizard named John Williams established the sound of Harry Potter nine years ago with The SorcererвЂ™s Stone, new composing students at Hogwarts School of Witchcraft and Wizardry have capably added on to its ever-evolving foundations.

Harry potter composer