If it isn’t clear enough, I’ve been on a particularly obsessive Alexandre Desplat bent lately, so I thought I would expand on what films I have already seen that feature Desplat as the music composer. His filmography has grown dramatically over the last five years, and I know there is much I’ve yet to discover of his range and creative process.

I have taken on an ambitious task of so watching nine films composed by Desplat that cover the gamut of genres in no particular order, and I will concurrently review the soundtracks along with the movie. It’s a chance to appreciate, enjoy and critique the broad scope of Desplat’s skill and niche. The reviews will be bite-sized but detailed – I am consciously trying to cut down on my word count as a test of discipline (!).

EDIT (October 2011): It’s come to my attention that I’ve been cited on the DH2 score’s Wikipedia page as a music critic. I just want to confirm that I am NOT a professional writer, just a curious and passionate fan.

Late last year we heard rumours that John Williams would return to the Harry Potter franchise to compose the final Potter film, which I wasn’t particularly writing home about. I’ve actually not been much of a Williams fan in the Potter series (“Hedwig’s Theme”, “Fawkes the Phoenix” and the Prisoner of Azkaban score notwithstanding). However, it was later announced that Alexandre Desplat would stay on for Part Two.

After all, it just makes sense to finish what you’ve started.

I wrote my review of Harry Potter and the Deathly Hallows, Part One in April. I thought Desplat’s score enhanced the film wonderfully, and I was confident that Part Two was in sensitive and capable hands. Listening to Part Two now, I can happily back that prediction.

I’ll have my review of the film soon enough, but I thought I’d jot down my thoughts on the score now while my enthusiasm’s still this amazingly high. Once again, British composer Nicholas Hooper takes up the mantle of composing the Harry Potter films for director David Yates. I thoroughly enjoyed his interpretation of The Order of the Phoenix—really, just glad to be shot of John Williams for once—and I fully anticipated the same magical and uncoventional tone that embodied the last score. I am probably one of the few who’s absolutely adored what Hooper’s contributed to the series. Yeah, maybe I’m a nutcase. But I admire how he takes advantage of what’s at his disposal—he creates unusual musical arrangements but somehow he makes them work. He takes calculated, creative risks and I think for the most part they’re incredibly successful. It’s wonderful, really, and I couldn’t be more pleased with what he’s done in Half-Blood Prince. If only the film had highlighted this wondrous music better. Apparently Hooper may be stepping down for the Deathly Hallows films, making way for John Williams’ return. Personally am not warming to this piece of news (just yet).

Opening (2:54)
A shadowy, ominous opener, with …

I saw The Spirit at the Jam Factory this morning with Sylv. Since we went to the very first session of the day we had the whole theatre to ourselves! That was great. The movie—not so great, but still entertaining albeit on a superficial level. The excitement died down the instant we left the cinema.

Essentially the Spirit (Gabriel Macht) is former rookie cop Denny Colt, brought back into the world to rid Central City of the bad guys, namely the Octopus (Samuel L Jackson). He has the begrudging blessings of the Chief Commisioner Dolan (Clearly Commissioner Gordon and Batman have a far healthier work relationship than Dolan and Spirit ever had…) who doesn’t exactly approve of the Spirit’s methods. Well, shock horror there.

I’ve always thought that Frank Miller is a mad genius but lately his work has been nothing short of confusing, bizarre and way beyond the post-post-post-post-modern. And yes, his misogyny and sexism is duly noted (Selina Kyle the whore much?). But in spite of all this, I still enjoy most of his new stuff since he dares to push his audiences to the limit. The only work of his I simply could not handle was The Dark Knight …

So by some divine providence we are blessed today with both Chinese New Year and Australia Day. Let it be known this may only happen once in a hundred years. Now you might be thinking (or rather, I might be thinking too deeply) how do you go about celebrating both? Which holds more precedence over the other? The answer isn’t all that clear-cut to me, although one friend on Facebook promptly replied it’s all in the “red and gold envelope, baby!” True. Money is a very nice incentive for well, anything. I haven’t had lucky money since I turned 18, but today mum presented me with a red envelope! :D And in it was … a $20 note, that is, in American dollars. So that’s about $30 Australian. Not that I’m going to use it since I’ve never even seen an American $20 note. I’m glad to say that I think Australia’s note system works better, at least with the colours and the texture of each note’s design. And don’t forget those ‘windows’!

Money aside, I spent my Australia Day listening to the audio of We Can Be Heroes and cleaning my room and organising my visual diaries. I’ve accumulated eleven …