This movie is different from the other HARRY POTTER films since the heroes are now young adults away from Hogwarts. I already had quite a good sense of what John Williams had invented for the series.ĪX: What do you think it was about your music that got you such a plum assignment?ĭESPLAT: I think our director David Yates appreciates my approach of the dramaturgy more than anything else. I kept myself away from listening too closely to the previous scores. I watched the movies again before I started writing. A longing piano and violin tells of childhood’s end as brooding symphonic storm clouds speed us to the cliffhanger- all of course with the classic Williams theme making several, subtle appearances.Īs bold as it is clear of orchestrational excesses, Desplat’s first DEATHLY HALLOWS ranks very high indeed in Harry Potter’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.ĪSSIGNMENT X: Were you familiar with the film, and literary worlds of Harry Potter before taking on THE DEATHLY HALLOWS?ĪLEXANDRE DESPLAT: I have read the books, seen the films, and heard all the scores. 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, Desplat’s approach here is thankfully light on its broomstick, and no less thrilling for it.
Now Desplat enters Hogwarts with an inimitably lush score that could be described as being more Williams than Williams, while more than retaining Desplat’s own thematically rich voice that has made him Hollywood’s most in-demand French musical import since the days of such Master melodicists as Maurice Jarre and Georges Delerue. No stranger to gracing such fantastical sagas, Desplat has mixed the emotions of age and fantasy with BIRTH and THE CURIOUS CASE OF BENJAMIN BUTTON, not to mention brought in the symphonic thunder in the supernatural battles of THE TWILIGHT SAGA: NEW MOON and THE GOLDEN COMPASS. Yet in a film that truly thrusts its once cherubic leads screaming into the “real” world, the one thing about HALLOWS,where everything new is old again, rests in its terrific score by Alexandre Desplat. © 2010 Alexandre Desplat | Composer Alexandre Desplat
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