![]() ![]() “Maybe even bigger than ‘The Grand Budapest Hotel,’” he said. It’s fun, it’s mad, it’s everything.”įrom Desplat’s perspective, “The French Dispatch” is also the most ambitious thing that Anderson has ever done. “I saw the finished version of ‘The French Dispatch’ quite a while ago, and it’s just amazing,” Desplat said of the forthcoming Searchlight release, which has been described as “a love letter to journalists set at an outpost of an American newspaper in a fictional 20th century city.” Desplat kept gushing: “It’s so incredibly strong and different… the way that Wes is expanding his talents to another dimension with each film is just wow. If it’s possible for anything to sadden the composer more than losing out on the French Open - where his “favorite player of many years” Rafael Nadal was scheduled to win his 13th championship - it’s not having the chance to premiere Anderson’s latest on the Croisette. So this is a great film for me because there were seven or eight songs to write - it’s very difficult, but it helps when you have actors who can sing.” The cast includes Ewan McGregor, Christoph Waltz, and Tilda Swinton.Īs thrilled as Desplat has been to carve out some extra time for “Pinocchio,” he’s also devastated not to be in Cannes right now, where Anderson’s “The French Dispatch” was due to premiere before the festival was indefinitely postponed. ![]() I wrote a lot of songs in France between 19 when I started doing movies in America, but after that I never had the opportunity. “But for me it was really nice to be able to write songs for him. “Guillermo is very excited about the project, and what I’ve seen of the stop-motion animation is just beautiful,” Desplat said. ![]() However, Desplat has devoted the brunt of his quarantine to another Netflix movie: Guillermo del Toro’s “ Pinocchio.” And it’s giving him a fresh challenge just when he needs it most: Songs. “I was very lucky,” Desplat said, “because George had just finished editing his film and was ready for me to start scoring, so the timing was perfect.” A process that started in Los Angeles is now being finished over the internet. The most urgent of those: Clooney’s “The Midnight Sky,” a Netflix feature adapted from a Lily Brooks-Dalton novel about an Arctic scientist trying to stop a group of astronauts from coming back to a ruined world. Having recently completed work on Wes Anderson’s “ The French Dispatch,” the relentless composer was involved with at least two other movies when the pandemic first crept across the Western world. the lusty and febrile music he layered over “The Painted Veil,” or the suite of seductive intrigue he contributed to the similarly underrated “Lust, Caution”).Īnd Alexandre Desplat has all of them, which has come in handy at a time when so many people (in the film industry and far beyond) have been stripped of their purpose. Desplat’s range and virtuosity is unrivaled in modern cinema - who else could score “The Tree of Life” and a “Harry Potter” movie in the same year? - and much of his finest work has managed to outlast the films that inspired it (e.g. ![]() You wouldn’t expect anything less from someone who’s scored at least 70 different films since he broke into the English-language market with “Birth” in 2004 (he’d previously written music for “Girl with a Pearl Earring” and several high-profile French hits, but the delirious waltzes he orchestrated for Jonathan Glazer’s drama established him as a major force on the international stage). I’ve still been able to go to the studio - every day I am here!”ĭesplat never slows down, even when the world stands still. Taking a rare break from work in order to field a phone call from his recording studio in the heart of Paris, ultra-prolific composer Alexandre Desplat admitted that he’s been undeterred by the global shutdown: “It’s been very quiet in the streets, and it’s sad not to see my friends, but aside from that things have actually been almost the same as normal for me. For the busiest man in movies, life during quarantine hasn’t been all that different from the way it was before. ![]()
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