![]() ![]() It’s always something that we haven’t done before. So, the interesting thing about Wes is that it’s always an exploration. They trust me to come with my sensitivity and bring something that is near to what they hear. Because all these filmmakers that I mentioned, they hear music in their heads when they do their films. So, from all these collaborations you build a proximity between your identity, your integrity and the film and the filmmaker’s world. Wes, we’re just starting our sixth movie. And I’ve been lucky, very lucky, to work with directors: George Clooney, Jacques Audiard, Roman Polanski and Guillermo Del Toro now. “Well, each relationship with the director has its own qualities and failures. And a tuba! And a harpsichord!”ĭo you feel it’s important to have a long relationship with a director? ![]() So, then we get to do something else, which means slowing down with a lot of transparency, very few instruments, recurring motifs… so that there’s continuity through the film. A lot of dialogue, lots of images, lots of information that your eye has to capture and process… if the music had been all over the place, it could have been horrible. And for the rest, we just tried to keep it with pace, momentum, and with an orchestra, which is not too big either. We decided that we would have something sparse for this moment in the prison. ![]() And now, the character of Timothée Chalamet with his hair and the erotic relationship between Benicio and Léa Seydoux are totally Dada to me. We have these unpredictable performances. And Dada is the beginning of the 20th century. “For this one, I said that this movie is so eccentric, and so unpredictable, that to me, it’s Dadaist! We should think about that. What were your initial feelings when you saw The French Dispatch? Let’s make a mini-orchestra with little instruments, a little glockenspiel and the little banjo’ and so, that’s what we did at the time.” Keep it small, because it’s little puppets. Fox, I said, ‘We shouldn’t have a big symphonic orchestra like they use in animation usually. What could we add? Maybe we could have many saxophones.’ So, we have eight saxophones and whatever. We need to have Taikos and something else!’ And then we think, ‘Okay, Taikos. He would say, ‘How about in this film, we use forty mandolins and zithers?’ And then, soon it becomes Grand Budapest. Usually, when you work with Wes, he comes with an idea. “Well, no, not of the era, not of the ’50s. When you started out on The French Dispatch, did Wes give you musical inspirations to work from? In Moonrise Kingdom, there’s moments I like and Grand Budapest, I like. I think in all of them there’s one moment that I like. Fox, but the long version that one day I will rewrite! Otherwise. “I’ve thought about putting a suite together of Wes’ movies. With Wes, we have a range that is more compressed, there’s a compression of emotions that we keep so that it’s never going too dark or too goofy.”ĭo you have a favourite score that you’ve done for Wes? Even though there may be something dark in the film, something thriller-ish, the music doesn’t play that way. So, it’s never taking the music to a dark place. There’s always light in the music that I write for Wes. But you notice that the music is rarely dark. The French Dispatch is your fifth collaboration with Wes Anderson. Set in a fictional French town in the 1950s, all around a newspaper supplement office run by Bill Murray’s droll editor, Anderson’s film consists of three stories – ‘articles’ in the latest edition.Īmong them, Benicio Del Toro’s imprisoned artist and a student revolution led by Timothée Chalamet’s activist.ĭuring this year’s Cannes Film Festival, FilmInk sat down with Desplat to discuss working with Wes Anderson, his approach to his career and his new score for Guillermo del Toro’s upcoming noir Nightmare Alley. Since then, they’ve collaborated on Moonrise Kingdom, The Grand Budapest Hotel, which won Desplat an Oscar, Isle of Dogs and now The French Dispatch, another typically esoteric Anderson confection.
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