Alexandre Desplat Interview Part 2

Part 1 "How to Watch Movies... with Alexandre Desplat"

Part 2 Excerpts
Alexandre Desplat is the busiest composer in film but he made time to talk a few weeks back. My profile will be up at Tribeca Film in January but for now I thought I'd share a few unused excerpts from our conversation whilst Academy voters are presumably scribbling down his name on their ballots for Best Original Score. But will they vote for The King's Speech or The Ghost Writer? [We discussed both movies ~ coming in Part 3.]

We'll know which score the voters preferred on January 25th unless, who knows, maybe they'll both be nominated? A double dipping wouldn't be unprecedented in that category and considering Desplat's workload it's bound to happen eventually.

On Harry Potter and the Deathly Hallows
official soundtrack page

Nathaniel:  Is it difficult to take over something, a franchise, with ten years of pre-existing themes like Harry Potter? Did you have a lot less freedom?

Desplat: Well, John Williams, being one of the best composers of last 50 years, if not the last master of them all; I was more than happy to use some of his themes. The only theme that was meant to be reprised was "Hedwig's Theme" which has become kind of the Harry Potter main title. As I was starting work on the film I let my imagination go in many territories around this theme. When I was spotting the movie and started diving into the film it occurred to the director [David Yates], more even to me, that the theme did not have much left to do in this story because they're away from their school and the heroes are now grownups and this lovely world of fantasy is not their world anymore. So we used it two or three times early in the film almost to get rid of it, like they're getting rid of their childhood. It's part of their childhood to which they say goodbye. And the theme just vanishes for the same reasons.

On Process and Inspiration

Nathaniel: Is your process different for each film? How do you even begin the work?

Desplat: It differs for each film. The King's Speech I was shown the movie almost on its final cut. Some other films I get the script beforehand -- I got the The Ghost Writer script a year before. It's all very different which is good because you have to find different energies and different ways of getting inspiration. The main issue is how do you get excited, how do you get your cortex in movement? It could be from reading the script, it could be from seeing the images. Watching the images remains what I prefer because it has what the film has become. Reading the scripts it still belongs to literature so I am almost in favor of watching the first edit.

On Composing For International Cinema
I was struggling with a question about Jacques Audiard's The Beat That My Heart Skipped (one of my favorite Desplat scores) and he saved me by predicting the question and jumping in.

Desplat discussing Benjamin Button with David Fincher

Desplat: You know the only difference is the language because the directors have the same obsessions. Even though they have their own grammar it's always the same vocabulary: closeup, wide shot, tracking shot, overhead shot, aerial shot, whatever. How many actors and the way you put them in the frame? So it's just a matter of communication for me to be able to translate in music what the director wants. Again, If the director has a strong point of view I enjoy the process that brings the music into his films. It's just a matter of spending time together, exchanging ideas.

I would always choose to work on a project that the story or the director resonates with me. With Ang Lee, Jacques Audiard or David Fincher, I found the same notion of exchange. These filmmakers have actually a huge cinephilia behind them. They know the history of cinema as well as I do. So we are in the same territory in a way.

Nathaniel: You're speaking the same langauge.

Desplat: Exactly.

On Oscar Ballots

You know I had to ask him about this.

Nathaniel: In addition to enjoying Oscar nominations, you've been a member of AMPAS for the past few years. When it comes time to judge other composers and fill out your ballot, what are you looking for?

Desplat: I want to see what the composer brings to the film that was not there -- what else is the score bringing? Is it just following the action or opening a dimension of emotion that only this score could create? That's what i'm looking for, to be moved and surprised.

And also I'm interested in the instrumentation, if the composer takes chances, puts himself in danger. Comfort has never been good to artists. I don't mean every day comfort. It's good to eat and have hot water but I mean the artistic comfort zone where you repeat yourself... [he spoke at length about why this happens and that you must avoid it]

Desplat admires Maurice Jarre's experimentations in the 80s.

So when Maurice Jarre in the early 80s stops doing orchestra scores and dives into the electronic and makes, with Peter Weir, almost a revolution in film scoring, that's a great move. I'm always impressed by these kinds of actions.

But at first I look at the movie. I'm trying to be like a sponge just waiting for the emotion to overwhelm me. And if the score is good, it will.

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Harry Potter and the Deathly Hallows Part 1 Harry Potter and the Deathly Hallows Part 2

Anticipation... The Year in Film Promotion

Year in Review

NATHANIEL: Hey kids. So some time ago I was introduced to Mark Blankenship who writes The Critical Condition. I've been reading that blog ever since. Mark writes about everything pop culture -- I love his music posts especially -- and he's now officially a "talking head" having done a couple of Joy Behar Show gigs. We decided to have a little year in review convo. Part one is here at The Film Experience and tomorrow Critical Condition will run Part two. Got it?

MARK: Hi Nathaniel!

NATHANIEL: Hey you.

MARK: With Hurricane Award Season upon us and year-end lists popping up everywhere, I thought it would be fun to look back at the year in movie promotion. In 2010, which trailers, posters, and campaigns were the best? Which ones were the worst?

In the category of Worst Promotion of a Good Movie, I'll nominate Despicable Me. I mean... seriously. I've seen a billion previews for that film, and I still don't know what it's about. Yellow tic-tacs in overalls? Steve Carell learning a life lesson from the Orphaned Triplets of Belleville? Who can say? Apparently, though, Despicable Me is really good. It certainly connected with ticket buyers, and New York's David Edelstein put it in his year-end top ten. Yet because of my weeks-long irritation with the previews, I'm still dubious.

On the other hand, the promotion for Sofia Coppola's Somewhere gets my vote for Worst Promotion of a Good Movie. Because, really... Somewhere is a dense, rewarding experience that's being marketed as a pretentious suck-a-thon about a rich dude's problems. Coppola's previous film, Marie Antoinette, was so boring it actually made me angry, yet it got a sexy, energetic campaign. Why couldn't someone do the same for a movie that actually has some sexiness and energy?

Alright... that's my opening salvo. Which campaigns are you thinking about?

Minions! (a.k.a. "Millions" ...in merchandising)

NATHANIEL: How can I even get to the campaigns that I might be thinking about when you have already given me so much to lob back at you?

I can one up you on Despicable Me; I've SEEN the movie and I still couldn't tell you what it was about. It's fun to watch and it's funny but it evaporates in your head within a week's time. The only thing I do remember now is the ad campaign. I think we have to consider this a strange case where a bewildering ad campaign actually does truth tell. As I recall, the movie is disjointed and slapsticky and it does feature plenty of scenes involving yellow tic-tacs. I suppose the main narrative thrust is Steve Carell learning life lessons. Which lessons those were I can't recall but I remember there was much cuteness. And not just by way of yellow breath fresheners.

As for the Coppola Now: Redux... I shall refrain from answering until you tell me what your position is on Harry Potter and the Deathly Hallows Pt 1. (speaking of suck-a-thons about rich dude's problems)

MARK: It's interesting you should ask about HP7: The Hallownator. I promised my family that I'd wait to see it until I went home for the holidays, so for the time being, my opinion is entirely based on the promotional campaign. And as someone who hasn't really liked any of these movies---I've found them all to be ploddingly literal adaptations of exquisitely imaginative books---I've found a couple of reasons to hope. For one, I was heartened by the story that the movie wouldn't be released in 3-D. To me, it suggested that quality was being chosen over extra revenue. Also, the trailer (and especially the music in the trailer) has a grandness that matches the weight of the story.

That said, the posters I've seen plastered all over New York are just... zzzz. The dimly list cast photos may tell me the movie is coming out, but they don't tell me anything about it. Really, though, I don't guess that matters, because it's not like this movie needs that much help to get butts in the seats.

NATHANIEL:  EVERYONE's opinion of Harry Potter is entirely based on the promotional campaign, not just yours! You've stated the truth of it. In fact, you have already seen the movie if you've read the books or seen the commercials or plan to see the final movie next year. Nothing happens. Or, rather, if something happens it's the same thing that's already happened. It used to be the same film every year with minor changes in window dressing. Now, they're not even bothering to make a film anymore. Warner Bros has made the world's first 145 minute bookmark/commercial and they're making hundreds of millions for their evil con job. They've robbed the public blind and the public loves it.

Marketing is the new Stockholm Syndrome.

I love Sofia Coppola's movies (even and especially Marie Antoinette -- so there!) but they're their own repetitive franchise. Sofia is a better wizard because mise en scene trumps CGI every time.

Sofia Coppola and the Virgin's Suicide
Sofia Coppola and the Suntory Times Adventure
Sofia Coppola and the Cake-Eating Queen
Sofia Coppola and the Deadly Chateau Doldrums Pt. 1

poor little world famous rich boys

Somewhere and Hallows Pt 1 are essentially the same story: Famous Mopey Rich Boy (wizard Harry Potter / movie star Stephen Dorff) has a big problem (Voldemort/Ennui). Watch him wander aimlessly through foreign places not knowing exactly what he's looking for (Godrick's Hollow /Italy) whenever he's not resting aimlessly in his comfortable quarters (Magic Tent / Celebrity Hotel) with his loved one (Hermione / Elle Fanning). All the while he's worrying about that overarching problem that he really doesn't know how to solve. In the end he sort of decides to move forward towards his goal. Maybe. It's vague.

My longwinded point -- I promise to be much briefer moving forward-- is that I'm going to mentally slap the next Harry Potter fan who calls any "arthouse" movie boring because "nothing happens."

MARK: I think you've cracked the Da Vinci Code with your Harry Potter/Somewhere comparison. Some addendums: Famous Mopey Rich Boy relies on souped-up transportation (Firebolt Broomstick/sports car) and has a dopey friend whose relationship with a young woman provides a convenient dramaturgical contrast to his relationship with her (Ron/Chris Pontius.) Also, a set of twins tries to amuse Rich Boy with tricks that only end up distracting him from his quest (those Weasley boys with the magic shop/those strippers with the portable pole.)

Strippers with port-a-poles. Best scene in Somewhere!

Meanwhile, I can tell you that I'm seethingly jealous about your recent interaction with Barbara Hershey. (But also happy for you!) What did you think about the lead up to Black Swan: Revenge of the Back Feather?

NATHANIEL: Ah, Black Swan. The topic of the month. This is a rare case where I'd believe that the marketing campaign was directed by the filmmaker (I'm sure it wasn't) because the commercials are of the same exact tenor of the product: outre, mysterious, sick, sexy, highbrow clothing but lowbrow soul (note how thrilled the trailer is by its big campy gotcha moment (that feather yanked from Natalie's back!). The commercials are so cinematic you can taste popcorn. In short: ticket sold!

Even the posters are using truth in advertising. The first one, with Natalie's Black Swan ballet makeup is full frontal confrontrational as introduction. That art deco/Erte-ish series that followed are true enough about the movie's love of artifice and theatrical design. The ugly one with Natalie's badly photoshopped red arm reveals real commercial instincts - it's not exactly a subtle movie. Finally, the latest one with Natalie's cracked face, is yet again underlining that this girl is beautiful but cracked.

...She bonkers!

Black Swan's Truth in Advertising.

Part 2 of this convo ~
Now Playing at The Critical Condition

...for more on favorite promotions and movie posters. Read it.

Links

Low Resolution "22 Short Thoughts on Burlesque" #20 is an idea for a sequel that I would entirely fund myself were I a gazillionaire even if I knew I'd lo$e it all. That's how badly I want it to exist.
Boing Boing Forged Disney Art on eBay. You really can't cheat with Ursula, the sea witch; people are way too obsessed with that bitch, you know?
Cinema Blend Michelle Williams as Marilyn, again.
Dear Old Hollywood revisits Joan Crawford's early residences in California.
The Hollywood Reporter in praise of Lesley Manville (Another Year) and the Best Actress race. (Though I must say I think the consensus about locks and slots is kind of a mess. I think no one is safe beyond Bening & Portman as there's 5ish strong contenders for the other 3 spots. Thus, no safety.)
Serious Film laments the non-adaptation of Harry Potter books in the making of Harry Potter films.
Nick's Flick Picks talks up 10 films he liked more than you'd expect. Yet another example of how generous of spirit my pal Nick is, while never losing his critical acumen.

Jeff Bridges - Style Icon GQ has a slide show. I love this photo above wherein he's reading something generically titled "Western Story" given that there is a noticeable west/southwest line running through several of his movies (though he was born and raised in LA which we don't really think of when we think "Western"). FWIW, True Grit starts screening in force in about one week's time so you'll be hearing a lot more about it here and elsewhere soon.
GQ That's part of their "Men of the Year" issue which also features James Franco & ScarJo.

Offscreen Hilarity
Confessions of a Book Fiend by Grant Snider
Hyperbole and a Half "Dogs Don't Understand Simple Concepts Like Moving". I seriously got the giggles while reading this - the very audible giggles. Trying to surpress them for the benefit of my Thanksgiving guests who were still asleep from their food comas did not work. My apologies to everyone roused by my cackling.

Links With Benefits

Journalistic Skepticism Oooh, it's a must read listen. Luke has collected the film scores this year. Which is your favorite and who do you think is winning the Oscar for Best Score?
Cinema Blend smart post about confusingly similar 2011 romantic comedies Friends With Benefits and No Strings Attached. One twin thing that isn't mentioned: Mila Kunis and Natalie Portman, the female leads from the respective movies are sexually entanged together in Black Swan.
Towleroad A bit about Spielberg's Lincoln. Plus, my continued Harry Potter agnosticism . I don't even wanna see this one. Five hours to tell that book? And I've heard that they do spend lots of time moping in that tent. Argh. I don't even dislike the movies really (except the first two) but 9 years is more than enough for one series. Wrap that damn thing up already!
Austin Translation has some fun advice for future Disneyland travellers.
I.Z. Reloaded amazing Star Wars inspired art.
Vulture looks at the possibilities in a post Harry Potter world for Daniel Radcliffe.

Finally, have you read this great New York Times Cher profile piece? I particularly loved this bit about her surreal fame-filled life.

It’s an odd existence, Cher’s. When she recounted a late-night gabfest with two girlfriends in the bedroom of her Malibu manse not long ago, the gabbers in question were Joan Rivers and Kathy Griffin. When she flashed back to a favorite exercise class in Beverly Hills decades ago, the fellow crunchers and squatters were Raquel Welch, Ali MacGraw and, to a more limited and grudging extent, Barbra Streisand, who “would go over, do two little things, and then walk around and talk,” Cher said.

She refers to most of these people by first name or nickname only, figuring you can fill in the blanks. Nicky is Nicolas Cage, Kurty is Kurt Russell, Mich is Michelle Pfeiffer and Nony is Winona Ryder, who starred with Cher in “Mermaids” in 1990 but suffered a career setback after a subsequent arrest for shoplifting.

“It’s such a drag that some crimes are cool and some crimes are uncool,” Cher said.

Ha. You know why that "snap out of it" scene in Moonstruck is so infinitely funny/resonant? Because loving Cher (in ridiculous proportions to how much you probably should love Cher) comes so naturally; you have to be slapped to break her spell!

True story: Last night I was supposed to meet The Boyfriend for an event and I got confused about where we were meeting. I ended up at that big wall-painting of Burlesque I shared last week (which wasn't where I was supposed to be). A minute later he showed up just as I was ringing him.

"How'd you know where I was?" I ask.
"I knew you'd gravitate towards Cher."
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Takk Takk Link Link

Nathaniel + Layers
in Frozen Iceland

Believe it or not -- but you should believe it! -- I made it a full week without the internet. Go Nathaniel! I didn't even use my iPhone but for texting to make sure the catsitting was going okay.

I'm glad to be back online but a detox was in order. The last time I went a week without staring at computer screens was... well... um... I... errrrr.... unh let's see now...

never?  

This was a strange challenge to give myself in Iceland of all places which prides itself on its connectivity; reportedly 97% of the population uses the internet which makes them the #1 country percentage wise, if not in total users. By contrast the US claims 77% penetration and the UK 82%.

But now I'm back to my life made by for through around inside fused with enslaved to and on the internet.

LINKS. Here's a couple handful to read while I write some new posts. And yes, I'll tell you 'bout my trip soon. I'll try to make it cinematic. And if not, I'll make it brief.

AV Club "Lights! Camera! Deconstruction!" on films that double as film criticism. Some unexpected choices but really interesting write-ups.
Tribeca Film "Awards Season Begins... When?" Some thoughts (from moi) on the always amorphous beginning of the season. FWIW, the NBR makes their announcement on December 2nd, just 15 days from now.
Awards Daily Palm Springs puts a checkmark in the Firth & Portman awards chart columns.
Pop Elegantarium dressed up her daughter for Halloween in a way you cinephiles will just love. Get those babies started on loving movies early! I meant to link to this weeks ago but isn't it awesome?

Multitudes of Harry

 Forbes "Highest Earning Female Entertainers". These lists always freak me out partially because the numbers seem so absurd. Most people could live quite comfortably for their entire life on 1/10th (or less) of what any of these women make in a year. Which is why it's kind of funny/surreal that online coverage of these lists is usually along the sympathy-seeking lines of "if only they could earn as much as the men!" Sandra Bullock is the only actress on the list, the rest being pop stars and TV hosts.
Stale Popcorn reviews Harry Potter and the Deathly Hallows Part 1 but more importantly, he expresses relief that a lot of very talented people will soon be free to explore new worlds: Stuart Craig and Jany Temime, you're about to be sprung from Azkaban!
My New Plaid Pants likes 127 Hours with the same approximate muchness as I.
Serious Film has some issues with some readings of Clint Eastwood's Hereafter.
In Contention looks at Jennifer Hudson in Winnie.

And y'all know I'm excited about The Return of Cher. Here she is -- it looks like she's about to lick her lips and break into song -- at the Burlesque premiere.

I know a lot of people think Burlesque will be terrible but I don't much care. Don't care how I get her. Just want her. It's been way too long. I'd link you to her new song "Welcome to Burlesque" but the links keep breaking.

Finally... Since I am now getting back to work
I must thank my two handfuls of guest bloggers who did a fine job while I was away. So thank you to TFE's regular weekly columnists: Robert, Michael, Craig & Alexa; frequent well loved guest stars JA and Jose; returning subs Timothy, Glenn and Erich; and first-timer Kurtis from 'Your Movie Buddy' who I interrogated about Iceland before I left. A warm round of applause for all. If you click on their names, you can visit their own wonderful blogs.

Kristin Scott Thomas Wanted Tilda's Role in "Burn After Reading"

The latest issue of French Premiere has hit the newsstands 'cross the Ocean. It's a big Harry Potter issue with new photos and such but if you look at the top left hand headline you can see the hallowed name of Kristin Scott Thomas, one of the few British acting giants that didn't teach at Hogwarts. Kristin has lately been headlining French films like Leaving (now in theaters) and, of course, I've Loved You So Long a couple years back. 

I had the pleasure of interviewing her a couple of years ago and she struck me as surprisingly unguarded and honest about her career ups and down. Premiere asked her if she ever watches movies and wishes she had played that role. "Of course, all the time" she answered (!) and then some.

Les rôles de garçon, surtout. Il y a aussi Burn After Reading des frères Coen, dans lequel je voulais tourner, mais ils ont préféré prendre Tilda Swinton. Et je suis aussi très fâchée contre Stephen Frears, parce qu’il ne m’a pas proposé le rôle de la femme de l’écrivain dans Tamara Drewe. Tamsin Greig est formidable, mais quand j’ai vu le film, je n’ai pas pu m’empêcher d’aller voir Stephen pour lui demander pourquoi il n’avait pas pensé à moi. Je rêve de tourner avec lui et il le sait très bien !

 Kristin Scott Thomas and two roles she wanted to play.

My french is of the high school variety but basically she's jealous of the men's roles first and foremost. She also alludes to having auditioned for the Tilda Swinton role in Burn After Reading but the Coen Brothers preferred Tilda. I heart Tilda but I could totally see KST barking orders at George Clooney and John Malkovich while chopping carrots or driving through DC, can't you? She also approached Stephen Frears after seeing Tamara Drewe. 'Why hadn't he thought of her for the role played by Tamsin Greig?'

About the Oscar loss (The English Patient) and the snub for I've Loved You So Long, she has this to say.

Un jour, quand j’aurai 95 ans, ils m’amèneront sur scène et me donneront un prix pour l’ensemble de ma carrière. Mais je n’ai pas vraiment besoin de récompenses. De toute façon, je ne gagne jamais rien, ni loto, ni tombola, ni Oscars.

This is something humorous along the lines of  'I never win anything -- lottery, Oscar -- but I don't need awards.' Maybe when she's 95, they'll bring her up on stage for career honors?

 Kristin and Sergí Lopez in Leaving (Partir)

Kristin Scott Thomas is still inarguably vivid onscreen at 50 and what's more she's still erotically viable, too. Leaving is full of randy sex scenes with Sergi Lopez but my favorite moment in the film is one where her husband (played by Yvan Attal, Charlotte Gainsbourg's real-life man), who has learned of her affair verbally assaults her marking her "sluttish grin" and comparing her to a cat in heat. The moment, which is nasty but unfortunately relatable (given the outright flaunting of her affair), wouldn't work half as well if you hadn't already marked how much she's abandoned herself to desire.

One hopes more directors and casting directors start to notice how well she's maintained her particular screen magic. Maybe her role in Nowhere Boy, in which she's typically excellent playing the key role of John Lennon's (Aaron Johnson) disciplinarian aunt can remind them what they're missing when they don't consider her for the meaty parts. If that pre-fame Beatles biopic takes off at all, it's easy to imagine Oscar traction for her role in Best Supporting Actress.

Can you imagine her in Tilda's Burn role? Do you plan to see Nowhere Boy?
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