Alexandre Desplat | Extremely Loud & Incredibly Close [2012-01-11]

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Originally released in letterboxed 4:3. Now cropped and uprezzed to 720p.

facebook blog post: https://www.facebook.com/soundtrackspecialist/posts/10152288239169111
Original Link: http://collider.com/alexandre-desplat-extremely-loud-moonrise-kingdom-harry-potter-interview/

Interview by Steve ‘Frosty’ Weintraub (Collider).

(00:15) Talks about excitement and desire being the key to how he was able to work on so many incredible films over the past few years. A self-professed “movie maniac,” Desplat talks about his dream coming true in building a career that combines music and cinema.
(01:35) Talks about his writing process for composing scores. His experience in writing for theater, TV shows and short movies trained him to write fast.
(03:25) Discusses the score for “Extremely Loud and Incredibly Close”, which he wrote in three weeks.
(04:20) Reflects on the short deadline for “Extremely Loud and Incredibly Close”.
(05:20) Comments on pianist Jean-Yves Thibaudet, who had an even crazier schedule.
(06:20) Reflects on his decision to score the movie based on his desire to work with director Stephen Daldry.
(07:55) Discusses the manner in which he has collaborated with various directors, such as Roman Polanski (no temp-tracks), George Clooney (very precise) and Daldry.
(09:24) One of his favorite film scores is Jerry Goldsmith’s “Chinatown”.
(11:25) Talks about Daldry’s emotional involvement in “Extremely Loud and Incredibly Close” and how it affected the score.
(12:10) Desplat discusses obsessing over the details and prefers a director that works the same way.
(14:20) Talks about finishing the series that his idol John Williams had started.
(14:55) Comments on the thematic elements of “Harry Potter and the Deathly Hallows — Part 2”, specifically ‘Lily’s theme’ and how it permeates the entire story.
(15:45) Talks about Mai Fujisawa, the singer for ‘Lily’s theme’.
(17:10) Discusses working with Wes Anderson on “Moonrise Kingdom”.
(18:20) How his familiarity with Anderson’s previous works helped him to work with the director.
(19:15) Comments on Anderson’s style of mixing obscure songs with a unique, intricate and organic score.
(21:05) Talks about some music of his that has not been released anywhere.
(21:15) Comments on how he’s looking forward to working on his “golden album” which will be released with some rare soundtrack recordings.
(22:15) Discusses his work with director Chris Weitz on “New Moon” and past difficulties on “The Golden Compass”.
(23:25) Mentions that his average time to finish a score is 3-4 weeks; otherwise, he wouldn’t have been able to do as many movies in recent years.
(24:25) — Remarks on projects that he’s turned down because they didn’t resonate with him based on a number of reasons.
(25:55) Comments on his lack of a “comic book movie” in his repertoire and his upbringing devoid American comics.
(26:50) Talks about scores over the last few years that he has loved and wishes he was involved with, including works by Danny Elfman (“Milk”), Thomas Newman (“Revolutionary Road”) and Javier Navarrete (“Pan’s Labyrinth”).
(28:00) Remarks on how “Catch Me if You Can” should have won more awards.
(28:25) Talks about his upcoming works in 2012 which will feature a big score for DreamWorks.
(28:45) Remarks on the handful of directors who have kept the same composers throughout their career, notably Tim Burton and Elfman.
(29:40) Talks about how his schedule is already filled up beyond 2012.
(30:15) Comments on collaborations with other composers on past projects.

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