10/12/2023 0 Comments Wes anderson french dis soundtrackHe’s painting a naked woman, that’s his model. He doesn’t talk much so we didn’t want anything that would be too sophisticated or too organized or with too many instruments. But in the first act, when we see the painter, the crazy painter in the prison who does abstract paintings. Yes, the piano is the center for the film because it’s a very active score, especially in the second, third, and fourth act. How did you decide on those?ĪD: There’s always something on the shelves, the banjo, or the mandolin, that we feel we just have to use that we bring into the equation. ![]() A lot of the score seems very piano based, but there’s a wide range of instruments that have their moments and pop in and out, like harp, harpsichord, banjo, tuba. So that’s why when you see a Wes Anderson film, you see that the music is totally interweaving with the editing and the pace of the film.ĮY: You mentioned choosing the instruments at the start of the process. He comes to my studio for a few hours, gives me notes, then he goes back to the editing room and reorganizes the music. Once we have the musical colors, instrumentation, I can start writing and playing what I’ve written. Usually we try and get together the instruments that we want to use, depending on the film. And then I watch the film and start giving motifs, themes, melodies to Wes. At what stage did you come on?Īlexandre Desplat: I always receive the script rather early on, which allows my brain to subconsciously work while I’m doing another score or two or three. I enjoyed myself during stretches, was getting frustrated during other stretches, and I hope Anderson focuses more on the big picture of his next picture.We got the chance to sit down with Desplat and talk about his partnership with Anderson, his influences for the film, and the idea of an American dream of France.Įmilia Yu: Can you tell me a little bit about the kind of initial process for composing the score? You’ve obviously worked with Wes Anderson a lot. If you're new to the idiosyncratic world of indie film's most precise curator, then I'd advise starting with a more digestible and earlier Anderson entry. If you're already a fan, by all means, step into The French Dispatch. Each of them has the requisite charm and random asides we've come to expect from Anderson, including a leotard-wearing strongman that is called upon by the police to help during the hostage crisis, but it felt more like a collection of overlong short films than a cohesive whole. The third segment follows Jeffrey Wright recounting an assignment where he investigated a master police chef (not "chief") and gets in the middle of a wacky hostage negotiation. The second segment follows Frances McDormand as she investigates a Parisian student union revolting against the ignorant powers that be. ![]() The first and best segment follows Tilda Swinton discussing a heralded but imprisoned experimental artist (Benicio del Toro) who is dealing with the pressure to produce. This is not the most accessible Anderson movie for a newbie it's very bourgeois in the kinds of people it follows, the stories it pursues, and the intellectual and political conflicts it demonstrates. It's occasionally so arch and droll that it feels too removed from actual comedy. ![]() Perhaps that is Anderson's wry, subtle point considering the entire journalistic voice of the movie feels like somebody made a movie in the style of one of those esoteric, supposedly "funny" New Yorker cartoons. I was amused throughout but each felt like a short film that had been pushed beyond its breaking point. This narrative decision limits the emotional involvement and I found myself growing restless with each of the three segments. The French Dispatch is structured like you're watching the issue of a news magazine come to visual life, meaning that the two-hour movie is comprised of mainly three lengthy vignettes and a couple of short asides. Wes Anderson's latest quirk-fest is his usual cavalcade of straight-laced absurdity, exquisite dollhouse-level production design, famous faces popping in for droll deadpans, and the overall air of not fully getting it.
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