Magazine article Variety

Desplat's Twin Takes on WWII

Magazine article Variety

Desplat's Twin Takes on WWII

Article excerpt

Alexandre desplat's five 2014 releases are as diverse as ever, from the quirky sounds of "The Grand Budapest Hotel" and the action pulse of "Godzilla" to the wartime drumbeat of "The Monuments Men."

But it's his last two films that are bound to draw the most attention at awards time: "The Imitation Game," due Nov. 21, and "Unbroken," slated for a Christmas release. Both are powerful, fact-based dramas focusing on quietly heroic individuals.

In the case of "The Imitation Game," the story of the mathematical genius Alan Hiring (Benedict Cumberbatch) charged with breaking the German code machine Enigma during World War II, director Morten Tyldum posed a challenge: "I wanted music that could be subjective, inside this head of this awkward, brilliant mathematician. At the same time I wanted music that would depict the epic scope of the war; a tender, fragile love story; and the thriller element, the spy story. I wanted music that felt classic, yet at the same time had elements that were unique and contemporary."

It was a tall order, especially in three weeks, the time given Desplat to craft his score. The composer met with Tyldum at his Los Angeles studio and suggested mirroring the complexities of Hiring's thought processes with three pianos.

These pianos, Desplat says, "were programmed, or should I say computerized, with random algorithms, as an homage to Turing's invention. These fast scales and arpeggios have a dual task, playing both the fast activity of Hiring's brain, and the chase - the ticking clock to crack the Enigma code. …

Search by... Author
Show... All Results Primary Sources Peer-reviewed

Oops!

An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.