- The Imitation Game. It’s difficult to get to know geniuses sometimes as several of them are, as it’s been seen in movies and in real life, hard to deal with on a social level as their skills range towards the more academic aspects of life which tend to consume them more often than not.
- The Grand Budapest Hotel. It’s amazing how a story can start, run its course, and then end on a note that leaves one wistful and wanting more, even if there is plenty to give but no one that will listen.
- Zero Dark Thirty. There were a lot of moving parts to this movie and the music had to convey that and a sense of very serious and real danger that went into the planning of the mission that was carried out.
- Harry Potter and the Deathly Hallows part 2. There had to be a real sense of things changing, the darkness enfolding the scene, and of the desperation that those who resisted faced when attempting to subvert the power of the dark lord, and it came off beautifully.
- The Painted Veil (2006) Desplat’s score isn’t just the highlight of this wonderful and criminally underseen melodrama, it’s also the film’s quicksilver soul.
- Lust, Caution (2007) Desplat always excels when he’s provided a distinctive cultural or historical foundation for his music, and Ang Lee’s sorely underrated tale of romance and espionage gave him both.
- Birth (2004) Even divorced from the setting of the film for which it was commissioned, Desplat’s score for Birth has the feel of a chilly afternoon somewhere north of 66th St. These pieces are some of the composer's most luxurious work—so garlanded with deep drums and dancing flutes that they genuinely begin to take on the feel of the wealthy characters onscreen.
- The Tree of Life (2011) When it comes to the music of Terrence Malick’s masterpiece (some three decades in the making), classical compositions by the likes of Berlioz and Mahler are better remembered.
Alexandre Michel Gérard Desplat (French: [alɛksɑ̃dʁ dɛspla]; born 23 August 1961) is a French film composer. He has won two Academy Awards, for his musical scores to the films The Grand Budapest Hotel and The Shape of Water, and received nine additional Academy Award nominations, ten César nominations (winning three), ten BAFTA nominations (winning three), eleven Golden Globe Award ...
- A master of movie music. Born in 1961, Desplat dreamed of becoming a film composer from an early age and scored his first film at 25. He has since risen to Hollywood's A-list with scores for numerous hits, including his Oscar-winning 'The Grand Budapest Hotel' and ''The King's Speech' - for which he won a BAFTA.
- The Imitation Game (2014) Although Desplat captures all sides of Alan Turing’s story in this biopic - from obsession to tragedy via brief tenderness - it’s the maths and mechanics of the code-breaking machines that inspires the most exciting music.
- The Grand Budapest Hotel (2014) Desplat’s work with director Wes Anderson is always a blast and here he delivers a quirky, unpredictable - and Oscar-winning - score full of delights; catchy tunes, comedic tics and breezy colours - zithers and balalaikas galore - that charm the ear and match Anderson’s unique and hilarious vision.
- Zero Dark Thirty (2012) No room for Desplat’s natural charm in this tough, intense picture on the hunt for Osama Bin Laden. The music sits low in the film’s mix, with muted orchestral colours, biting and bubbling beneath the surface of the drama.
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- THE GRAND BUDAPEST HOTEL (2014) The quintessential example of Desplat’s style for Wes Anderson and the surprising, yet fully deserved first Oscar for the composer.
- EXTREMELY LOUD & INCREDIBLY CLOSE (2011) After seeing this film, I thought for sure this was the Oscar winner for Best Picture. And while it received that nomination (and one for Max von Sydow’s mute neighbor), it was shut out of all the other categories.
- LITTLE WOMEN (2019) Did we really need another version of LITTLE WOMEN? Damn right, we did! Greta Gerwig’s controversial reordering of Louisa May Alcott’s classic story gave it a fresh spin, echoed in her direction to Desplat about the score—”Mozart meets David Bowie.”
- THE KING’S SPEECH (2010) Sentiment nearly always wins out at the Oscars. That’s why the emotional and affecting story of King George VI’s speech impediment beat the icy yet equally effective story of corporate greed at the core of THE SOCIAL NETWORK.
- The Shape of Water (Guillermo del Toro -2017) Desplat shapes his musical structure like del Toro shapes his narrative, focusing on the elemental mannerisms of water.
- The Grand Budapest Hotel (Wes Anderson – 2014) Wes Anderson’s whimsical cinematic gem is wonderfully paired with the quirky, unpredictable and colourful composition of Desplat.
- The Curious Case of Benjamin Button (David Fincher – 2008) Taking inspiration from the subject matter and incorporating them into the score, Desplat’s compositions act as musical palindromes and become synchronous with the events on screen.
- The Tree of Life (Terrence Malick – 2011) Malick’s masterpiece is set in the 1950s and follows the story of a Midwestern family. Desplat’s score acts as a binding force, providing an acceleration during the moments between moments.
- The Grand Budapest Hotel (2014) Desplat received his first Oscar win for The Grand Budapest Hotel, which was his third collaboration with Wes Anderson.
- Moonrise Kingdom (2012) Despite Desplat not receiving an Oscar nomination for his work on Moonrise Kingdom, the film (which was his second collaboration with Anderson) propelled him to immense recognition with the score’s playfully quaint aesthetic.
- The King’s Speech (2011) “There were two main elements,” Desplat says of The King’s Speech score, which earned him his fourth Oscar nomination. “There’s the friendship between George and Lionel that will come from their therapy, the friendship between them as two partners, and the possibility of the king finally expressing himself.
- Harry Potter and the Deathly Hallows – Parts 1 and 2 (2010, 2011) The final two films in the Potter universe proved to be a new and exciting, albeit nerve-inducing, project for Desplat.
Alexandre Desplat, Composer: The King's Speech. Composer and conductor Alexandre Desplat, Oscar winner and seven-time Academy Award nominated, for his prolific filmography and his collaborations with Stephen Frears, Terrence Malick, Ang Lee, Kathryn Bigelow, Jacques Audiard, Wes Anderson, Roman Polanski, George Clooney or Matteo Garrone is one of the most worthy heirs of the French masters of ...
- Composer, Music Department, Soundtrack
- August 23, 1961
- Hans Zimmer and Benjamin Wallfisch, Blade Runner 2049. Tasked with revisiting the hallowed ground consecrated by Vangelis’ iconic Blade Runner score (a month before the sequel’s release no less), Hans Zimmer and Benjamin Wallfisch faced a daunting task.
- John Williams, Star Wars: The Force Awakens. While J.J. Abrams kicked off this generation’s Star Wars trilogy with a bang and some fresh faces in front of the camera, John Williams was a welcome return behind the scenes.
- Ryuichi Sakamoto, Alva Noto, and Bryce Dessner, The Revenant. Co-created by Ryuichi Sakamoto, Alva Noto, and The National’s Bryce Dessner, The Revenant’s score swells pensively through the snow, heart in its hands, in wonder and weariness for the unholy lengths men will go to resist nature.
- Mica Levi, Jackie. Mica Levi‘s score for Jackie earned the composer her first Oscar nomination, a well-deserved recognition but one that is somewhat surprising considering how completely unconventional her work on the film is.
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