Scoring a film can feel like an isolated process — but scoring a film about isolation during a pandemic takes it to a whole new level.
That was the situation for Academy Award-winning composer Alexandre Desplat, who worked with The London Symphony Orchestra on the score for George Clooney’s “The Midnight Sky.”
In the film, Clooney, who directed and stars, plays Augustine, a lone astronaut who is left in the Arctic after a global catastrophe. He tries to contact a group of astronauts, warning them not to return to Earth.
While recording the score, Desplat had to adapt to the restrictions of quarantine, layering in strings, piano, brass and woodwinds. “We had to record the sections separately, which I am usually reluctant to do, since it twists for the musicians the perception of the overall orchestral sound, dynamics, intonation, phrasing music and is rather frustrating for the director,” he tells Variety.
That was the situation for Academy Award-winning composer Alexandre Desplat, who worked with The London Symphony Orchestra on the score for George Clooney’s “The Midnight Sky.”
In the film, Clooney, who directed and stars, plays Augustine, a lone astronaut who is left in the Arctic after a global catastrophe. He tries to contact a group of astronauts, warning them not to return to Earth.
While recording the score, Desplat had to adapt to the restrictions of quarantine, layering in strings, piano, brass and woodwinds. “We had to record the sections separately, which I am usually reluctant to do, since it twists for the musicians the perception of the overall orchestral sound, dynamics, intonation, phrasing music and is rather frustrating for the director,” he tells Variety.
- 12/14/2020
- by Jazz Tangcay
- Variety Film + TV
It’s been a great year for Alexandre Desplat, winning his second Oscar for “The Shape of Water” score and going Japanese for Wes Anderson’s animated “Isle of Dogs.” But with Jacques Audiard’s darkly comic western, “The Sisters Brothers” he found himself in uncharted territory and created a spare, subversive score.
“What could I write for a western?,” Desplat said. “Because the movie’s so different, it allows something different. There’s no brass, there is a little jazz combo, but it’s playing something strange, oppressive, dark music. It was a long process of experimentation and trying not to be influenced by Bernstein, by Morricone, by anybody.”
Read More: ‘The Sisters Brothers’ Review: Joaquin Phoenix and John C. Reilly Star in the Most Sensitive Western Ever Made — Venice
“The Sisters Brothers,” based on the picaresque novel by Patrick deWitt, concerns two notorious assassins, Eli and Charlie Sisters (John C.
“What could I write for a western?,” Desplat said. “Because the movie’s so different, it allows something different. There’s no brass, there is a little jazz combo, but it’s playing something strange, oppressive, dark music. It was a long process of experimentation and trying not to be influenced by Bernstein, by Morricone, by anybody.”
Read More: ‘The Sisters Brothers’ Review: Joaquin Phoenix and John C. Reilly Star in the Most Sensitive Western Ever Made — Venice
“The Sisters Brothers,” based on the picaresque novel by Patrick deWitt, concerns two notorious assassins, Eli and Charlie Sisters (John C.
- 9/18/2018
- by Bill Desowitz
- Indiewire
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