A Quote by Alexandre Desplat
I remember when I saw 'King's Speech' or 'Girl With the Pearl Earring;' there are moments in my life where I was blown away and thought, 'Wow, that's why I chose to be a film composer.' These films are so beautiful and so strong, and the music can be very much part of the emotion.
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A lot of people say, 'Wow, a movie on your life, isn't that exciting?' Absolutely, I'm blown away that God allowed me to do this but it's hard - watching the film and being a part of it.
I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.
When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.
I needed to enhance the outward threat to Rachel.In the book [Girl on the Train], her inner threat is so strong; the fear of herself and her inability to remember and the false memories. In the film [Girl on the Train]I wanted to increase the exterior threat. So that's why Allison's part was bigger and was an important part of the climax of the film.
The colors of 'The Nutcracker' ballet score have become a part of the vocabulary of film music. It's where so much of the 19th-century romantic music that I call upon as a film composer is rooted.
Everything starts with writing. I heard Nikki Giovanni and was blown away. I just thought 'wow'; she was writing from a black girl's perspective, and the imagery was so vivid that I started doing spoken word.
The first time I saw Pearl Jam, I thought Eddie Vedder had seen too many Jim Morrison videos, and I didn't like the music very much. But by the third album, I really liked them after all.
Because I work so much, people think that I have a team writing for me, but that's not why I chose to write music for films. I chose to write music because I like to write music. So every single note that comes out of my studio is written by me, and I wouldn't be able to do two movies at the same time.
Chose? If you believe that I chose any part of the pitiful shadow of a life you see before you, you are very much mistaken. I chose glory and success. The box did not contain what was written on the lid.
On the very last day of shooting [of The Last King of Scotlang], I remember wanting to get the [Idi Amin] character out of me right away, as much as I could. You literally take a bath to wash him off you. Luckily, I went into another part not so long afterwards, so I was kind of able to push it away a little bit. But speech patterns, and little sounds, particularly colloquial things, like the way you ask questions or might respond, were sticking with me, probably because I'd worked so hard to make it a part of my everyday way of expressing myself.
I remember when I saw 'The Matrix' when I was 13, I saw it in the theaters, and I was so blown away by it. It was one of the most memorable experiences I definitely ever had in the theater.
I guess the passion I have for cinema is as strong as the one that I have for music. And I've always tried to be a character in the film, not just a composer that throws his music to the film. That's the main element that connects me with directors.
At AFI, you make three cycle films your first year, and then you make a thesis film your second year, and I watched Darren Aronofsky's cycle films and was blown away - there was a young Lucy Liu, who was just part of that generation. And I just wanted to be part of that tradition.
I'm surprised by how much I remember [on childhood on film]. I think it's just because I had these interesting moments. Of course, you never know when they're interesting moments, but there was a lot of stuff that I remember and have attached significance to later. I remember enough. I remember highlights.
The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
I remember the first time I saw 'Gupt,' I was blown away.
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