David Mermelstein is an AwardsLine contributor.
Alexandre Desplat is nothing if not prolific. This year the quadruple Oscar-nominated composer will have five films in theaters. And, as is typical for him, each score is completely different from the others—much like the movies themselves. “If I only did thrillers, I would kill myself,” he said by phone recently from Majorca. “Seriously, I would want to change jobs.”
What keeps him in the game is the opportunity to play with various styles in different genres and compose music that challenges and delights him. “They’re all my babies and all so different,” he says of his scores. “They have different faces and shapes and costumes. Some are big, some are small—and some are huge. Some are talkative, and some are quiet. But I try to give the best of my energy to all of them.”
The most time consuming of these recent projects was his soaring music to DreamWorks’ Rise Of The Guardians, which marked the first time Desplat wrote for animation on such a vast scale. “It was three months altogether, writing and recording,” the composer says. “When you work on animation, the music has a great task: to create a sound and melodies and mood and atmosphere and energy dedicated to these extraordinary characters. And you see they are very specific, very clearly designed. Each has a personality that is different. It’s fun and moving and very emotional.”