Muzyka filmowa - Forum FilmMusic.pl

Awards Daily: OK let’s talk about the score, Alexandre Desplat is one of my favorites.

Tom Hooper: If you met him he’s one of the most charming men on the planet. It was a difficult score to get right. The funny thing about film music is it’s the one thing that operates as the narrator figure. The music is not in the room, it’s the one thing that sits outside of the scene and is unavoidably the filmmaker making a comment on the content.

In the scene when Lily holds the dress against herself, Alexandre’s first instinct was to write something that caught the strangeness and darkness of that. But then we thought that it was saying that getting in touch with your true gender identity was a dark thing, which felt patronizing. The breakthrough was when we realized the score had to balance both, it had to balance joy and pain, anxiety and hope, it had to speak to Lily making contact in this moment with her happiness, but it had to connect with the profound anxiety in making this re-connection in terms of what it meant for her, her marriage, and what she was going to do with the discovery.

The one thing Alexandre said that was true, was that he wanted the Lily music to be strong. Lily had to emerge. If you listen to that cue, there’s a flow of water or a river, the inevitability that links to the visual metaphor and water as part of a journey.