02. Plumfield
Olek komponował do filmu bez temp tracka https://www.filmcomment.com/article/lifes-work/The way it’s edited, the film really feels like it’s set to music and movement.
When I talked to Alexandre [Desplat]—I had a lot of French collaborators, Yorick, Alexandre—I said to him that in some ways, what we see in this movie is a musical without songs. And he did such a marvelous score, so beautiful, and when it ends, when Jo has that wonderful look on her face [when she sees her book in a shop window], and we cut to black, there’s these last two notes. I had explained a feeling to him, which was: I wanted to give it back to the audience as if to say, “And now, you.” What are you making, what book are you writing, what song are you going to sing? And then he came up with this little end, which I thought, wow, that’s exactly what I meant. It’s amazing how much of filmmaking is on faith. I didn’t know what the music was going to be, and he had me show the film to him silent.
I can’t even imagine the movie silent, because of how much it feels set to the music.
Well, he watched it silent and I felt like… a horrible pain. But then he heard it! That’s what extraordinary about composers, they can hear.
Did you re-edit anything in response to the music?
Very little, because he wrote to the cuts that I felt were right. Working with a composer is like having a garment made for you—it looks great, you’ll never look better than when you buy something made for you. I remember when I talked to him initially, before I’d even shot anything. He’d read the script and he said, “The important thing to remember in cinema is, time only ever moves forward.” So even as you go back, you’re only ever going forward. And I thought about that a lot as we were shooting, that it is always advancing.
P.S. Co z tą czarno-białą bergmanowską okładką?
Ponad godzinka muzyczki, czasy też całkiem całkiem. Can't wait! Na australijskim iTunesie można posłuchać 1,5-minutowego klipu Jest desplatowsko!
