http://variety.com/2014/film/features/a ... 201347747/
O matko, nie mogę się doczekaćFor “Unbroken” — Angelina Jolie’s film based on Laura Hillenbrand’s best-seller about Olympic track star Louis Zamperini’s ordeal as a Japanese POW — Desplat navigated a delicate balancing act between pathos and hope. “We had a few scenes that were visually painful but needed to be uplifting for the audience,” Jolie says. “We relied on Alexandre to help guide the audience emotionally through music, to redirect the feeling and help lift the spirit of the viewer.”
As opposed to “Game,” Desplat had more time and a personal advantage: He met the real man behind the story.
“A few stars were aligned,” Desplat recalls. “I asked if I could meet Louis, chat with him, learn about his musical world, his sound world.”
It turned out Zamperini’s house was only two blocks from Desplat’s new L.A. studio, and the composer — a runner himself — often ran past it while in town.
“The orchestra is much larger (than ‘Imitation Game’), but I always kept the orchestra to a gentle dynamic. Never fortissimo,” says Desplat. “He’s a hero, but a human hero, not a superhero. So when the orchestra swells, it’s very powerful but without overwhelming either the character or the film.”
There is also a sparing and subtle use of choir. “A delicate touch was required,” says Mike Knobloch, Universal president of film music. “It’s almost like the hand of God, touching Louie’s soul and spirit at his lowest point.”
