Immersed in Movies: Composer Alexandre Desplat Talks 'Argo'

Features
by Bill Desowitz
January 28, 2013 2:45 PM
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'Argo'
And yet there's hardly any music at all in the first half-hour, which is indicative of a restraint that's very effective. "There's a sense of danger that never stops, propelling both the characters and the story, which is what I tried to convey in the score," Desplat continues. He achieves this with the use of the ney, oud, kemenche, and Persian percussion.

However, Desplat utilizes Deyhim's voice to introduce a haunting lament in one of his favorite cues, "Scent of Death," when Affleck's character arrives in Iran. The composer remembered hearing Deyhim doing some rhythm patterns in a cabaret and so he wrote for her a rhythmic motif -- a sort of scatting -- and trained her because she doesn't read music. The music then swells with the Middle Eastern and symphonic orchestras. But throughout Desplat creates a distinctive sound by combining Deyhim's voice with the Turkish flute (hey) and Turkish violin (kemenche).

There's also a sadder side to Affleck's character having an unstable life, in which he drinks and struggles to maintain contact with his young son, and so Desplat finds time for gentleness in "Missing Home." With this, the "Argo" theme, and "The Mission," Desplat proves once again why he's the master of melancholy.

And in Desplat's other favorite cue, the climactic "Cleared Iranian Airspace," he dispenses with the Middle Eastern instruments and goes strictly for a more traditional classical sound.

"'Argo' is a movie about hope and 'Zero Dark Thirty' is a tragedy," Desplat reminds us. "I've been to screenings all over the world and I must say that people are gripped and at the end they all cheer when the plane goes off. There's a communion there that's very strong."

Meanwhile, Desplat has another busy year ahead: "The Grand Budapest Hotel" (about a perfectly composed concierge) with Wes Anderson; "The Monuments Men" (about a race against time to save great works of art stolen by Nazis before Hitler destroys them) with George Clooney; and "Venus in Fur" (about an actress who attempts to convince a director that she's perfect for his new movie) with Roman Polanski.
 

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