I decided not to use the instruments of a higher range and wrote the score for 12 horns, 12 trombones, 3 tubas, no violins, 12 Violas, 12 celli and 12 basses. And the way I approached it was very organic and I used a very strange orchestral lineup for the recording at Abbey Road studios.
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“I know it sounds like an action film, but it’s more like a war movie in the tradition of Akira Kurosawa. He went on to talk about the film’s tone and the instruments he used while recording: It’s never brutal because it doesn’t have to be loud.”
It’s a war movie about two parties killing each other, so I wanted the score to be very archaic and dark.
“Well it has nothing to do with any of these other scores, which of course was a challenge for me to do something very different. Hit the jump to see what he had to say.ĭesplat revealed that he stretched himself to craft something wholly different for Zero Dark Thirty: Steve recently spoke with the incredibly talented (and prolific) composer Alexandre Desplat about his work on the upcoming DreamWorks Animation film Rise of the Guardians (you can click here for Steve's thoughts on the movie), and Desplat took a moment to talk about his unique score for Zero Dark Thirty and what he thought of the film.
The production has been shrouded in a massive veil of secrecy given the sensitive subject matter, but it's expected to be a major awards player given that it serves as Bigelow's follow-up to her Best Picture-winning The Hurt Locker. The film documents the decade-long hunt for Osama bin Laden, culminating in the now-famous SEAL Team Six operation. Compares the film to a Kurosawa Movie.Īs we move closer to awards season, one of the more interesting films coming up is director Kathryn Bigelow’s drama Zero Dark Thirty. Composer Alexandre Desplat talks about Zero Dark Thirty. Alexandre Desplat Talks ZERO DARK THIRTY.
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