Alexandre Desplat is having a bit of a moment, having scored Philomena, Monuments Men, and The Grand Budapest Hotel in quick succession. No other composer today has worked so consistently on such good, smart movies. How does he do it?
“I listen with my eyes and I look with my ears,” says Alexandre Desplat.
The film composer and I are perched on stools in front of a black Steinway grand piano in Studio A—the hallowed, cavernous room at the base of the famous Capitol Records building in Hollywood, Calif.
