The filmmaker had used French pop music before in the memorable moment from 2012’s “Moonrise Kingdom” when two teen runaways dance on a beach to Françoise Hardy’s “Le temps de l’amour.” The Joe Dassin song "Les Champs Élysées" plays during the end credits of 2007's "The Darjeeling Limited." So the idea of having Jarvis Cocker tackle a survey of French pop classics wasn’t entirely without precedent within Anderson’s musical ecosystem. Among the songs covered by Cocker as Tip-Top is “Mao Mao,” originally performed by Claude Channes in Godard’s 1967 satire of student revolutionaries “La Chinoise.”Īnderson’s “The Life Aquatic” featured the Brazilian musician Seu Jorge singing samba arrangements of David Bowie songs. In the section with McDormand and Chalamet, titled “Revisions to a Manifesto,” the Chantal Goya song “Tu m’as trop menti,” also heard in Jean-Luc Godard’s aching 1966 portrait of young lovers, "Masculin Féminin,” is used, expanding the matrix of references. And then I bring the final touch, the last whipped cream and the little nuts and the cherries to fix the final cake.” He goes back to his editing room and we start fiddling around with all the elements. We amend, we explore, we expand the ideas. And from these sketches, he gives me notes. For “The French Dispatch,” Desplat paired acclaimed pianist Jean-Yves Thibaudet in unusual duets with harp, tympany, bassoon or tuba, drawing from a wide range of references, including Erik Satie and Thelonious Monk.ĭuring a recent interview from Paris, Desplat described the collaborative process with Anderson, saying, “I start writing music, I play my little sketches to him. We always try to have it like another flavor not yet in film.”Īt this point in their ongoing collaboration, Anderson sends both Desplat and Poster the script before shooting has even begun. But the music we try to create together is not referential. It's unpredictable, it is a world where the history of cinema is very present. “There is this sense of humor, a lot of poetry and it's dreamlike. “He's going to a world of his own and I like being part of it,” said Desplat. The cast is bursting with recognizable actors, including Bill Murray, Owen Wilson, Willem Dafoe, Elisabeth Moss, Edward Norton, Tony Revolori, Bob Balaban, Lyna Khoudri, Stephen Park and, in a role billed only as “Junkie/Showgirl #1,” Saoirse Ronan.
A food writer (Jeffrey Wright) becomes entangled in a kidnapping plot. A journalist (Frances McDormand) assists a young student revolutionary named Zeffirelli (Timothée Chalamet). An art critic (Tilda Swinton) describes a madman artist (Benicio Del Toro) and his prison guard muse (Léa Seydoux). Fox” and worked on a "French Dispatch" companion album of covers of French pop songs titled “Chansons d’Ennui” under the name of a fictional popstar Tip-Top referenced in the film.Īn anthology of stories structured like a magazine, “The French Dispatch” tells the tale of a “New Yorker”-esque English-language publication based in the fictional town of Ennui-sur-Blasé, France. Cocker voiced a character in Anderson’s 2009 animated film “Fantastic Mr.
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Three of the key collaborators behind the music of the movie recently discussed just how that particular part of Anderson’s highly specific world came together.ĭesplat has composed multiple scores for Anderson, winning an Oscar for his work on 2014’s “The Grand Budapest Hotel.” Music supervisor Randall Poster has worked with Anderson since his first feature film, 1996’s “Bottle Rocket.” Jarvis Cocker is best known as the frontman for the Britpop sensation Pulp before launching a successful solo career. The latest of Anderson’s unmistakable and idiosyncratic creations, “The French Dispatch,” finally reached theaters last week, posting the highest per screen average for a specialty release in the pandemic, and goes wide Friday. These words from composer Alexandre Desplat succinctly describe the filmmaking of Wes Anderson.
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