Best Original Score, for most, is one of those categories at the Golden Globes (and, by proxy, the Academy Awards) that you just kind of gloss over. Many of the same names cycle annually as nominees (John Williams, Gustavo Santaolalla, the Danna brothers, etc.) and it usually falls by the wayside to its more popular, eclectic cousin, Best Original Song, this weird and wonderful space responsible for Oscars for “Blame Canada” and Three Six Mafia (and a lot of snubs we found unfortunate). Last night, Mychael Danna, who scored the tigers-and-shipwrecks tale Life of Pi, took home the Globe for his lovely score, but today, we salute another workhorse of film composition.
You know who had a great year in award-fodder movies? Alexandre Desplat. Sure, Danna got the win and the Oscars love John Williams and biopics so the big one will probably go to Lincoln, and it’s just an honor to be nominated what are these awards anyway etc., but dude was pretty much killing it this whole time, and it was about time he got his own appreciation post.
For sheer volume of work alone, all the writing and rehearsing and recording for three of the most acclaimed movies of 2012, as well as some others. Did he sleep at all? Did he remember to bathe? Or was he just so immersed in quickening the pulse of Argo armed with ouds and beats and some a cappella that would have been tacky in most places but worked here? Or was he too busy cultivating that stomach-dropping, ominous feel for Zero Dark Thirty, or giving Wes Anderson another earworm of a leitmotif for Moonrise Kingdom? A score is everything, and for three of the most celebrated filmmakers of the year and the three most celebrated films, there was only one composer for the job.
Desplat has been nominated five times for Best Original Score for the Oscars and has gone 1-for-6 with Golden Globes. This may not be his year, but he’s a winner in our hearts. Listen to some choice selections from Moonrise Kingdom, Argo and Zero Dark Thirty below.