The animated chase music is the most Dadaesque, highlighted by guitar, drums, and acoustic bass. “But it’s the instrumentation that makes it lively because the chords don’t change, they don’t evolve.” “So, at times, you will have a Benny Goodman style coming in with the clarinet, and there’s a celesta, and there’s the tuba, and the piano plays the ragtime-ish pattern, and then the glockenspiel,” he added. “And I think Wes renders this ex-patriot story very well of Afro-Americans feeling at home in France and escaping racism in the ’50s and ’60s.”ĭesplat described the episode’s main theme as a repetitive pattern on two chords, which introduces various instruments to provide different flavors, like a chef. With the 2D animation, you take off the dramatic part and have something more poetic.” “The Private Dining Room of the Police Commissioner” from “The French Dispatch” Searchlight Picturesįinally, composer Desplat embraced the absurdity of Dada in his score and was especially jazzy for “The Private Dining Room.” “The great thing about Wes’ movies is they seem mischievous and absurd, but there’s deep meaning,” he said. Like a translator, we had to seize and extract the core of their aesthetics. I think this sequence is a way to talk about a gloomy topic without being too gloomy. One part of our mission therefore was to transpose them into a hand-drawn dimension. “On ‘The French Dispatch,’ sets, characters, and costumes did exist. “Wes likes minimalism in animated scenes, so the action is usually simple and straightforward,” said Germain (who did 2D animation on “Isle of Dogs”). “I think it was fascinating that it became this rambling shape with all these layers to it.” Added Yeoman: ” We wanted it to feel seedy but at the same time see everything.”įor the three-minute animated chase sequence, in which Wright and the police pursue the kidnappers, animation director Gwenn Germain was encouraged by Anderson to jump inside a Franco-Belgian comic book in both color and black-and-white (inspired by “Blake & Mortimer” and “Tintin”). “We had interesting garrets, and attics, but, as we were scouting, we found ideas from various places ,” added Stockhausen. The kidnapper’s lair, which also gets introduced in a single tracking shot in the interior stages, became a rogue’s gallery of villainy. Then, when they had the potent, that’s when we circled around them on a track, and we wanted that to be a little more magical, so we brought the lights up on the walls and we shot it in color to show this whole different world that they were entering.” “I put overhead light on them so you couldn’t see their eyes and we kept the light off the walls. “We wanted the dining room to be a little spooky in a way,” added Yeoman. “And we made interesting use of the tile floor, which was damaged but gave a nice sense of character to the dining room.” Stephen Park in “The French Dispatch” (“The Private Dining Room of the Police Commissioner”) Searchlight Pictures “Then we made a miniature of the courtyard to put right outside the window as a backing for it,” Stockhausen said. “We started in the corridor, went into the investigative maps survey room, then to a gym, through the disguise room, through the firing range, and landing in the chicken coop holding cell area.”įor the dining room/kitchen, the art department used an upstairs split level room of the felt factory, in which the upper level became the kitchen with a large window so the entire space could be viewed in the same shot. And Jeffrey made his way through the whole police station in one shot,” Stockhausen continued. At first, it was going to be individual sets for each of the rooms, but we built the whole thing from scratch on the biggest set that we had, wall to wall, in the old felt factory. “The anchor part of that story is the way Wes introduces the police station. “For me, ‘The Private Dining Room’ had more nuts and bolts research,” said Oscar winner Stockhausen (“The Grand Budapest Hotel”), who studied French police stations and commercial scale kitchens from the ’50s.
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