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Winner of an Oscar and a Golden Globe for the soundtrack he composed for 'Atonement' (2008), Dario Marianelli is an Italian-born composer of world renown. He has worked on numerous international productions and received some of the most important recognitions in the world including an Oscar nomination for 'Pride and Prejudice' and Oscar and Golden Globe nominations for 'Anna Karenina'. He is also known for his work on 'Jane Eyre' and 'V for Vendetta'. Born in Pisa in 1963, Marianelli now resides in London where he composes music for avant-garde English theater.




You are an Italian who has lived in London for years and who works mainly on international productions. How much “Made in Italy” goes into your creativity?

That is difficult to quantify. Perhaps the strongest influence for me is cooking…passion, in music as in cooking, for a certain “clarity”: I like things that are not excessively elaborate and are intelligible, where ingredients like harmony or orchestration can be identified effortlessly. Also in a melodic imagination I think there is a lot of Italian influence and again, I discern a certain Mediterranean approach to simplicity.

What messages and emotions do you want to convey with the soundtrack to Rewind?

I really liked the idea of a journey that occurs in reverse, of something simple that you achieve starting with the naturalness of a gesture – that of putting on a blazer or of drawing with a pencil on a piece of paper – but that everything is accomplished through a more complex and multi-faceted phase. As in cinema, music begins with a very simple idea and returns to simplicity by moving through more elaborate rhythms and fragmentations.

Notes of color, balance, proportions, style accents: the language of a brand often gleans from that of music. What do the two worlds have in common?

I believe the idea of fluidity is essential: you arrive at a finished product with effort, but this effort is invisible. Everything that follows is unified, even though it is made of many parts, ideas, process, weaving, colors, shapes and lines. Everything must come together in a single object without betraying the effort that lies behind it.

You studied piano and have a passion for classical music. What is your idea of classicism and how do you incorporate it into an expressive and contemporary context that is constantly evolving?

Classicism for me represents the desire to give shape to certain kinds of abstract ideas: it is a breath of life to structure and render concrete certain archetypes. The models are obviously musical, for me, and the references are those of a specific period in music history; but I believe that the aspiration to find balance between form and content, which I identify as “classic” aspiration”, is universal and always modern.

Your idea of elegance in a song

This has a lot to do with a balance between the idea and the realization, content and form. I don’t think that in music, though, “elegance” is in itself a parameter that should be favored. Sometimes, it undermines the elegant equilibrium that brings us to discover interesting things. One can do this only if, at the foundation, an idea of proportion and balance has been established. Beatles songs are a good example: I feel a great invention, both in text and in the harmonies, and in the often unusual arrangements. Everything always occurs within a very tested and nearly invariable framework. In other words, I am interested in the encounter between invention and that which exists already. I believe that from this, an original and unpredictable elegance can come to life.



A film by Ivan Cotroneo



Director of Photography of Rewind