From KCRW Santa Monica and KCRW.com, it's The Treatment.

Welcome to The Treatment. I'm Elvis Mitchell. Probably one of your favorite scores of a period film the past 10 years, be it the imitation game, or the curious case of Benjamin Button, or the newest film by Cameron D'Otero, The Shape of Water.

It was probably scored by my guest, Alexandre Des Blas. I'm sorry, Academy Award winner, Alexander Des Blas.

But you also did one of my other favorite scores a year, Valerian in the City of a Thousand Planets.

You know, it was interesting to me about you, Al-John, is that you do so much work in period film.

You score a lot of period films.

Is that a specific interest of yours?

Maybe it's because the movies which are more period films have a more romanesque can you say that

romanesque feel to them so they call for music a bit more than you know it's hard to

it's not easy to score a film happening nowadays with a most of the directors who direct

movies which are happening now today they use a lot of tracks or in existing

tracks or things but so maybe I don't know maybe that's why maybe I feel that

there's a larger environment of imagination

in which I can be creative, maybe.

Yeah, I wonder that too, because there is Romanesque. There's a very romantic feel, but there's

also a really kind of a lyric sweep to your stuff. And I even like your anime work, and my favorite

scores of yours happens to be The Secret Life of Pets. Thank you. Which feels, I mean, it feels like Debussy and Mancini at the same time.

That's a good mix.

But it is. And again, that's that kind of propulsive lyrics we reviewers, which I associate with so many things.

Even in the imitation game, you managed to do that.

And there's the sense of for you of keeping the film in motion, isn't there?

That's true. Yeah, I like the idea that the music helps the movie to drive on, to push on, to move on,

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