We've had several polymaths on this show from John Favreau to Matt Ross and Warren Beatty, who

are as at home in front of the camera as behind it. And Stanley Tucci certainly falls into that category.

An actor, writer and director who's been involved with countless critically acclaimed works of film and television.

Among those we'll discuss are Sleeper Hit Big Night and Box Office Smash Beauty and the Beast.

Stanley's latest project is Final Portrait starring the sensational Jeffrey Rush and Army Hammer.

It's based on the true story of the time American journalist, James Lorde,

sat for world-renowned artist Alberto Giacometti.

Critics, and we agree it's a charming delight.

I'm Edith Bowman, and you're listening to Soundtracking,

a weekly podcast dedicated to the sounds of the screen.

Now given the 1960s Parisian setting, there were plenty of opportunities to play around

with the idiomatic French music of the era, but Stanley was keen to avoid cliches,

complimenting the familiar sounds of accordions and chantos with Evan Laurie's

whimsical score. As I mentioned, the premise of the film is a simple one, neatly encapsulated

by Lord's opening line of dialogue. In 1964, I was a young writer living in Paris.

I'd written a few articles about Alberto Giacometti, who was one of the most accomplished and respected artists of his generation. I'd become good friends with Giacometti and his brother Diego,

and one day after an exhibition he asked me to sit for a portrait.

He told me it would take no longer than two to three hours.

An afternoon, at the most. Stanley Tucci, welcome to soundtrack in.

We're going to talk about music, if that's all right.

Can we start with Final Portrait?

Because what's wonderful about this film is being able to delve into the music of that time

...