It's the man's music that moves me - the muscles and the decidedly strong nose aren't bad either - which Deadline describes better than I could, saying the score is "melancholy but also incredibly wishful, walks a razor-thin line between the two and works beautifully with a sparkle of hope punctuated with a recurring delicate ding of a percussion instrument, the triangle."
“She gives so much doing nothing that the music has to respect that,” said Desplat. “If [the music] plays, it has to be so subtle. And yes, all her life is about this thing that was considered a sin, and it ruined her life. So yes, the music, to me, should reflect that — but in a tender way because her forgiveness, her humanity, is above any of the hard times she’s been through. She forgives, she loves people. Funnily enough, I met the real Philomena, and I could feel that, too.” His score, he says, is trying to guide the audience “to open windows, emphasize things that you might feel even more, and sometimes just pull back, leave the actors alone and respect the dialogue. Respect.”Now, listen! I could play this over and over again all day long. In fact I may. Enjoy!