The Score That Was
When audiences first experienced The Tree of Life, many were mesmerized by its musical backdrop, a powerful blend of cosmic grandeur and intimate sorrow. The soundtrack features over 30 towering pieces of classical music, including works by Berlioz, Smetana,
Mahler, and Bach. These selections are so integral to the film’s identity that it’s hard to imagine it any other way. The most famous sequence, a depiction of the universe's creation, is unforgettably set to Zbigniew Preisner’s “Lacrimosa.” This tapestry of pre-existing music wasn’t just a stylistic choice; it was a replacement for a nearly complete, original score written by one of the world's most acclaimed composers.
Enter Alexandre Desplat
The composer originally hired for the job was Alexandre Desplat, an Oscar-winner known for his sophisticated work on films like The King's Speech and The Grand Budapest Hotel. Desplat spent nearly two years working closely with Malick, composing what he believed would be the definitive sound of the film. He recorded over an hour of original, orchestral music intended to flow like a “river through the film,” as per Malick's direction. A soundtrack album of Desplat's full score was even released. Yet, when the film premiered, viewers discovered that only a few minutes of his work remained, sprinkled in to bridge the gaps between the classical behemoths Malick had chosen instead.
The Malick Method
This wasn't a case of a composer failing to deliver. Instead, it’s a classic example of what has come to be known as the “Malick method.” The notoriously enigmatic director is famous for his fluid, exploratory process, often discovering the final shape of his films in the editing room. This philosophy extends to the music. Malick has a history of commissioning scores from top-tier composers—including Hans Zimmer for The Thin Red Line and James Horner for The New World—only to significantly alter or replace their work with classical pieces or other temp music he’d grown attached to during editing. Horner, in particular, was vocal about his frustration after his score was largely abandoned. Desplat, perhaps aware of Malick's reputation, was more diplomatic, but was reportedly unaware of the extent of the changes until he attended the film's premiere.
A Different Kind of Composer
So, while the headline suggests a single different composer was nearly involved, the reality is more complex. The score wasn't handed to another individual but was instead replaced by a curated collection of classical masters, effectively making composers like Berlioz, Couperin, and Smetana the film’s posthumous co-composers. Malick’s approach treats music not as a subordinate element but as a primary narrative voice, equal to the cinematography and acting. By weaving together these monumental works from across music history, he created a soundscape that felt timeless and universal, perfectly mirroring the film's ambitious themes of memory, nature, and grace. Desplat’s score was reportedly more minimalist and contemplative, a beautiful but ultimately different vision from the grand, polyphonic choir of voices Malick ultimately assembled.
