Even the lyrics, which were written by Elissa Samsel, were ambiguous: evoking both fascism and kindness to show how someone’s views could be twisted through lies.” “Kids have no idea what the Nazis are marching to, and the idea was to start off with a pure propaganda march and it becomes a loving theme about acceptance and tolerance and beyond, what Jojo was able to see at the beginning of the film. “I wanted to have a melody that could sound as a German march, if needed, with children singing,” Giacchino added. Giacchino’s usual routine consists of composing a suite and in this case he ran right home after the rough cut screening and composed the melody on his piano, which the director embraced immediately. Like “Jojo,” they evoke love and loss, but with this movie it was important to underscore the absurdity and horror of Jojo’s journey from fanaticism to compassion as a result of his friendship with Elsa (Thomasin McKenzie), a teenage Jewish girl hiding behind a wall in his house. Waititi and Giacchino had several conversations about the musical tone, with the director emphasizing the need for a simple melody and a fairy tale vibe found in the composer’s “Up” and “Ratatouille” scores.
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