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The Extra Man

Klaus Badelt

Husband-and-wife filmmakers Robert Pulcini and Shari Springer Berman (American Splendor, The Nanny Diaries) adapt Jonathan Ames novel in this 2010 comedy starring Kevin Kline as an eccentric failed playwright with a strange social life and Paul Dano as the troubled young aspiring writer who falls into his orbit.

Best Known for his
Pirates of the Caribbean: Curse of the Black Pearl score and assorted collaborations with fellow German composer Hans Zimmer, Klaus Badelt veers into lighter, markedly less muscular fare here, channeling a strain of folk classical closer to his roots. Baroque horns and harp dance breezily through the waltz tracks “Daydream” and “Gatsby,” ably establishing the insular, almost delusional world in which the film’s characters imagine themselves. Other tracks manifest a similarly playful, free-wheeling approach to the manic potpourri of moods and situations: a contrapuntal blend of gypsy and Latin rhythms in “232 E. 91st” and “Pissing,” the Balalaika serenades “Wallpaper” and “Dreaming of Russia” and the featherweight pluckiness of “First Date.”
The Extra Man
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