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On Sunday, Alexandre Desplat won a BAFTA Award and a Grammy, both for “The Grand Budapest Hotel.” Next up: the Feb. 22 Oscars, where he is nominated in the musical score category for “Budapest Hotel” and “The Imitation Game.” According to conventional wisdom, this is his year — he’s earned six noms in the past eight years, but no wins yet.

On the other hand, conventional wisdom says that he could cancel himself out. Clearly, conventional wisdom is wrong in one of those cases.

Asked which of the two scores is his favorite, Desplat deadpans, “The Grand Imitation Hotel.”

The composer, reached in Paris, quickly adds that he loves both films, and each presented special challenges and rewards.

“Budapest” features a lot more music in its 100-minute running time, with the mood vacillating among drama, light comedy, fantasy and mittel-European atmosphere. Desplat says, “We needed to find instruments to create a special sound, and Wes (Anderson) liked my idea of using cimbaloms, zithers, balalaikas and so on. Wes is very collaborative: He comes with specific ideas, and I suggest themes and ideas for orchestrations. It’s a very precise, almost surgical process, but we always have fun.”

“Imitation” was complex because of Alan Turing: “I had to capture his brain, which was so special.” And the film has many plot threads and time periods. “That was a real challenge, because the story is a complex puzzle, and the music allows us to give a push and flow to help the audience connect to all of them.” He has praise for director Morten Tyldum and adds, “Benedict Cumberbatch is so amazing — he is a driving force in the movie.”

His score for “Imitation” is trademark Desplat, with a wide range of emotions that connects everything in the film. Still, Oscar voters may give him an edge for “Budapest,” because it’s so distinct: If you listen to 30 seconds of the score, it could only be Desplat, and it could only be from this film.

As for canceling himself out, it’s possible, though Oscar history has charted many people who took home a trophy despite being nominated twice in the same category. That includes such composers as Bernard Herrmann, Miklos Rozsa, Max Steiner and John Williams. And it’s happened in other races as well, such as Steven Soderbergh, director (“Traffic” winning over his work on “Erin Brockovich”); William Goldenberg, editor (“Argo” over “Zero Dark Thirty”); A.R. Rahman, song (“Jai Ho” over “O Saya”); and Andy Nelson, sound mixing (winning in two different years when he was a double nominee, for the 1993 “Saving Private Ryan” and the 2012 “Les Miserables”).

This year, Desplat faces tough competition including Hans Zimmer (“Interstellar”), who has one win (“The Lion King”) in nine previous bids; Gary Yershon (“Mr. Turner”); and Johann Johannsson (“The Theory of Everything”). It’s the first nomination for those two.

Desplat did five scores this past year, including the Angelina Jolie-directed “Unbroken.” Jolie told Variety that he has an understanding of dialog scenes that’s rare in composers. Desplat says, “I did a lot of theater, and you have to respect the text. And I have done a lot of French films, in which dialog is so important, you have to come in and out at the right moment.”

He has frequently collaborated with Anderson, as well as Stephen Frears and Chris Weitz. He’s also worked with Kathryn Bigelow, David Fincher, Ang Lee, Terrence Malick, Jacques Audiard, Stephen Daldry, Jonathan Glazer and David Yates, as well as the late Philippe de Broca and Nora Ephron, among others.

Aside from Desplat, three individuals this year received noms for two different films: Anna Pinnock, for set decoration on both “Grand Budapest Hotel” and “Into the Woods”; and Jon Taylor and Frank A. Montano, part of the sound mixing teams on both “Birdman” and “Unbroken.”

Desplat says that he is simply thrilled to be nominated, and in that company of composers: “I’m really lucky to be standing there.”