Beyond the Screen

Where did you find your inspiration or what helped you develop the main theme? What is special about the film music in BISONS?

I always try to explore new territories when I start a film music. In this case, I was inspired by Olivier Messiaen's textbook “Technique de mon langage musical” (Technique of my musical language), in which I found new ways of approaching the various musical colours. Then, I looked for a hard, tormented melodic line – like a howling animal. In counterpoint, there are moments of light, of lightness, when the protagonist is “in the zone” and everything becomes easy for him.

How long did it take you to complete the music for the film BISONS?

I first worked for a month before shooting, writing the main themes. Then, when the editing was well advanced, I worked on it for another month.

How did you get into film music? Was there ever any question of setting up a band and touring the world?

I had a band in the early 2000s. And I would certainly like to get back on stage one day. But, for the moment, there chance because I don't have the time as I am fully committed to composing film music. I would say that film music is a place where I feel comfortable. I loved The Beatles when I was younger (and I still do...). The character who fascinated me most in that group was George Martin, the fifth man, the artistic director and also the musical arranger. It suits me very well not to be in the spotlight, to stay a bit in the background.

How can one imagine the work of a film music composer? Do you get a silent film and then you can compose the music live, or do you get a “briefing” from the director with instructions to follow, such as “sad, happy, sensitive, demoralising”?

There are lots of different ways of working. Most of the time, I receive images or a rough cut (with sound), which I then discuss with the director. I almost never talk in terms of emotions, but of movement (it's the same etymological root...e-motion). You have to determine what the movement of a scene will be and how the music will underline that movement (or sometimes play the counterpoint to it). It is actually the emotion that emerges from the form, not the other way around.

What has been the most difficult challenge you have faced so far and the best experience you have had on a project? What are you personally proud of?

Working on FOUDRE was clearly one of the most demanding challenges I have had to face. Striking a balance between tradition and novelty is complex, and with Carmen Jaquier I think we have discovered something beautiful together. Proud is not the right word, but I am very happy and amazed at the result!

For whom or with whom would you one day like to “write” music? (production, composition)

I would love to work on theatre plays.

Is there a modern play, director or playwright that you particularly like?

The two most beautiful shows I have seen in recent years are “Olympia” by Rébecca Balestra and “Room with a View” by the “La Horde” collective. “Olympia” is a journey between theatre and music, both metaphysical and funny, in which Rébecca Balestra takes us towards the light. I have great admiration for Rébecca, who has an impressive sense of scansion and a perfect science of acting. “Room with a View” is a powerful, ebullient and generous dance performance that brought tears to my eyes.

What kind of project would you like to do?

As a personal project, I would like to compose and perform electro dance music. I am also writing a book on music and movement, and I would like to take the time to complete it.

You teach at the HEMU - Haute École de Musique Vaud, Valais, Fribourg, among others: what particular experiences can you pass on to your students through your work as a film music composer?

I think that it is above all through the diversity of styles and open-mindedness that I can inspire my students the most. As a film music composer, you have to deal with many different types of music, and that helps you to think about music in a cross-disciplinary way. I also try to get my students to think about music in non-musical terms such as images, feelings and so on.