To beginning French orchestrator (he worked alongside Alexandre Desplat), Cyril Aufort composed his first musical feature film in 2006 with Bruno Chiche's HELL. In 2010 he wrote the music of Vincenzo Natali's SPLICE.
Cinezik: How does one come to such an international project?
Cyril Aufort: The co-production of the film is ensured by Gaumont, so it was a part of the post-production is done in France, and the composer must be French. On one visit by Vincenzo Natali the director in Paris, the Gaumont organized a tender asking composers to attend. They did not want famous composers, perhaps the budget does not allow it. So I was contacted by someone who offered me Gaumont put music on the website that Vincenzo would listen before meeting me. On the twenty composers candidates, five will be selected for a demo. So I had a half-hour interview with him, I asked about the music I put on the website (I do believe that he had heard) and then chose composers who would work on stage.
How did the meeting then?
CA: When I spoke, the editing was not finished, nor special effects ... I went three days in Toronto to look at pictures, talk with him, we learned to know it was a human encounter and musical.
Did you know his films?
CA: I liked CUBE, but I preferred CYPHER. I think he has a style recognizable in the photo, the colors, this way of embedding his stories, and when I saw this new movie, I was delighted to see this world like him.
What were the discussions of work?
CA: Speaking with him is a very open, which is not afraid of music, a great intellect, great culture, and also extremely nice. The experience was all for me. I liked the movie before working on it, I love him more now because I do not remember one time when the tone is mounted. And I've never felt frustrated.
What were his first musical intentions?
CA: The first time I met him he had just finished filming, I spoke with a minimalist music, not too present. Then when I went to Toronto to see the movie, the speech had changed a little, he wanted something more substantial, and I told him I wanted the orchestra for the film, working with machinery, and he also spoke of Erik Satie, with the piano, and I think that's what he meant by a minimalist music. I have therefore taken this into account, without duplicating the style. I interpreted this through intimate aspects, putting several detuned piano on some scenes.
Interviewed in Aubagne March 20, 2010 by Benoit Basirico
