2010

2009

Bertrand Tavernier

Dice "the clock of Saint Paul" in 1974, Bertrand Tavernier each film expresses his aversion against injustice, his commitment against war, racism, the ravages of colonialism, the death penalty, crime, violence, unemployment, drugs, AIDS ... His love for American cinema, which is the subject of his book "50 years of American cinema," the push to make his American film IN THE ELECTRIC MIST. He worked on music with Philippe Sarde, Antoine Duhamel, Louis Sclavis and Marco Beltrami.

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Interview:

"Beltrami is a form of honesty, enthusiasm. His master is Jerry Goldsmith. He taught him the art of percussion."

Cinezik: Why did you call for Marco Beltrami's music IN THE ELECTRIC MIST?

Bertrand Tavernier: As soon as I listened to the music of three funeral, I immediately wanted to work with those who had composed the score. It was a tremendous shock which reminded me of the shock that I had with Jerry Goldsmith.

As I thought of an American movie, I immediately told the producer I wanted Beltrami and I wanted to meet soon when I was in the process of writing. This was a big hit. It was the first time that the director was calling so early because most of the time we expect the film to be mounted, or even mixed. There was great because he could do research. He went to study music in Louisiana, the instruments, to find musicians who could play the Washboard (ie: musical instrument percussion appeared in New Orleans). And we spoke several times of what was to be the music of this film.

Did you have temporary music to guide the composer?

I had very few discs with me in the United States, and there was no record, they had to be ordered on Amazon is less, on order of the disks that do not necessarily agree. I remember being the soundtrack to "Citizen Kane" by Bernard Herrmann on the sequence of confederates at the discovery of the camps. I knew I wanted to put some songs, like "I passed your door on the truck accident, and that the discovery of New Orleans went on" I'm coming home "(Clifton Chenier). I had all this before the shooting.
It was also used music by Morricone for the final scene, which was replaced by the music of Beltrami.

What is that working with an American composer has changed for you?

Beltrami I had with the same reports as french composers. I think his work is exceptional. When I asked him to find me a music that is not binary, but that reflects the stubbornness of the character of Robicheaux (Tommy Lee Jones) to conduct two surveys, and there are themes that have air Linking the past that begins with this most distressing, he managed it wonderfully! With this side "Carousel" and the figure in Ostinato rhythm that I found very successful.

You're used to interfere in your movies music and original music borrowing. How did you choose music by the Cajun?

I had very early in the film "Give Me Pauline and I spent in front of your door." Then I had Zydeco (genre appeared in 1930 in Louisiana) with Clifton Chenier and Nathan Williams, and then the jazz of Sidney Bechet Creole.
The music you hear is popular in Louisiana, based on accordion, is the influence of French music, after which was transposed into Cajun music with the violin or mixed with black American music and it becomes of Zydeko in a mixture of waltz, blues, music to dance.

Return to your previous collaborations. How things were going with Antoine Duhamel you were too prescriptive or with Philippe Sarde committed to the film?

It is easier to allow complete freedom to a musician when he is sent on film, he has an understanding of film. Antoine regrets that his music is secondary to the film, he asked that there be no noise ... it would be even better if there were no images. This may be making mistakes, but it is also a wonderful composer, inventive, but suffers from ignorance of the press in relation to film music that his work as that of his fellow musicians is rarely analyzed . He said while receiving the prize in Berlin for the music pass, "it is great to receive an award for a music that not a single journalist has spoken." His music is beautiful. He feels a kind of bitter about how he was treated. I understand that. Only rightly or wrongly, the director is one who has the film in his head. However I am surprised each time to provide challenges.

However, Philippe Sarde is primarily a writer of music, he thinks the film. Anthony thinks his music. That's why he likes to compose for the silent films. His enemy is his editor. He wanted to reduce the sounds of locomotives on LET GO when it was important to have.

What about Marco Beltrami?

He has a form of honesty, enthusiasm. His master is Jerry Goldsmith. He taught him the art of percussion, working on tools that will give a new color. On IN THE ELECTRIC MIST, he used the accordion, not the melody, but on the breath, creating dissonance, to give the impression that someone short, it is great.