It’s the sensation between the music, the lights, the characters, the set, everything is absolutely magic. It’s a way of discovering the world and it’s why I hate temp music. I definitely have orchestrated all of my films and if I had to work with an orchestrator I wouldn’t know what to do, it would be so strange for me that I’d be totally lost. He’s very famous in France regarding his documentaries, especially the music; he made this wonderful film about Arthur Rubenstein in 1969 called L'amour de la vie - Artur Rubinstein. How important are the soloists? It’s very important because the audience is extremely reactive to the music underscoring the first images. It was interesting to show with the music how she was a scary character but also to give her humanity and emotion. It’s at this very moment when I’m able to understand if I’m even able to compose the music for his film. He went on to win two more Cesars (for Himalaya, l’enfance d’un chef, and Les Choristes) as well as an Academy Award nomination for Best Original Song (for Les Choristes). For me it’s ‘the example’. It was very interesting for me because Kila did not read music, but after listening to my demos they were able to play everything with emotion and Irish ornamentations. Mathilde was the soloist and we had eight girl singers who were very young, but so gifted, you can do all you want to with the music by using the color of the Children’s Choir of Nice. Bruno Coulais began his musical education on the violin and piano to become a composer of contemporary classical music. What was different working with Henry compared to other directors you’ve worked with? I remember a sequence which they wanted me to score; it was the circus of mice with Bobinsky (Mice Circus). You have a taste for opera, for the human voice, particularly children’s voices, and you can hear this in your score…. Lyricist. Installation. And when I find the way, I am able to work a lot, all the day and night. I know how to get things done on a computer, and learn quickly. I think when you are very young, it’s the age of terror, of fear, so I think in movies when you use something very close to a childhood you create a fear, and a fantasy. Also Helene on the harp was wonderful as well. You have a memory of the sequence and very often the music becomes closer to the film than when you are always composing with your eyes watching the picture. Quite often and especially at the end of the film you get the feeling that there is no world, only Henry Selick’s universe that pulls you into the pink hotel and its immediate surroundings. I used a string quartet, a lot of percussion, and there is a very special sequence -- the marching band of the mice circus -- where I tried to be at the scale of the mice, so I used toys and Chinese instruments along with traditional marching band instruments. Bobinsky 9. For me the music is not there to explain what the narration explains, the music is not there to be underneath, to be a secret, but it’s another character who works with the movie. The emotion is the most important element, especially when you want to create fear, the audience has to be moved and the music can do that. For me it was definitely the age of fear. The fantastic garden, the music and the sequence of the film are definitely on the same page. Trap for the Mices 12. Using just 16 musicians, Turnage finds endless resource, especially in his … Whether you’re listening to the darkness of the Children’s Choir of Niece on the End Credits or the magnificent orchestration of The Hand, a Mechanical Lullaby, Ghost Children, or the playfully mysterious Bobinsky, to the lurking and threatening Dangerous Garden, right from the beginning Bruno’s music inseparably celebrates Selick’s vision. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie Spotlight Then the inspiration will come. That kind of thing you can obtain only with very good soloists. I was in conservatory then, in Paris, and a director, a great documentarian who was very famous in France, Francois Reichenbach, asked me to write music for a documentary about Mexico. Fantastic Garden 10. In Coraline, I think Henry was interested in the Other Mother. based on what i heard! We were on the same page and had this great collaboration. At the end Henry told me, ‘I want to keep this voice,’ so we mixed the song with The Children’s Choir of Nice, Teri Hatcher, and my voice. The music and the film received great praise and won Coulais his third César award. There is no meaning to the words they are singing. After I write the score I eventually return to the sequence and use my software and samples to create demos with Logic Pro, Vienna Instruments (VSL), and other samples. The largest turning point of Bruno’s career came in 1996, when he worked with directors Claude Nuridsany and Marie Pérennou on the documentary Microcosmos. Film music is not there to explain, but to create emotion, to create over sentiments, and to bring the story together. Coraline's discovery of a strange parallel world is part of a universe of fantastic worlds that dates back to the beginning of children's literature. In France I’m very lucky, I work on very interesting movies with very interesting directors, wonderful projects, but French movies are very realistic and the place of the music is not so important. When I started to work in this world I discovered that movies are so different that they became an opening to the world. Thankfully, another wall has come down for one of that continent’s most talented composers, as CORALINE’s stop-motion adventures have at last let Bruno Coulais’ Euro-centric talents go Hollywood in a big, magical way. The audience should feel the voices words as if they were ghosts and The Children’s Choir of Nice did this perfectly. I write the melody for the score, the harmony, details of the instrumentation. You have a memory of the sequence and very often the music becomes closer to the film than when you are always composing with your eyes watching the picture. I think the most important part is the first relation with the director. For me, the light, the atmosphere of the movie needs special orchestrations, special tonalities, so it’s absolutely essential for me to control this aspect of composing. Henry tried [putting] a lot of [temp] music with his drawings, his animatics, and I don’t know why, but he tried the music I made for a movie called Microcosmos, and it worked! Born in Paris, Coulais studied piano and violin before he was invited to score a short documentary, 1977’s Mexico Magico, by director Francois Reichenbach. I’m very proud of this sequence; it works perfectly because the music is in the same scale that the characters appear as. I love darker characters; they are very interesting to compose to. Coraline - Coulais, Bruno (Composer) Combining the visionary imaginations of two premier fantasists, dirctor Henry Selick ("The Nightmare Before Christmas") and author Neil Gaiman (Sandman), "Coraline" the movie is a wondrous and thrilling, fun and suspenseful, adventure that honors and redefines two moviemaking traditions. Mice Circus 13. Artist and Writer: Bruno Coulais. When I started to work in this world I discovered that movies are so different that they became an opening to the world. Cartoon Song "End Credits" is a song from the 2009 stop-motion animated film Coraline that plays during the final credits of the movie (hence the song name). This part is so beautiful in Coraline, so strange, mysterious, that it was important for me in the beginning to start scoring the opening credits. The world has everything Coraline dreams of, but hides an ominous secret. There’s something about hearing the oboe, Christophe Grindel is a great French soloist, a soloist of the opera and orchestra. I think he was looking for temp music and I don’t know why, but he tried the music I composed for Microcosmos and Winged Migration and he called me. Afterwards the most important thing is the discussion with the director about the place of the music in the movie, where does he want to put the music, what does he expect from the music? I write the melody for the score, the harmony, details of the instrumentation. Three hundred people working all the time, and Henry was able to [stay on top of] all this work. Other Father Song 7. Stravinsky. It’s the innocence and appearance of a lie that swallows up a child with fear, and when the truth is revealed, it leaves them with nightmares forever. Coraline has been turned into an opera by composer Mark-Anthony Turnage, with a libretto by Rory Mullarkey, and the dragon-beater with us in … First of all I recorded the oboe in, Yes, that was the difficulty because they’d change the formula. I needed some very special tonality, very special orchestrations, and it’s very subjective, but for me it directly relates to the atmosphere of the film. It absolutely changed the emotion of the music. With Coraline I found the atmosphere, the spirit I’ve been searching for in films for years. This changed my music because suddenly the scenes I had to score were so precise, so strange, and so fantastic, that I had to change my music. The second theme Henry was very happy with was The Other Mother’s Theme, for me she’s one of the most interesting characters in the movie. I was absolutely fascinated by this aspect of the film. I remember that we had three different tonalities for this song. Afterwards it’s like an open door, the process is very easy. Cartoon Song " Other Father Song " is a song from the 2009 LAIKA stop-motion animated film Coraline, based off the 2002 novel of the same name by Neil Gaiman. He thought they were good, that it was going in the right direction. I recorded some operas there and I also worked with Mathilde Pellegrini, it’s easier to explain to the singer what to do in this studio, what I expected out of her performance. Very important, for example the bass, the sound that Bernard’s bass brings to this movie is a special effect, very strange and deep. Over one hundred and forty film scoring projects to his name, Bruno Coulais is a French composer who was born in Paris on January 13th 1954. Microcosmos won the César award for Best Music Written for a Film as well as a Victoire de la Musique. Fortunately for Coulais, not all movies resemble an episode of Friends. In 2002 his name was found on the ending credits of the animation L’enfant qui voulait être un ours and also Genesis, while in 2004 he worked with Frédéric Schoendoerffer’s on Agents secrets. But also James Joyce. Depending on the density of sequence, sometimes I will have just a few instruments -- strange instruments like the water phone. Did that change the way you approached the music? It was actually the last part of the score that I wrote for Coraline. In the beginning the orchestration is very simple, you have a harp, the voice of Mathilde, and gradually the orchestra becomes much stronger and much more important when you feel the fear. And with the children’s choir there are a lot of contrapuntal voices. It was courageous to show that and gradually the film becomes this exciting adventure, it becomes very active when her other mother is after her. It’s the age where we discover fear; we just don’t have an explanation for these things. It is based on the 2002 novella of the same name by Neil Gaiman. Nick Dawson examines just what makes him so special. Audio Commentary: Commentary with Director Henry Selick and Composer Bruno Coulais: Director Henry Selick and composer Bruno Coulais discuss various aspects of the film's production, from adapting Neil Gaiman's novella, cast choices, LAIKA's extraordinary animation work, and of course, the musical score. Caroline Shaw is a New York-based musician—vocalist, violinist, composer, and producer—who performs in solo and collaborative projects. You can hear it in the last meeting between Coraline and her other mother, the contrast between the violence and softness. I could hear the rain falling on my office skylights, it was dark outside like the ‘other world’ in Coraline, and my office phone rang. After the editing of the film had progressed I traveled to Portland, Oregon and we had a lot of discussions, a lot of direct conversations about where the music was going to be in the film. It depends. In Coraline, yes, it’s true – it’s vignettes, like a puzzle. Type of Song. This is the fate of Coraline in Neil Gaiman’s 2002 fantasy children’s novel of the same name, later a popular film and now an opera by Mark-Anthony … Then I met Henry in L.A., he sent me the animatics, and I started to create some themes and melodies. ! I watch the sequence for a very long time and after I write the music I don’t remember or even watch the sequence or pictures, because using your memory is better. Kids and their fears, what they imagine and the dangers out there, the real danger in what they imagine is intense.”. Magnetic Fields Compose The Tunes For Coraline Musical. See full bio » At the beginning the music is very normal, very quiet, and little by little it becomes scarier. What do you love about film music?When I was very young I hated cinema because my parents wanted me to watch only cinema for children, so I wasn’t interested in cinema and not at all by the music for movies. What was the very first part of the film you worked on? How did the lighting of Coraline influence your compositions? I was very impressed by the quality of this film. He doesn’t dislike it because he’s some kind of hyper-aesthete but rather because he can’t figure out how to write for films that are too rooted in the everyday. If we are on the same page with our first discussion, afterwards it’s easy. For example I’d compose the music for one sequence, a long sequence, and afterwards they cut the sequence, so I had to always keep changing. He’s also scored Himalaya (1999), Les rivières pourpres (2000), Belphégor (2000), and Vidocq (2000). 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