In Coraline, yes, it’s true – it’s vignettes, like a puzzle. Artist and Writer: Bruno Coulais. I had the idea to use these toys, Chinese instruments, strange percussion, piano toys, and afterwards a brass band. I went to the studios in Portland, and it was incredible. Cinema changed my life; it changed my opinion about music, but the world too. Opera “The question for the composer is how dark to go. He is the first composer to write the music for the first 3-D stop motion animated film ever made; stereoscopic 3-D. For. 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. 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 … Like the light, I see a very important relationship between the light and the colors, just like with the atmosphere and the music. Sometimes when I don’t have any ideas I have to leave my office and walk around, I go to exhibitions, and it’s very mysterious when my ideas appear during these moments. 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. I remember that we had three different tonalities for this song. It was nominated for nine Annie Awards including Best Animated Feature, Directing in a Feature Production, and Music in a Feature Production, it won a BAFTA for Best Feature Film/BAFTA Children’s Award, and this year it’s nominated for a BAFTA for Best Animated Feature Film. I worked in Paris, France and Henry was in Portland, Oregon. He absolutely loved working with Selick as he joyfully says, “I’m really a huge fan of Henry, the man and the director too.” As our discussion progresses, the musical philosophy of scoring, I didn’t think about this when I was composing the music, but now I’m impressed by the idea. I’m crazy about literature. I tried to do something very special with the strings so there are a lot of glissandi and microtonalities. The Supper 8. I record demos for the sequences and send them to Henry and then wait for his remarks. 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. Coraline proves otherwise." Bruno Coulais, Mathilde Pellegrini, The Children's Choir Of Nice, HÃ©lÃ¨ne Breschand, … The moment of recording is very important because if I have a new idea I want to be reactive and be able to change something when I’m working with a great interpreter. That kind of thing you can obtain only with very good soloists. I would send Henry my demos, and immediately I’d have an answer from him. Did you have to keep going back and changing your music because of the editing of the film? 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. How important are the soloists? 6 VIDEOS | 2 IMAGES Bruno Coulais was born on January 13, 1954 in Paris, France. Since this film took three years to make and you worked on it for two, how did you work on the score as the film progressed, from a script, talking with Henry, seeing the film, or by storyboards? How did the lighting of Coraline influence your compositions? He wouldn’t give directions, but he was extremely clear and so precise when he explained what he wanted to obtain with the music. Magnetic Fields Compose The Tunes For Coraline Musical. Bruno Coulais is a French composer, born in Paris on 13 January 1954. 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. 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. How did you approach using the choir, the children’s choir, and the vocal soloist? I used piano toys, but not only pianos, quite a lot of different toys that make all kinds of sounds. He asked me to compose the music for his first documentary, then another one, and México mágico, after that I never stopped scoring films.” It was many years of hard work that led the composer to one of his greatest collaborations with multitalented director Henry Selick. 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. It doesn’t directly relate to the story, the story’s not important for me, but film music can be another character. 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. When I mentioned his brilliant work for director Christophe Barratier on Les choristes he responds, “Christophe made another French movie Faubourg 36 in 2008, it was about terrorists, but I didn’t score this film.” Since then Bruno continues his collaborations with films by Jacques Perrin, Frédéric Schoendoerffer, and James Huth. Coraline was nominated for seven other awards including a Golden Globe for Best Animated Feature Film and won for Best Animated Feature from The San Francisco Film Critics Circle. With “Coraline,” the composer has taken another nontraditional approach: he’s written the show’s music for different types of pianos. There’s something about hearing the oboe, Christophe Grindel is a great French soloist, a soloist of the opera and orchestra. After this we wanted to work from the beginning to the end of the film because the music had to change, had to transform, and that’s where the ambience of the film changed, the lighting became darker in the other world. 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. Opera “The question for the composer is how dark to go. He has a father from Vendée and his mother is an Iraqi Jew. This is why scoring Coraline was so difficult. Cinema changed my life; it changed my opinion about music, but the world too. 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. Definitely, I believe this music is from Henry. I was eighteen or nineteen years old when I scored my first music for 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). I worked with the Irish band Kila, whose style is a fusion of Irish and World Music, and we recorded the score in Ireland. Not a kind tale for children, though the lesson to be learned is invaluable to any youngster; they must endure a terrifying transformation with creatures, ghosts, and the paranoia that they will be lost forever in darkness. I used this Africa instrument called a Sanza with strings, the music and the sequence are definitely one element. It’s great to work on an animated movie because you have that time -- the process is very long. It was very difficult for me to find a good way to do that. Mice Circus 13. It depends. I used this in the movie [for the scenes with the] Other Mother. It was important to create a strange dark theme, but also something moving, I wanted to create some emotion with the music for this character. My favorite writer is Proust. For me it’s very important to make my own orchestrations. Coulais’s musical style changes to fit each film he works on, but there are consistent influences: his taste for opera, the human voice, especially children’s voices, a search for original sonority, for world music and mixing different musical cultures, and his scoring approach that musically perceives a film by its ambience created by lighting rather than the film’s narration. It’s not only working on one sequence and then one after another and another, it’s important to keep inside your head all of the music from the beginning until the very end. Curiously we have a very close relationship. 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. And for the movies, I have a lot of admiration for Bernard Hermann and Nino Rota. I used children’s voices in Coraline; for me childhood is not a time of innocence, it’s also the time when you’re scared for the very first time. Coraline is a musical with music and lyrics by Stephin Merritt and a book by David Greenspan. After producing the magnificent soundtrack to Winged Migration (2001), Coulais significantly reduced his contributions to film music and concentrated on other projects, such as the creation of an opera for children, and collaborations with Akhenaton, Akhenaton’s group IAM and the Corsican group A Filetta, with whom he had worked since he scored Jacques Weber’s Don Juan (1998). What’s very interesting for a composer when working on an animated film is that the process is very long, so you can confront your opinion, but you also have the opportunity to change your mind and try something new. 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. In Coraline, I think Henry was interested in the Other Mother. In this score you play the keyboards, Christophe Grindel is on the oboe, Helene Breschand plays the harp, and Bernard Paganotti is on the bass guitar. It’s important for me not to stay in my office and try and write music. This happened two or three times. After the editing of the film had progressed I traveled to. I know how to get things done on a computer, and learn quickly. 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. I didn’t want to do that – for me, music had to be very pure. Yes, that was the difficulty because they’d change the formula. Little by little I sent to Henry my demos of each sequence and very quickly he E mailed me his remarks. Stravinsky. Do you think in terms of parts or themes? This began an ongoing collaboration with Dayan that led to Les nuiteux (1994), Le Comte de Monte-Cristo (1998), and Balzac (1999). Also Helene on the harp was wonderful as well. 2000: Music for Tim Burton's "Stainboy" animated internet series commissioned by Shockwave.com (selections released on Warner Bros. Records' The Danny Elfman & Tim Burton 25th Anniversary Music Box in 2010). Scoring animation is nothing new for Coulais who composed music for one of his favorite scores to The Boy Who Wanted to Be a Bear (2002), then next a Swiss stop motion film Max & Co. (2007), and a creative collision in 2009 with Brendan Et Le Secret De Kells as he explains, “I also scored the animated French film Brendan Et Le Secret De Kells or The Secret of Kells. You can define the color, the tonality of the film with the opening credits because now you have a place where you can imagine the music. Bruno Coulais is a French composer who wrote the music for the documentary Microcosmos, as well as the acclaimed drama The Chorus, for which he was nominated for an Academy Award. Ligeti. The story follows Coraline Jones, a young girl who discovers a parallel world beyond a secret door in her new home. It was very easy, very quick and easy. 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. Sometimes the music reveals another part of the film, the music can reveal what’s not said in the dialogue, and it’s very mysterious. It’s very important to orchestrate my score. Because I am very lazy, when I have an idea I’m very happy to keep it! I'm a data analyst, composer, programmer and graphic designer. You also worked with Henry on Sirens of the Sea with Michele Mariana and bass player Bernard Paganotti. Sheet music arranged for Piano/Vocal/Guitar, and Singer Pro in Eb Major. 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. Depending on the density of sequence, sometimes I will have just a few instruments -- strange instruments like the water phone. It was so amazing to see how Henry worked. I’m very proud of this sequence; it works perfectly because the music is in the same scale that the characters appear as. You can’t just go to bed, go to sleep, and wake up in the real world free. The audience should feel the voices words as if they were ghosts and The Children’s Choir of Nice did this perfectly. Very important, for example the bass, the sound that Bernard’s bass brings to this movie is a special effect, very strange and deep. As director Henry puts it, “The true childhood to me has wonder, discovery, some nastiness, and some great fear. The Night of the Hunter is a unique movie, it’s a masterpiece. Coraline Fly 11. Then I met Henry in L.A., he sent me the animatics, and I started to create some themes and melodies. CORALINE also features a brand-new song by renowned funsters They Might Be Giants. You orchestrated the complete score, how important is that to you? You can play notes on it, and it’s a strange, beautiful, very deep sound. Coraline proves otherwise." And when I find the way, I am able to work a lot, all the day and night. I was very young, and it was for a documentary. Neil Gaiman's Coraline is getting a musical adaptation composed by the sharp witted, velvety voiced In Coraline I have a big orchestra, especially the string [section]. I remember the last month, I didn’t sleep during one month because it was a lot of work to change and to add certain music to the film when you’re editing. With the Oscar nominations coming up on February 2nd and ten films to choose from this year, Coraline is great enough to earn one. Editor's note - Bruno Coulais took home the Annie Award for Best Original Music for a Feature Animation on February 6th, while the film itself has indeed been nominated for Best Animated Feature at the forthcoming Academy Awards. He is the first composer to write the music for the first 3-D stop motion animated film ever made; stereoscopic 3-D. Henry recorded this with actress Michele Mariana in a studio and we didn’t have the same tonality, so I had to use my imagination to change the tonality. I need to see the real images [before I can finish the music]. 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 … These performances and interpretations are so important, so special, and so magic, that you can’t obtain this with very good instrumentalists, so sometimes you need a soloist to obtain greater dynamics and more emotion. At the very beginning I wanted the music to be quiet but with strange sounds. It’s a sequence where you see the dismantling of an old rag doll, and its reconstruction into a little girl. What are the most powerful parts of the film, where the score and story are one? There’s the little girl, her parents, her friend Wybie, a black cat, and the quirky tenants in the pink house, but once Coraline enters the small door into an unsuspecting parallel world, a completely new and appealing life becomes an illusive temptation as its overwhelming evil powers unleash themselves to possess the little girl’s life forever. How did you get the job to score Coraline? When a sequence is too realistic, it’s very difficult, which is why it was great to work on Coraline and its fantasy world. I remember scoring the documentary called México mágico with director François Reichenbach, he’s who I worked with on all my first films. He is most widely known for his music on film soundtracks. ! 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? Trap for the Mices 12. 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. I am all forgetting. Then, little by little, I began to see construction of the film. Three hundred people working all the time, and Henry was able to [stay on top of] all this work. 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. If we are on the same page with our first discussion, afterwards it’s easy. They want to show that it is a very dangerous country, and if you watch the picture, nothing happens, but when the music is added you think that you could be killed on any corner! The lighting of a film is so important. He absolutely loved working with Selick as he joyfully says, “I’m really a huge fan of Henry, the man and the director too.” As our discussion progresses, the musical philosophy of scoring Coraline is revealed. My favorite film is The Night of the Hunter directed by Charles Laughton and it stars Robert Mitchum, I remember this sequence when the kids are on the boat and the girl sings this beautiful song called Once Upon A Time There Was A Pretty Fly (Lullaby). How rare is that? It is based on the 2002 novella of the same name by Neil Gaiman. Over one hundred and forty film scoring projects to his name, Bruno Coulais is a French composer who was born in Paris on January 13th1954. SKU: MN0162938 Exploration (from 'Coraline') Sheet Music. His collaboration with Henry Selick on Coraline started at the beginning of 2007, two years before the film was released, and his next score can be heard in the Disney film Oceans directed by Jacques Perrin, which will be released in April. The music and the film received great praise and won Coulais his third, Is the pink Victorian hotel and its surroundings all that exists in, On Monday January 18, 2010 at 8:30am Los Angeles time it was the beginning of the largest rain storm of the year, it started last night and became stronger as the week progressed. I wanted to create fear, the unknown, and a strange atmosphere. 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. Bruno Coulais. Yes. He composed the soundtracks for Christine Pascal’s Le petit prince a dit (1992), Agnès Merlet’s Le fils du requin (1993),while in 1994 he met television producer Josée Dayan, who had him write a theme for La rivière esperance. You are the first composer to have scored the first 3-D stop motion animated film ever made. It’s a way of discovering the world and it’s why I hate temp music. I wrote The Coraline Theme, it’s a very simple theme with Mathilde singing and the harp, which was the first theme. Coulais is the real thing, always searching for new philosophies and instrumentation to underscore a film and a composer who doesn’t even know how to deal with an orchestrator because he’s orchestrated every project he’s ever worked on. Wybie 5. Sometimes when I don’t have any ideas I have to leave my office and walk around, I go to exhibitions, and it’s very mysterious when my ideas appear during these moments. As a musician new ideas are always happening, so I want to be able to change the music and be flexible. Mixing orchestra with a children’s choir, African instruments with toy percussion, and adding contrapuntal themes that tease additional meanings and emotions from a scene, Coulais has composed a spooky, seductive score that has excited audiences as well as critics. Other Father Song 7. Bruno Coulais is the author of Exploration (from 'Coraline'). Ten years ago, I had a house in Corsica, and in France we have a lot of documentaries about Corsica on TV. It was so strange that it worked with the cat. Exhibitions are very important to me, along with the light and reading. When Henry did an anamatic it was only with drawings. Sometimes he was able to create fear with very emotional music. based on what i heard! This resulted in the band not having any of their music in the film, with the exception of the aforementioned song the other father sings to Coraline (you know, the one with the hidden message). At the end of the film there’s a beautiful sequence with the last confrontation between the other mother and Coraline. I don’t like war music if the composer takes a rhythm or a song from, I was recording the symphonic part of the score with the Hungarian Symphony Orchestra of Budapest and I knew that we could find a very good choir there, so we used the Choir of the Hungarian National Radio. 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. 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. I worked in, At the beginning I read the script and I composed four or five themes, melodies, and then I met with Henry and he cared for these melodies. When I start to write music, I don’t have any ideas. 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. The fantastic garden, the music and the sequence of the film are definitely on the same page. First of all I recorded the oboe in, Yes, that was the difficulty because they’d change the formula. You can hear it in the last meeting between Coraline and her other mother, the contrast between the violence and softness. We were very far away in terms of distance, but very close [creatively]. In the beginning I composed all the themes and all the melodies of the film, he was OK with this. Film music is not there to explain, but to create emotion, to create over sentiments, and to bring the story together. I was very impressed by the quality of this film. End Credits 2. Installation 4. It was really fantastic because there’s such a distance between us. First of all I recorded the oboe in Budapest and it was great, but it wasn’t exactly what I wanted, not what I expected, so that’s why I asked Christophe to record it in a studio in Paris. Movie because you can preview our currently available arrangements for Exploration ( from 'Coraline )... 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