coraline music composer
You think the music is very light, but some element can disturb. It absolutely changed the emotion of the music. It’s a sequence where you see the dismantling of an old rag doll, and its reconstruction into a little girl. I remember a sequence which they wanted me to score; it was the circus of mice with Bobinsky (Mice Circus). It was great to work on a fantasy, a nonrealistic film, with a creative director with so much imagination, it was magical. In Coraline when you hear the children’s voices it creates anxiety, it’s scary with fear and anguish. It was very difficult for me to find a good way to do that. Sometimes he was able to create fear with very emotional music. Installation 4. Hermann especially – his use of music is very interesting because it doesn’t correspond exactly with the sequence. And when I find the way, I am able to work a lot, all the day and night. 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. Fortunately for Coulais, not all movies resemble an episode of Friends. Composer Bruno Coulais’s love of film is wide and deep, but there is one thing he hates: flat lighting. Kids and their fears, what they imagine and the dangers out there, the real danger in what they imagine is intense.”. I mix many elements together, the themes, the evolution of the orchestration, and especially the structure because it’s very important for a composer to imagine the complete structure of the score in the movie. Dreams I write the melody for the score, the harmony, details of the instrumentation. Did that change the way you approached the music? Yes, the drama is important, but it’s also sometimes very dangerous to be too close to the story. 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. Ten years ago, I had a house in Corsica, and in France we have a lot of documentaries about Corsica on TV. © 2020 Focus Features. 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. Bobinsky 9. Bruno Coulais. 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. 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. 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. Afterwards it’s like an open door, the process is very easy. What was the very first part of the film you worked on? I don’t like it when directors give me a lot of musical references; I prefer it when they speak about the movie, what they want to obtain with the music. The contrast is what brought out this character. It’s another world of a movie, another part. I'm great at VBA in excel, and I know SPSS like the back of my hand. 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. 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. What ethnic instrumentation did you use in your score? 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 is a composer, known for The Chorus (2004), Coraline (2009) and Winged Migration (2001). Bruno Coulais. That kind of thing you can obtain only with very good soloists. The fantastic garden, the music and the sequence of the film are definitely on the same page. Do you think in terms of parts or themes? When I start to write music, I don’t have any ideas. The exciting music of Coulais brings the never ending internal world of Coraline to life. When the change happened, French composer Bruno Coulais stepped in and mixed things up. Sheet music arranged for Piano/Vocal/Guitar, and Singer Pro in Eb Major. 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. I remember that we had three different tonalities for this song. You have a taste for opera, for the human voice, particularly children’s voices, and you can hear this in your score…. 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. In the beginning of Coraline the world she lives in is bright, while after she enters the small door into the other world it becomes more ominous and darker each time she returns. At the end, there is a violent scene between the Other Mother and Coraline, and the music is absolutely scary, but I put in a very lyrical and contrapuntal melody with the oboe. It depends. At the very beginning I wanted the music to be quiet but with strange sounds. All that comes from your childhood, but for me the music can be terrifying. 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. As director Henry puts it, “The true childhood to me has wonder, discovery, some nastiness, and some great fear. I was very young, and it was for a documentary. The eponymous heroine is a young girl who has just moved with her parents into a very old house broken up into flats. I worked with the Irish band Kila, whose style is a fusion of Irish and World Music, and we recorded the score in Ireland. Forever a Feisty Eleven Year Old, Coraline Turns Eight, A remembrance of LAIKA's first stop-motion animated masterpiece. Is there even a world beyond the countryside around the house? 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. Opera “The question for the composer is how dark to go. 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. I am all forgetting. 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. The scene and the music are very violent, but I composed this by mixing two ideas together. I'm a data analyst, composer, programmer and graphic designer. these are not the actual lyrics so please don't flame me!! She was the youngest recipient of the Pulitzer Prize for Music in 2013 for Partita for 8 Voices, written for the Grammy-winning Roomful of Teeth, of which she is a member. Using just 16 musicians, Turnage finds endless resource, especially in his … I love darker characters; they are very interesting to compose to. In the beginning I composed all the themes and all the melodies of the film, he was OK with this. 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. If we are on the same page with our first discussion, afterwards it’s easy. As a musician new ideas are always happening, so I want to be able to change the music and be flexible. It’s a metallic percussion where you put water on a kind of basin with a tube and a bowl. 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. End Credits 2. It was so amazing to see how Henry worked. I record demos for the sequences and send them to Henry and then wait for his remarks. I tried to do something very special with the strings so there are a lot of glissandi and microtonalities. Afterwards Henry sent me an anamatic drawing with the structure of the movie and I started to imagine some demos with light orchestrations. 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. Bruno Coulais is a French composer, born in Paris on 13 January 1954. The cat is a very strange character between the two worlds, the normal world and the dark world, and the music has to create a specific atmosphere, peaceful and very strange, yes with fantasia. What was different working with Henry compared to other directors you’ve worked with? note: these are made up! It is based on the 2002 novella of the same name by Neil Gaiman. based on what i heard! 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. You can play notes on it, and it’s a strange, beautiful, very deep sound. It’s great to work on an animated movie because you have that time -- the process is very long. Installation. Using just 16 musicians, Turnage finds endless resource, especially in his … Composer Bruno Coulais’s love of film is wide and deep, but there is one thing he hates: flat lighting. In recent years, his ambitious movie music has scored films ranging from a steam-punk French detective film (Vidocq) to an eye-popping and violent documentary about the insect kingdom (Microcosmos). There’s something about hearing the oboe, Christophe Grindel is a great French soloist, a soloist of the opera and orchestra. The story follows Coraline Jones, a young girl who discovers a parallel world beyond a secret door in her new home. I returned to Paris and part by part Henry sent me the actual cut of the film. It’s very important because the audience is extremely reactive to the music underscoring the first images. Artist and Writer: Bruno Coulais. Microcosmos won the César award for Best Music Written for a Film as well as a Victoire de la Musique. It doesn’t directly relate to the story, the story’s not important for me, but film music can be another character. I was very happy because I’m a huge fan of The Nightmare Before Christmas. I mixed very violent orchestral music with an emotional and soft oboes melody, opposing the violence with the softness created an impact between this character and the audience. 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. Also I used a lot of strange world instruments including a glass harmonica, water phones, various harps, chimes, glockenspiels, marimbas, and creative world percussion to give the soundscape a plucked personality. Where there’s light there’s darkness, twisted fantasies, creatures, and characters abound. 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 See full bio » For me it’s very important to make my own orchestrations. Coraline proves otherwise." 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. For me it’s ‘the example’. 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. It was important for me to keep a unity with my melodies, but to create a lot of variations little by little with the score and its orchestrations. Exploration (from 'Coraline') Sheet Music. It features the Other Father singing to protagonist Coraline while demonstrating that he does not play the piano, the piano plays him. First of all I recorded the oboe in, Yes, that was the difficulty because they’d change the formula. 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. You have to spend some time to work with other cultures to achieve this. It’s the sensation between the music, the lights, the characters, the set, everything is absolutely magic. So, I think in Coraline the music is sometimes “behind the wall,” like ghosts that haunt the movie. It’s important for me to write my own orchestrations because when I think of melody, I think of it with the instruments I’ll write with. I don’t use words; it’s only musical sounds or expressions. He wouldn’t give directions, but he was extremely clear and so precise when he explained what he wanted to obtain with the music. At the end of the film there’s a beautiful sequence with the last confrontation between the other mother and Coraline. The rights belong to Focus Features, LAIKA, and Bruno Coulais, respectively. You can preview our currently available arrangements for Exploration (from 'Coraline') listed by instrument further down on this page. In it beginning it sounds very quiet and realistic because it’s a realistic world. How did you get the job to score Coraline? Cinema changed my life; it changed my opinion about music, but the world too. I went to the studios in Portland, and it was incredible. I've made 3 complete video games, Hundreds of hours of music, and just as many logos. 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. Working on this film was very different from scoring Coraline. 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. You know, music is dangerous because you can manipulate and change the meaning, the psychology of a sequence. The music and the film received great praise and won Coulais his third César award. He’s also scored Himalaya (1999), Les rivières pourpres (2000), Belphégor (2000), and Vidocq (2000). From Coraline I remember the fantastic garden (Fantastic Garden), which is a beautiful sequence. 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). Very important, for example the bass, the sound that Bernard’s bass brings to this movie is a special effect, very strange and deep. Yes, that was the difficulty because they’d change the formula. Until the end of the 1990s he kept a low profile composing mainly for television. 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. Fortunately for Coulais, not all movies resemble an episode of Friends. When Henry did an anamatic it was only with drawings. Coraline was theatrically released on February 6, 2009, that’s a year ago, but the film is generating award excitement. 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. Recent projects have included his Stabat Mater in Saint Denis Cathedral with the participation of English musician Robert Wyatt. It’s important for me not to stay in my office and try and write music. Neil Gaiman's Coraline is getting a musical adaptation composed by the sharp witted, velvety voiced 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. 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. Exploration 6. This happened two or three times. With Coraline I found the atmosphere, the spirit I’ve been searching for in films for years. 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). Henry is very courageous, a great director, in the beginning of the story Coraline’s world isn’t that special, and in fact Coraline is boring. We were very far away in terms of distance, but very close [creatively]. What are the most powerful parts of the film, where the score and story are one? Also you love world music and mixing different musical cultures together, did that have anything to do with Coraline? 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! Afterwards it’s like an open door, the process is very easy. It was incredible. 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. With the Oscar nominations coming up on February 2nd and ten films to choose from this year, Coraline is great enough to earn one. I could hear the rain falling on my office skylights, it was dark outside like the ‘other world’ in, 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. 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. Like the light, I see a very important relationship between the light and the colors, just like with the atmosphere and the music. Then I met Henry in L.A., he sent me the animatics, and I started to create some themes and melodies. I do my own orchestrations, so this changed with the timings as well. I love to write orchestrations. I wanted the music to be the same scale as the picture, very small. He has a father from Vendée and his mother is an Iraqi Jew. 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 … Yes, lights, atmosphere, it’s very important. For Coraline herself, Merritt composed for toy piano. She recorded some elements of this music and we were looking for a singer for this song. And little by little the music becomes quite scary by the end of the movie. 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). It’s strange, because when I read a book and I’m passionate about it, suddenly I have some [musical] ideas. 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. Zipping through a concoction of world music, New Age, classical, and bebop, Coulais draws comparisons to Danny Elfman’s frenzied musical cocktails, but with an old-world elegance. Dreaming 3. Fantastic Garden 10. 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. Film are definitely one element with other cultures to achieve this Singer in... Is the pink Victorian hotel and its surroundings all that comes from your childhood, but it s. Entire book is pretty weird from Vendée and his mother is an Irish movie with a and! 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