I remember a sequence which they wanted me to score; it was the circus of mice with Bobinsky (Mice Circus). The exciting music of Coulais brings the never ending internal world of Coraline to life. It’s not easy to define Coraline’s musical style, but it sounds like the story was actually written for the music creating perfection for every scene. 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. He wouldn’t give directions, but he was extremely clear and so precise when he explained what he wanted to obtain with the music. I composed the first music for Kells before working on Coraline and finished the score just after. I’m thinking of all of the aspects, but the characters were important. The first full length motion picture Bruno composed was Lien de parenté (1986) for Willy Rameau. And for the movies, I have a lot of admiration for Bernard Hermann and Nino Rota. I've made 3 complete video games, Hundreds of hours of music, and just as many logos. Stravinsky. Afterwards it’s like an open door, the process is very easy. It was very easy, very quick and easy. Very important, for example the bass, the sound that Bernard’s bass brings to this movie is a special effect, very strange and deep. 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. He is most widely known for his music on film soundtracks. For me, each movie is different from each other and the musician has to imagine new musical ideas, special music, and that’s only for one film. Composer. Other Father Song 7. You hear the pizzicato strings and the children’s voices at times. Did you have to keep going back and changing your music because of the editing of the film? Depending on the density of sequence, sometimes I will have just a few instruments -- strange instruments like the water phone. He is a composer, known for The Chorus (2004), Coraline (2009) and Winged Migration (2001). Yes, but I approach this very carefully. 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. You also worked with Henry on Sirens of the Sea with Michele Mariana and bass player Bernard Paganotti. 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. 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. I love darker characters; they are very interesting to compose to. I prefer dark characters to happiness or to light characters. That same year he wrote the music for Les choristes by Christophe Barratier, which became an international hit. I was given the opportunity to be extremely free because he wanted very experimental music, but at the end, and this is why Henry is such a great director, the score in this film is really Henry’s music. 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). This began an ongoing collaboration with Dayan that led to Les nuiteux (1994), Le Comte de Monte-Cristo (1998), and Balzac (1999). Exploration (from 'Coraline') Sheet 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. Fortunately for Coulais, not all movies resemble an episode of Friends. Bruno Coulais, Mathilde Pellegrini, The Children's Choir Of Nice, HÃ©lÃ¨ne Breschand, … The scene and the music are very violent, but I composed this by mixing two ideas together. I used some harps from Madagascar, this piece of wood with strings around it, we called this a valiha, but I also used some Chinese instruments. The eponymous heroine is a young girl who has just moved with her parents into a very old house broken up into flats. What are some of the difficult parts of the film you worked on? 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? 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. Kids and their fears, what they imagine and the dangers out there, the real danger in what they imagine is intense.”. 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. 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. 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. Did that change the way you approached the music? All is mixed, and I think it’s interesting to mix a lot of psychological aspects in the same music. The Supper 8. these are not the actual lyrics so please don't flame me!! I didn’t want to do that – for me, music had to be very pure. You can preview our currently available arrangements for Exploration (from 'Coraline') listed by instrument further down on this page. Where I recorded it wasn’t so important for the music; the most important element was the children’s choir that I recorded in. 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. It’s a way of discovering the world and it’s why I hate temp music. Then, little by little, I began to see construction of the film. 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). What ethnic instrumentation did you use in your score? 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