Tony was one of the greatest musicians I’ve played with. I worked with Tony, because Tony was living in Paris, and the drummer on “Zaire” was the disciple of Tony, and they worked together in the studio, and we did a concert to pay tribute to him. Those were exactly my references on those tracks. How much of that pastiche is intentional and how much of it is just filtering your influences? “Team Vulcan” very much reminds me of Brigitte Bardot’s “Contact,” and “Zaire 73” definitely has Tony Allen-style drumming in it. I think 60 or 70% of the talent you need to be a soundtrack composer is to be able to communicate with the mind of the director. It’s very hard to imagine what the director likes, because for example, if “Orca” was not in the temp track, I would have never thought of proposing something like that. even when you think an idea would be good, you can have some surprises. I just look at the images on the screen, and I improvise on them, and suddenly, you can feel something is going well. In general, in film composing, where do you tend to start? Do you try to come up with a leitmotif that you want to weave through the tracks, or do you just start improvising and discover them? You are completely free to be over the top, so it’s very fun, and you can feel the fun in the soundtrack. When I do my own albums or albums with Air, I try to restrain myself from letting that pastiche be so present in the music. Sara told me she really likes that, so it was very easy for me because it’s my own roots, it’s the music I grew up with, when I was in the ’70s, when I was watching TV. I did the soundtrack for “Au Service De La France,” a French TV show about the Secret Service in the ’60s, where they asked me to do a parody of Lalo Schifrin and stuff like that. Was there a mental or musical frame of reference to aim for? The music invokes nature documentaries from the ’70s, and it also reminded me of the music that David Holmes did for the “Ocean’s” movies where there’s this heist element. But I like period movies because it gives me a direction, and you don’t have a blank page. I would be the musician of the group - and I pictured myself like that when I was working… 20 years ago, talking with them. Because they were a very DIY, and they were controlling and processing everything themselves, so I thought it was a natural thing to imagine I was part of the team at the time back then. We talked with Sara which kind of idea would be behind music and because Katia and Maurice Krafft were science lab inventors, and they have all these labs in France, and so I said, maybe they would have a room in the lab full of old antique synthesizers like I have here so they would make that music themselves. When you were first asked to compose the score, what direction did they give you? But I didn’t see them in real life since we got the nomination, so I can’t wait to congratulate everyone - it will be a nice moment together. I met them last summer because I did a concert with the movie for a screening in the Louvre. I’m going to meet the team in London next weekend, because we’re going there for the BAFTAs, the British Film awards. Have you had an opportunity to celebrate with the rest of the team? Just weeks after the 25 th anniversary of “Moon Safari,” and ahead of the BAFTAs, where “Fire of Love” competed for the best documentary prize, Godin spoke to Variety about the joys - and necessities - of collaboration, including what that means for the future of Air after an almost 10-year hiatus.Ĭongratulations on the nomination for best documentary.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |