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As a Composer, I often have to question my relationship to the image, to the narration. I constantly question my work, the means to implement a line that brings meaning and depth to the story. In addition, my role as a teacher of film music invites me to share my thoughts in interaction with the students Directors and Composers.

The creation of music within a film requires strong rigor from the Composer in the sense that it can sublimate a story … but also losing the auditor, for various reasons: it blurs the tracks, it gets attached to nonessential dramaturgical elements, it is too present and relegated to the background, thus becoming the famous “wallpaper” of the story, it chats too much and does not leave enough place for silence, acting, the main direction of the film, etc. In other words: when the author’s work lacks development, when the score is not sufficiently undertaken, both by the Composer and the Director, because roots of film music come first of all from this collaboration.

Music is not necessarily limited to simply supporting images. It should bring complexity, intelligence and additional sensations to the visual. It therefore seems essential to me to continue to think about its own language, the possible forms it can take. It is a permanent research laboratory!

With this in mind, I decided to share topics on the Composers’s profession, specific themes. These will often take the form of video sequences that resonated in me and share a reading, a personal analysis (with all the subjectivity that characterizes it) in order to explain how the music and the staging can bring a special emotion. With, still in the background, a resonance with the entire soundtrack of the film, this in order to relate the chosen scene with the whole story.

Always curious and eager for artistic exchanges, I remain attentive to the comments and discussions that these subjects may generate.

You will find below all the subjects in chronological order.

I wish a good reading to all those who venture on this page!

Raw