It’s also very important for me to play the keyboards because it’s much faster to work that way, it’s much easier. That same year he wrote the music for Les choristes by Christophe Barratier, which became an international hit. Also Helene on the harp was wonderful as well. How did you get the job to score Coraline? From Coraline I remember the fantastic garden (Fantastic Garden), which is a beautiful sequence. Caroline Shaw is a New York-based musician—vocalist, violinist, composer, and producer—who performs in solo and collaborative projects. I'm a data analyst, composer, programmer and graphic designer. 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. Bruno Coulais. note: these are made up! Henry was great; he set me free and was very positive. It depends. Bruno Coulais. Kids and their fears, what they imagine and the dangers out there, the real danger in what they imagine is intense.”. Print and download Exploration sheet music from Coraline. In 2002 his name was found on the ending credits of the animation L’enfant qui voulait être un ours and also Genesis, while in 2004 he worked with Frédéric Schoendoerffer’s on Agents secrets. It was very easy, very quick and easy. Is the pink Victorian hotel and its surroundings all that exists in Coraline? For example, music boxes, sometimes when used in the music for movies they are very strange and scary. Sometimes it’s very interesting to create contrast, to have two or more voices independent of each other or counterpoint with the music. It was great to work on a fantasy, a nonrealistic film, with a creative director with so much imagination, it was magical. 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. If you create a real work with musical traditions it’s very interesting because you can learn from them and they can learn from you, but it’s a real work. Coraline is a creepy story with plenty of disturbing images, a book that I would recommend only to the upper segment of the middle grade demographic (say, ages 11-12), and even at that only with close parental supervision. 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. I've made 3 complete video games, Hundreds of hours of music, and just as many logos. Coraline proves otherwise." When Henry did an anamatic it was only with drawings. It’s the same as when you are writing an orchestration -- you have to keep in your head all the sounds. Henry, he had his whole movie in his head. End Credits 2. Also you love world music and mixing different musical cultures together, did that have anything to do with Coraline? 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. Where I recorded it wasn’t so important for the music; the most important element was the children’s choir that I recorded in Nice, France. With a thick French accent Bruno talked with me for over an hour about working with director Henry Selick, a film that took him two years of his life, and a unique approach that discovered the perfect music for Coraline. 2002: Music for Honda's "Power of Dreams" advertising campaign, the first cinema commercial to be shot in the IMAX format. It depends. 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. Yes. It’s strange, because when I read a book and I’m passionate about it, suddenly I have some [musical] ideas. In the beginning I composed all the themes and all the melodies of the film, he was OK with this. 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. Opera “The question for the composer is how dark to go. At the beginning the music is very normal, very quiet, and little by little it becomes scarier. Coraline proves otherwise." I was absolutely fascinated by this aspect of the film. It was Tomm Moore’s first film, a very young and gifted director/writer. I always try to approach scoring a film with perfection, but it’s impossible. 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. 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 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. 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. I need to see the real images [before I can finish the music]. Bruno Coulais is a French composer, born in Paris on 13 January 1954. 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. Then I met Henry in L.A., he sent me the animatics, and I started to create some themes and melodies. After the editing of the film had progressed I traveled to. All the classic composers. The rights belong to Focus Features, LAIKA, and Bruno Coulais, respectively. Cinema changed my life; it changed my opinion about music, but the world too. I think when you are very young, it’s the age of terror, of fear, so I think in movies when you use something very close to a childhood you create a fear, and a fantasy. The music and the film received great praise and won Coulais his third César award. Yes, but I approach this very carefully. He has a father from Vendée and his mother is an Iraqi Jew. 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. It was really fantastic because there’s such a distance between us. Using just 16 musicians, Turnage finds endless resource, especially in his … Definitely, I believe this music is from Henry. 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. She recorded some elements of this music and we were looking for a singer for this song. It doesn’t directly relate to the story, the story’s not important for me, but film music can be another character. The story follows Coraline Jones, a young girl who discovers a parallel world beyond a secret door in her new home. I didn’t want to do that – for me, music had to be very pure. based on what i heard! I remember that we had three different tonalities for this song. I tried to do something very special with the strings so there are a lot of glissandi and microtonalities. In fact, the entire book is pretty weird. Microcosmos won the César award for Best Music Written for a Film as well as a Victoire de la Musique. It was very interesting for me because Kila did not read music, but after listening to my demos they were able to play everything with emotion and Irish ornamentations. The exciting music of Coulais brings the never ending internal world of Coraline to life. In Coraline, yes, it’s true – it’s vignettes, like a puzzle. I write the melody for the score, the harmony, details of the instrumentation. Nick Dawson examines just what makes him so special. The fantastic garden, the music and the sequence of the film are definitely on the same page. 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. Coraline was theatrically released on February 6, 2009, that’s a year ago, but the film is generating award excitement. Exploration (from 'Coraline') Sheet Music. When I start to write music, I don’t have any ideas. 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. 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). I record demos for the sequences and send them to Henry and then wait for his remarks. 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. 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. 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. For me [when scoring a film], the story is not very important – it’s not so interesting to say the same thing with the music as the story. It was so strange that it worked with the cat. 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. Very important, for example the bass, the sound that Bernard’s bass brings to this movie is a special effect, very strange and deep. Sometimes Henry wanted something different, he wanted to change some aspect of the music, but we’d always work it out and the music became much better. He is the first composer to write the music for the first 3-D stop motion animated film ever made; stereoscopic 3-D. And, again, the lighting [of scenes] is very important – lighting, colors, everything under the story. 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. This began an ongoing collaboration with Dayan that led to Les nuiteux (1994), Le Comte de Monte-Cristo (1998), and Balzac (1999). Cartoon Song "End Credits" is a song from the 2009 stop-motion animated film Coraline that plays during the final credits of the movie (hence the song name). Did you have to keep going back and changing your music because of the editing of the film? Born in Paris, Coulais studied piano and violin before he was invited to score a short documentary, 1977’s Mexico Magico, by director Francois Reichenbach. 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. In France I’m very lucky, I’m always working on very interesting projects, but French movies are very realistic and the role of the music isn’t so important. 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. I remember scoring the documentary called México mágico with director François Reichenbach, he’s who I worked with on all my first films. Little by little I sent to Henry my demos of each sequence and very quickly he E mailed me his remarks. This is why scoring Coraline was so difficult. It was good because I had the time to change my mind, to change the orchestrations. 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. The film lures you with its extremely unconventional production values, led by Selick's distinctive visuals, and to accompany this striking look, French composer Bruno Coulais provides an appropriately bizarre score in his first Hollywood collaboration. Yes, but it’s difficult to explain. 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. I write the melody for the score, the harmony, details of the instrumentation. It’s very important for me. I don’t use words; it’s only musical sounds or expressions. Sheet music arranged for Piano/Vocal/Guitar, and Singer Pro in Eb Major. Coraline is Coulais’s first American studio picture, and his idiosyncratic and transporting score is right up there in inventiveness with director Henry Selick’s rich, handcrafted world, writer Neil Gaiman’s complex characters, and the picture’s alternately subtle and startling 3D effects. With “Coraline,” the composer has taken another nontraditional approach: he’s written the show’s music for different types of pianos. It’s very important because the audience is extremely reactive to the music underscoring the first images. What was different working with Henry compared to other directors you’ve worked with? After this it’s the recording session because I don’t want to definitively fix the music with the score. Do you think in terms of parts or themes? 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. But also James Joyce. It was French composer Bruno Coulais calling me at 5:30pm from his office in Paris France, not his studio, but a place of solace where he writes his music and creates his demos. In it beginning it sounds very quiet and realistic because it’s a realistic world. Artist and Writer: Bruno Coulais. Bobinsky 9. I think great directors love the bad characters, and me too. Coraline is a musical with music and lyrics by Stephin Merritt and a book by David Greenspan. 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. The world has everything Coraline dreams of, but hides an ominous secret. I sent Henry this demo with my horrible voice on it and I wasn’t very proud of this. Bruno Coulais is the author of Exploration (from 'Coraline'). Trap for the Mices 12. The Sanza is a small thumb piano from Africa, you know this is very simple, but it was so strange to have this instrument underscore this part of the film mixed with a string orchestra. 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. It’s a sequence where you see the dismantling of an old rag doll, and its reconstruction into a little girl. The contrast is what brought out this character. 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. Other Father Song 7. Lyricist. Opera “The question for the composer is how dark to go. 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). You hear the pizzicato strings and the children’s voices at times. I used piano toys, but not only pianos, quite a lot of different toys that make all kinds of sounds. This is why scoring. For me it’s ‘the example’. And for the movies, I have a lot of admiration for Bernard Hermann and Nino Rota. I think the most important part is the first relation with the director. Like the light, I see a very important relationship between the light and the colors, just like with the atmosphere and the music. What are the most powerful parts of the film, where the score and story are one? The eponymous heroine is a young girl who has just moved with her parents into a very old house broken up into flats. I don’t like war music if the composer takes a rhythm or a song from Africa and uses its beat to that idea; I think it’s not very honest. 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. That kind of thing you can obtain only with very good soloists. There’s something about hearing the oboe, Christophe Grindel is a great French soloist, a soloist of the opera and orchestra. Mathilde was the soloist and we had eight girl singers who were very young, but so gifted, you can do all you want to with the music by using the color of the Children’s Choir of Nice. When the change happened, French composer Bruno Coulais stepped in and mixed things up. 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. Afterwards Henry sent me an anamatic drawing with the structure of the movie and I started to imagine some demos with light orchestrations. 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 … 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. We were on the same page and had this great collaboration. Dreaming is very funny because we wanted Teri Hatcher to sing it. 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. And little by little the music becomes quite scary by the end of the movie. At the very beginning I wanted the music to be quiet but with strange sounds. The lighting of a film is so important. Considering what film music means to you, what are your thoughts on approaching your compositions? Quite often and especially at the end of the film you get the feeling that there is no world, only Henry Selick’s universe that pulls you into the pink hotel and its immediate surroundings. 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. 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. 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 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. Bruno Coulais began his musical education on the violin and piano to become a composer of contemporary classical music. 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. 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. The Night of the Hunter is a unique movie, it’s a masterpiece. 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. It was very easy, very quick and easy. The audience should feel the voices words as if they were ghosts and The Children’s Choir of Nice did this perfectly. 6 VIDEOS | 2 IMAGES Bruno Coulais was born on January 13, 1954 in Paris, France. I worked in Paris, France and Henry was in Portland, Oregon. This changed my music because suddenly the scenes I had to score were so precise, so strange, and so fantastic, that I had to change my music. 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. With Coraline I found the atmosphere, the spirit I’ve been searching for in films for years. 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 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. Coraline Fly 11. In Coraline I have a big orchestra, especially the string [section]. With the Oscar nominations coming up on February 2nd and ten films to choose from this year, Coraline is great enough to earn one. Until the end of the 1990s he kept a low profile composing mainly for television. You are the first composer to have scored the first 3-D stop motion animated film ever made. 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. 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 … Afterwards it’s like an open door, the process is very easy. There’s something about hearing the oboe, Christophe Grindel is a great French soloist, a soloist of the opera and orchestra. From working on the film, start to finish, what was the most important part of the scoring process that makes your music work with the film? 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? Ligeti. Dreams 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. There were two songs you worked on, you wrote and performed Dreaming with The Children’s Choir of Nice and Teri Hatcher. I wanted the music to be the same scale as the picture, very small. It’s a metallic percussion where you put water on a kind of basin with a tube and a bowl. It’s a way of discovering the world and it’s why I hate temp music. I was eighteen or nineteen years old when I scored my first music for film. How rare is that? Forever a Feisty Eleven Year Old, Coraline Turns Eight, A remembrance of LAIKA's first stop-motion animated masterpiece. You can play notes on it, and it’s a strange, beautiful, very deep sound. 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. I prefer dark characters to happiness or to light characters. It was incredible. I remember a sequence which they wanted me to score; it was the circus of mice with Bobinsky (Mice Circus). And with the children’s choir there are a lot of contrapuntal voices. As a musician new ideas are always happening, so I want to be able to change the music and be flexible. And when I find the way, I am able to work a lot, all the day and night. 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. It’s at this very moment when I’m able to understand if I’m even able to compose the music for his film. 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. I was very impressed by the quality of this film. It was actually the last part of the score that I wrote for Coraline. these are not the actual lyrics so please don't flame me!! It features the Other Father singing to protagonist Coraline while demonstrating that he does not play the piano, the piano plays him. I'm great at VBA in excel, and I know SPSS like the back of my hand. When I have a musical idea I’m also imagining the instruments, for me a melody, a theme, and a chord is never abstract, it depends on an instruments sound. My favorite writer is Proust. At the end of the film there’s a beautiful sequence with the last confrontation between the other mother and Coraline. Composer Bruno Coulais’s love of film is wide and deep, but there is one thing he hates: flat lighting. 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. Recent projects have included his Stabat Mater in Saint Denis Cathedral with the participation of English musician Robert Wyatt. 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. 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