of musical composition for the image

Workshop 2016

The Festival, with the support of the SACEM, organized a Master Class of musical composition for picture. The composers Gille Alonzo and Bruno Coulais led the Master Class, intended for 8 young composers. The workshops consisted of musical composition exercises on the film "The Blair Witch Project" objective being to build a complete work for the closing ceremony of the Festival (on March 19th) where the young artists performed a public movie-concert directed by Gilles Alonzo and Bruno Coulais.


Film music isn't a musical genre and teaching it is a risky exercise since many questions within it are left unanswered !
Why do we require music for a film ? What's the link between music and narration ? When does it start and when does it stop ? What is the ratio of its orchestral weight to the image weight? What is film music's hidden relationship with film lighting? These are but a few questions that composers, novice and experienced alike ask themselves, and we shall attempt to find their answers.
But there is one particular inquiry that has always intrigued us and we would love to expand on this subject during our Master Class : how to instill fear with film music?
It could very well be in a loud and theatrical way or in a tenuous manner, where fear would slowly creep up to the viewer. Music has the amazing ability to make us read between the lines and transfer to film the emotions and feelings of a formidable universe. We inevitably hope that during the final concert, our young composers can evoke in you a shiver of terror. And therefore, our class would have been worthwhile !


Gilles AlonzoBruno Coulais

Born in 1979, Gilles Alonzo studied piano at the CRR of Marseille and took Roger Muraro’s class at the CNSMD of Lyon, where he earned his first prize in 2003. Falling in love with composition at an early age, he is only 11 when he writes his first sheet music. The piano naturally becomes his muse, and with it a shift towards orchestral writing takes place. The Music for Image class led by Patrick Millet at the CNSMD of Lyon helps to assert his musical persona and anchor his decision to work in film. In addition to his career as a pianist, Gilles Alonzo works on a music score for the infamous silent film “Le Cabinet du Dr Caligari”, by Robert Wiene, he writes the music for the short films “L’emigrant”, “Le Policeman”, and Charlot fait une cure” by Charles Chaplin. He then transitions into broadcasting, where he creates music for over a dozen documentaries, as well as for the short film “Les Miettes” by Pierre Pinaud, wich took home a Cesar for Best Short Film 2009 and a Critic’s Prize at the 2009 Cannes Film Festival. The composer is also awarded the Prize for Best Original Film Score at the Short Film Festival of Clermont Ferrand in 2008 and the Grand Prize at the Aubagne Film Festival that same year.
Gilles Alonzo’s most recent compositions were soundtracks for hit films. He worked with Nguyen Trong Bhin on "Bertrand Tavenier, cinéaste de toutes les batailles" (2010), Christel Chabert on “Paul Ricard, Portraits (2010”), Clara Vuillermox on “Le sexe de mon Indentité” (2012), as well as the Lorenzo Recio short film “Shadow” (2013), which won the Télérama Prize at the Clermont Ferrand Festival, and the Unifrance Prize at the Cannes Festival (2014).
In 2014, he pens the scores of several documentaries including: “Le dossier albert göring” by Virginie Lhorme, “Le ghetto de venise” by Emmanuela Meschini Giordano, and “Il était une fois, “Dans les quartiers nord de marseille”, by Marie Milesi.
With representation by the Marie Sabbah Agency, he currently holds a teaching position for the Music for Film Class at the CNSMD of Lyon since March 2012.

Bruno Coulais studied violin and piano while attending assiduously the cinemas of the Quartier Latin in Paris. Author of a number of pieces of concert music, he has discovered an additional means of expression in film music. Bruno Coulais sees his art as a way of embracing the world, revealing his gifts as a modern alchemist, his own personal style of blending together different cultures. Bruno Coulais has composed over 100 soundtracks including "Microcosmos" (César of the best original score in 1997 1997 ), "le peuple de l’herbe", "Himalaya", "l’enfance d’un chef" by Jacques Perrin and Jacques Cluzaud, "Les rivières pourpres" by Mathieu Kassovitz , "Les Choristes" by Christophe Barratier "Truands" by Frédéric Schoendoerffer, "MR 73" by Olivier Marshal, "Coraline" by Henry Selick, "Brendan et le secret de Kells" by Tomm Moore , "Les Adieux à la reine" by Benoit Jacquot, "Le Chant de la mer" by Anne Fontaine and more recently "Les saisons" by Jacques Perrin and Jacques Cluzaud.
Bruno Coulais’ widely successful hits didn’t sentence him to a chapel, restrict him to a family, or to any defined zone for that matter. 2004 for example, was a schizophrenic year, between the tsunami that was "Les Choristes" by Christophe Barratier, and "Genesis", a brilliant documentary on the meaning of life and its exacting, futuristic film score. Having invested thirty-five years in film composition, Bruno Coulais is adorned with the very unique status of sampling composer, triple agent as well as borders blaster. The evidence is clear in his filmography, where the Marsupilami reaches out to Volker Schlöndorff, André Gide cozies up to Lucky Luke, and Diderot smiles at Isaac Hayes. What a treat it is to listen to his work on a big screen, thru a record or even live in concert! We embark on a journey across forward-thinking dreams, and we are witness to the creative mind that exhibits a serene exterior to a contrasting chaotic interior.

  • Romain Camiolo : piano
  • Alexandre Chaigniau : saxophone
  • Arthur Dairaine Andrianaivo : piano et percussions
  • Benoit Lefevre : violon
  • Valentin Marinelli : violon
  • Romain Montiel : guitare
  • Thomas Nicol : guitare et basse
  • Igor Troppee : accordéon

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