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. For Coraline herself, Merritt composed for toy piano. 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). I write the melody for the score, the harmony, details of the instrumentation. Exhibitions are very important to me, along with the light and reading. In life, things are not black or white. Neil Gaiman's Coraline is getting a musical adaptation composed by the sharp witted, velvety voiced I worked with the Irish band Kila, whose style is a fusion of Irish and World Music, and we recorded the score in Ireland. In, When Henry did an anamatic it was only with drawings. Little by little I sent to Henry my demos of each sequence and very quickly he E mailed me his remarks. You can define the color, the tonality of the film with the opening credits because now you have a place where you can imagine the music. I need to see the real images [before I can finish the music]. based on what i heard! 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. All the classic composers. I was very impressed by the quality of this film. The Night of the Hunter is a unique movie, it’s a masterpiece. The rights belong to Focus Features, LAIKA, and Bruno Coulais, respectively. Where I recorded it wasn’t so important for the music; the most important element was the children’s choir that I recorded in. Produced by Laika as its first feature film, Coraline stars the voices of Dakota Fanning, Teri Hatcher, Jennifer Saunders, Dawn French, Keith David, John Hodgman, Robert Bailey Jr., and Ian McShane. He wouldn’t give directions, but he was extremely clear and so precise when he explained what he wanted to obtain with the music. Considering what film music means to you, what are your thoughts on approaching your compositions? Dreaming 3. You have to spend some time to work with other cultures to achieve this. I was absolutely fascinated by this aspect of the film. 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. 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. This resulted in the band not having any of their music in the film, with the exception of the aforementioned song the other father sings to Coraline (you know, the one with the hidden message). Until the last moment I had to change to get Henry the score. After the editing of the film had progressed I traveled to Portland, Oregon and we had a lot of discussions, a lot of direct conversations about where the music was going to be in the film. Yes. Sometimes he was able to create fear with very emotional music. Exploration 6. It depends. This part is so beautiful in Coraline, so strange, mysterious, that it was important for me in the beginning to start scoring the opening credits. I tried to do something very special with the strings so there are a lot of glissandi and microtonalities. 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. The story follows Coraline Jones, a young girl who discovers a parallel world beyond a secret door in her new home. Then I met Henry in L.A., he sent me the animatics, and I started to create some themes and melodies. I worked in Paris, France and Henry was in Portland, Oregon. What was the very first part of the film you worked on? As a musician new ideas are always happening, so I want to be able to change the music and be flexible. Film music is not there to explain, but to create emotion, to create over sentiments, and to bring the story together. For Coraline the first part of the film I started with was the opening credits, they are extremely important for the music. 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. Until the last moment I had to change to get Henry the score. Bruno Coulais. She recorded some elements of this music and we were looking for a singer for this song. Also Helene on the harp was wonderful as well. Coraline is a musical with music and lyrics by Stephin Merritt and a book by David Greenspan. In Coraline, yes, it’s true – it’s vignettes, like a puzzle. It’s a way of discovering the world and it’s why I hate temp music. © 2020 Focus Features. At the end of the film there’s a beautiful sequence with the last confrontation between the other mother and Coraline. Until the end of the 1990s he kept a low profile composing mainly for television. In this score you play the keyboards, Christophe Grindel is on the oboe, Helene Breschand plays the harp, and Bernard Paganotti is on the bass guitar. It’s very important for me. Now you can even actually purchase the DVD and watch it in its normal form or see it at home in 3-D with the glasses they provide you. A story about a little girl in an animated film, not quite, what appears on the outside leads the viewer into a seductive adventure of good versus evil. Is the pink Victorian hotel and its surroundings all that exists in Coraline? Henry tried [putting] a lot of [temp] music with his drawings, his animatics, and I don’t know why, but he tried the music I made for a movie called Microcosmos, and it worked! He is a composer, known for The Chorus (2004), Coraline (2009) and Winged Migration (2001). It was so strange that it worked with the cat. Okay, so that last part is kind of bizarre. 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. From Coraline I remember the fantastic garden (Fantastic Garden), which is a beautiful sequence. I sent Henry this demo with my horrible voice on it and I wasn’t very proud of this. He is the first composer to write the music for the first 3-D stop motion animated film ever made; stereoscopic 3-D. You think the music is very light, but some element can disturb. The lighting of a film is so important. I don’t use words; it’s only musical sounds or expressions. Yes, but it’s difficult to explain. But also James Joyce. I wanted the music to be the same scale as the picture, very small. 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. It’s strange, because when I read a book and I’m passionate about it, suddenly I have some [musical] ideas. Installation. Hermann especially – his use of music is very interesting because it doesn’t correspond exactly with the sequence. Cartoon Song " Other Father Song " is a song from the 2009 LAIKA stop-motion animated film Coraline, based off the 2002 novel of the same name by Neil Gaiman. 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. Sometimes it’s very interesting to create contrast, to have two or more voices independent of each other or counterpoint with the music. Neil Gaiman's smash-hit Coraline has all the elements of a great story: a brave heroine, a magical world, a talking cat, some absent parents, and a crazy kidnapper who impersonates people's moms in order to steal their souls. Coraline (2009) cast and crew credits, including actors, actresses, directors, writers and more. 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. It was interesting to show with the music how she was a scary character but also to give her humanity and emotion. In the beginning of Coraline the world she lives in is bright, while after she enters the small door into the other world it becomes more ominous and darker each time she returns. The audience should feel the voices words as if they were ghosts and The Children’s Choir of Nice did this perfectly. Cinema changed my life; it changed my opinion about music, but the world too. 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. That kind of thing you can obtain only with very good soloists. Composer Bruno Coulais’s love of film is wide and deep, but there is one thing he hates: flat lighting. 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. Henry wanted special themes for each character. It was actually the last part of the score that I wrote for Coraline. 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). 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. Very important, for example the bass, the sound that Bernard’s bass brings to this movie is a special effect, very strange and deep. After this it’s the recording session because I don’t want to definitively fix the music with the score. But when I tried to do a bit of music for him, I discovered the pleasure of writing for pictures, and after I never stopped. It’s also very important for me to play the keyboards because it’s much faster to work that way, it’s much easier. Bruno Coulais began his musical education on the violin and piano to become a composer of contemporary classical music. With “Coraline,” the composer has taken another nontraditional approach: he’s written the show’s music for different types of pianos. You are the first composer to have scored the first 3-D stop motion animated film ever made. Caroline Shaw is a New York-based musician—vocalist, violinist, composer, and producer—who performs in solo and collaborative projects. I record demos for the sequences and send them to Henry and then wait for his remarks. You can’t just go to bed, go to sleep, and wake up in the real world free. This is why scoring. It was really fantastic because there’s such a distance between us. For me it’s ‘the example’. 1. It was very difficult for me to find a good way to do that. Cinema changed my life; it changed my opinion about music, but the world too. The second theme Henry was very happy with was The Other Mother’s Theme, for me she’s one of the most interesting characters in the movie. 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. these are not the actual lyrics so please don't flame me!! 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. 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 Coraline when you hear the children’s voices it creates anxiety, it’s scary with fear and anguish. Dreams The Supper 8. Coraline author Neil Gaiman has an ever-growing legion of fans who passionate follow his work. He thought they were good, that it was going in the right direction. He’s also scored Himalaya (1999), Les rivières pourpres (2000), Belphégor (2000), and Vidocq (2000). I write the melody for the score, the harmony, details of the instrumentation. The first full length motion picture Bruno composed was Lien de parenté (1986) for Willy Rameau. 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? He composed the soundtracks for Christine Pascal’s Le petit prince a dit (1992), Agnès Merlet’s Le fils du requin (1993),while in 1994 he met television producer Josée Dayan, who had him write a theme for La rivière esperance. Bobinsky 9. Microcosmos won the César award for Best Music Written for a Film as well as a Victoire de la Musique. 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. First of all I recorded the oboe in, Yes, that was the difficulty because they’d change the formula. At the very beginning I wanted the music to be quiet but with strange sounds. 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. 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 cat is a very strange character between the two worlds, the normal world and the dark world, and the music has to create a specific atmosphere, peaceful and very strange, yes with fantasia. The eponymous heroine is a young girl who has just moved with her parents into a very old house broken up into flats. It is based on the 2002 novella of the same name by Neil Gaiman. Afterwards Henry sent me an anamatic drawing with the structure of the movie and I started to imagine some demos with light orchestrations. A Comcast Company. Coraline Fly 11. Brendan is an Irish movie with a very low budget, but very singular and creative. 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. Trap for the Mices 12. Definitely, I believe this music is from Henry. 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. With the Oscar nominations coming up on February 2nd and ten films to choose from this year, Coraline is great enough to earn one. For more on Coraline, see Bill Desowitz’s Animation World interview with Tadahiro Uesugi and his interview with Henry Selick.. Background on the production is supplied by Thomas J. McLean’s article from last year.. For an overview of spatial perception, see Maurice Hershenson, Visual Space Perception (MIT Press, 1999). You orchestrated the complete score, how important is that to you? 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. For me it’s very important to make my own orchestrations. 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. Opera “The question for the composer is how dark to go. When I started to work in this world I discovered that movies are so different that they became an opening to the world. 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. Did that change the way you approached the music? 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. Yes, but I approach this very carefully. As director Henry puts it, “The true childhood to me has wonder, discovery, some nastiness, and some great fear. Then, little by little, I began to see construction of the film. Sheet music arranged for Piano/Vocal/Guitar, and Singer Pro in Eb Major. 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. 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