coraline music composer
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. The music and the film received great praise and won Coulais his third César award. Not too much, but for me there is an important correspondence between the lighting and the tonalities of the orchestration. I was very impressed by the quality of this film. Kids and their fears, what they imagine and the dangers out there, the real danger in what they imagine is intense.”. For. With “Coraline,” the composer has taken another nontraditional approach: he’s written the show’s music for different types of pianos. 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. © 2020 Focus Features. Much television work followed and then in 1996 he received international acclaim for his score to Microcosmos, winning won a Cesar Award (France’s Academy Award) for best score. 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. It was very easy, very quick and easy. He has a father from Vendée and his mother is an Iraqi Jew. Bruno Coulais. End Credits 2. 6 VIDEOS | 2 IMAGES Bruno Coulais was born on January 13, 1954 in Paris, France. Over one hundred and forty film scoring projects to his name, Bruno Coulais is a French composer who was born in Paris on January 13th 1954. 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. Dreaming 3. I'm a data analyst, composer, programmer and graphic designer. Where there’s light there’s darkness, twisted fantasies, creatures, and characters abound. I've made 3 complete video games, Hundreds of hours of music, and just as many logos. 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. Neil Gaiman's Coraline is getting a musical adaptation composed by the sharp witted, velvety voiced I prefer dark characters to happiness or to light characters. At the very beginning I wanted the music to be quiet but with strange sounds. Coraline proves otherwise." Forever a Feisty Eleven Year Old, Coraline Turns Eight, A remembrance of LAIKA's first stop-motion animated masterpiece. 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. 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 didn’t want to do that – for me, music had to be very pure. Coraline SoundtrackDisclaimer: I don't own Coraline or any of the music. Installation. If we are on the same page with our first discussion, afterwards it’s easy. 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. You hear the pizzicato strings and the children’s voices at times. How did the lighting of Coraline influence your compositions? I used piano toys, but not only pianos, quite a lot of different toys that make all kinds of sounds. note: these are made up! It’s a metallic percussion where you put water on a kind of basin with a tube and a bowl. I remember that we had three different tonalities for this song. Also I composed the music for the cat, which is very special. He is the first composer to write the music for the first 3-D stop motion animated film ever made; stereoscopic 3-D. I wanted to create fear, the unknown, and a strange atmosphere. Other Father Song 7. His collaboration with Henry Selick on Coraline started at the beginning of 2007, two years before the film was released, and his next score can be heard in the Disney film Oceans directed by Jacques Perrin, which will be released in April. 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. 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. 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 … At the end Henry told me, ‘I want to keep this voice,’ so we mixed the song with The Children’s Choir of Nice, Teri Hatcher, and my voice. 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). 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. And for the movies, I have a lot of admiration for Bernard Hermann and Nino Rota. 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. Bruno Coulais, Mathilde Pellegrini, The Children's Choir Of Nice, HÃ©lÃ¨ne Breschand, … The Night of the Hunter is a unique movie, it’s a masterpiece. I had the idea to use these toys, Chinese instruments, strange percussion, piano toys, and afterwards a brass band. 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. He is the first composer to write the music for the first 3-D stop motion animated film ever made; stereoscopic 3-D. 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. There is no meaning to the words they are singing. It started in A and the song finished in B, it was very funny. It was very easy because of my daughter who’s two years old at this moment, so I could use all of her toys, it was very funny. The exciting music of Coulais brings the never ending internal world of Coraline to life. 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. In life, things are not black or white. The Supper 8. We recorded in Paris, the children’s choir in Nice, the orchestra in Budapest and then we mixed the film at Skywalker Sound. Bruno Coulais is the author of Exploration (from 'Coraline'). Fantastic Garden 10. Magnetic Fields Compose The Tunes For Coraline Musical. Artist and Writer: Bruno Coulais. I think he was looking for temp music and I don’t know why, but he tried the music I composed for Microcosmos and Winged Migration and he called me. I used a string quartet, a lot of percussion, and there is a very special sequence -- the marching band of the mice circus -- where I tried to be at the scale of the mice, so I used toys and Chinese instruments along with traditional marching band instruments. 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. FilmInFocus' Scott Macaulay sits down with Coraline director Henry Selick to discuss stop motion, 3D and the future of animation. When I started to work in this world I discovered that movies are so different that they became an opening to the world. 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 was eighteen or nineteen years old when I scored my first music for film. I am all forgetting. 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. It’s important for me to write my own orchestrations because when I think of melody, I think of it with the instruments I’ll write with. Sheet music arranged for Piano/Vocal/Guitar, and Singer Pro in Eb Major. 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. I’m thinking of all of the aspects, but the characters were important. It was Tomm Moore’s first film, a very young and gifted director/writer. Microcosmos won the César award for Best Music Written for a Film as well as a Victoire de la Musique. 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. Coraline was theatrically released on February 6, 2009, that’s a year ago, but the film is generating award excitement. Depending on the density of sequence, sometimes I will have just a few instruments -- strange instruments like the water phone. How rare is that? 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, I didn’t think about this when I was composing the music, but now I’m impressed by the idea. It was very interesting to have the music evolve. Is the pink Victorian hotel and its surroundings all that exists in Coraline? It was very easy, very quick and easy. I returned to Paris and part by part Henry sent me the actual cut of the film. 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 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’s a sequence where you see the dismantling of an old rag doll, and its reconstruction into a little girl. The music and the film received great praise and won Coulais his third, Is the pink Victorian hotel and its surroundings all that exists in, 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. Until the last moment I had to change to get Henry the score. In Coraline, yes, it’s true – it’s vignettes, like a puzzle. I was absolutely fascinated by this aspect of the film. 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. Fortunately for Coulais, not all movies resemble an episode of Friends. Coraline's discovery of a strange parallel world is part of a universe of fantastic worlds that dates back to the beginning of children's literature. That kind of thing you can obtain only with very good soloists. It was actually the last part of the score that I wrote for Coraline. You can preview our currently available arrangements for Exploration (from 'Coraline') listed by instrument further down on this page. 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. Fortunately for Coulais, not all movies resemble an episode of Friends. 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 … Installation 4. Afterwards it’s like an open door, the process is very easy. 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. I could hear the rain falling on my office skylights, it was dark outside like the ‘other world’ in, 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. I record demos for the sequences and send them to Henry and then wait for his remarks. Stravinsky. I do my own orchestrations, so this changed with the timings as well. It doesn’t directly relate to the story, the story’s not important for me, but film music can be another character. Exploration 6. 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. They want to show that it is a very dangerous country, and if you watch the picture, nothing happens, but when the music is added you think that you could be killed on any corner! In the beginning I composed all the themes and all the melodies of the film, he was OK with this. 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 recorded some operas there and I also worked with Mathilde Pellegrini, it’s easier to explain to the singer what to do in this studio, what I expected out of her performance. 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. I think the most important part is the first relation with the director. He went on to win two more Cesars (for Himalaya, l’enfance d’un chef, and Les Choristes) as well as an Academy Award nomination for Best Original Song (for Les Choristes). Mice Circus 13. 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. It was very difficult for me to find a good way to do that. Experience Brendan is an Irish movie with a very low budget, but very singular and creative. Using just 16 musicians, Turnage finds endless resource, especially in his … It’s very important because the audience is extremely reactive to the music underscoring the first images. 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. 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. When the change happened, French composer Bruno Coulais stepped in and mixed things up. Henry is very courageous, a great director, in the beginning of the story Coraline’s world isn’t that special, and in fact Coraline is boring. My favorite writer is Proust. 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. When I started to work in this world I discovered that movies are so different that they became an opening to the world. 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. And with the children’s choir there are a lot of contrapuntal voices. It was great to work on a fantasy, a nonrealistic film, with a creative director with so much imagination, it was magical. There’s something about hearing the oboe, Christophe Grindel is a great French soloist, a soloist of the opera and orchestra. Nick Dawson examines just what makes him so special. 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. 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. SKU: MN0162938 It’s very important to orchestrate my score. And when I find the way, I am able to work a lot, all the day and night. I didn’t think about this when I was composing the music, but now I’m impressed by the idea. Henry recorded this with actress Michele Mariana in a studio and we didn’t have the same tonality, so I had to use my imagination to change the tonality. I’m crazy about literature. He’s also scored Himalaya (1999), Les rivières pourpres (2000), Belphégor (2000), and Vidocq (2000). You orchestrated the complete score, how important is that to you? I know how to get things done on a computer, and learn quickly. 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. 2002: Music for Honda's "Power of Dreams" advertising campaign, the first cinema commercial to be shot in the IMAX format. It was really fantastic because there’s such a distance between us. 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 thought they were good, that it was going in the right direction. I used this in the movie [for the scenes with the] Other Mother. Until the end of the 1990s he kept a low profile composing mainly for television. Using just 16 musicians, Turnage finds endless resource, especially in his … Recent projects have included his Stabat Mater in Saint Denis Cathedral with the participation of English musician Robert Wyatt. 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. Also Helene on the harp was wonderful as well. Curiously we have a very close relationship. When I start to write music, I don’t have any ideas. 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. I was very impressed by the quality of this film. I was in conservatory then, in Paris, and a director, a great documentarian who was very famous in France, Francois Reichenbach, asked me to write music for a documentary about Mexico. 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. I tried to do something very special with the strings so there are a lot of glissandi and microtonalities. He wouldn’t give directions, but he was extremely clear and so precise when he explained what he wanted to obtain with the music. That kind of thing you can obtain only with very good soloists. The scene and the music are very violent, but I composed this by mixing two ideas together. As director Henry puts it, “The true childhood to me has wonder, discovery, some nastiness, and some great fear. The story follows Coraline Jones, a young girl who discovers a parallel world beyond a secret door in her new home. Yes, the drama is important, but it’s also sometimes very dangerous to be too close to the story. Caroline Shaw is a New York-based musician—vocalist, violinist, composer, and producer—who performs in solo and collaborative projects. I’m very proud of this sequence; it works perfectly because the music is in the same scale that the characters appear as. We were very far away in terms of distance, but very close [creatively]. You also worked with Henry on Sirens of the Sea with Michele Mariana and bass player Bernard Paganotti. 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. It depends. How did you approach using the choir, the children’s choir, and the vocal soloist? Do you think in terms of parts or themes? 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. 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. You can hear it in the last meeting between Coraline and her other mother, the contrast between the violence and softness. Coraline - Coulais, Bruno (Composer) Combining the visionary imaginations of two premier fantasists, dirctor Henry Selick ("The Nightmare Before Christmas") and author Neil Gaiman (Sandman), "Coraline" the movie is a wondrous and thrilling, fun and suspenseful, adventure that honors and redefines two moviemaking traditions. For Coraline the first part of the film I started with was the opening credits, they are extremely important for the music. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie Spotlight Where I recorded it wasn’t so important for the music; the most important element was the children’s choir that I recorded in. The lighting of a film is so important. I expect the audience to feel that the ground is not so stable. 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. At the end of the film there’s a beautiful sequence with the last confrontation between the other mother and Coraline. It’s another world of a movie, another part. 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. 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. Wybie 5. The eponymous heroine is a young girl who has just moved with her parents into a very old house broken up into flats. 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. For Coraline herself, Merritt composed for toy piano. It was strange. Oh yes. 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. Opera “The question for the composer is how dark to go. When Henry did an anamatic it was only with drawings. You have a taste for opera, for the human voice, particularly children’s voices, and you can hear this in your score…. He wanted Irish inspiration in my music. It was good because I had the time to change my mind, to change the orchestrations. But also James Joyce. Little by little I sent to Henry my demos of each sequence and very quickly he E mailed me his remarks. After the editing of the film had progressed I traveled to. Also I used a lot of strange world instruments including a glass harmonica, water phones, various harps, chimes, glockenspiels, marimbas, and creative world percussion to give the soundscape a plucked personality. It features the Other Father singing to protagonist Coraline while demonstrating that he does not play the piano, the piano plays him. But I don’t think I changed my mind too much. 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. Because I am very lazy, when I have an idea I’m very happy to keep it! It is based on the 2002 novella of the same name by Neil Gaiman. All is mixed, and I think it’s interesting to mix a lot of psychological aspects in the same music. Also you love world music and mixing different musical cultures together, did that have anything to do with Coraline? I love to write orchestrations. 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. I needed some very special tonality, very special orchestrations, and it’s very subjective, but for me it directly relates to the atmosphere of the film. And, again, the lighting [of scenes] is very important – lighting, colors, everything under the story. Coraline is a musical with music and lyrics by Stephin Merritt and a book by David Greenspan. CORALINE also features a brand-new song by renowned funsters They Might Be Giants. The largest turning point of Bruno’s career came in 1996, when he worked with directors Claude Nuridsany and Marie Pérennou on the documentary Microcosmos. 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. What was different working with Henry compared to other directors you’ve worked with? It was so amazing to see how Henry worked. See full bio » Very important, for example the bass, the sound that Bernard’s bass brings to this movie is a special effect, very strange and deep. You might think this is a kid’s movie, but it’s every child’s nightmare. Bruno Coulais. He thought they were good, that it was going in the right direction. This is why scoring. 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. Little by little I sent to Henry my demos of each sequence and very quickly he E mailed me his remarks. 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). I write the melody for the score, the harmony, details of the instrumentation. You can’t just go to bed, go to sleep, and wake up in the real world free. The vocal soloist fantasies, creatures, and me too 'm great at VBA in,. Really love their dark characters mix a lot, all the day and night eponymous is... Wait for his remarks, France and Henry was in Portland, Oregon it in right! Wait for his remarks but it ’ s a year ago, I am very lazy, Henry! Head all the themes and all the time to work in this world I that! 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