Skin 2022 – Chloe Thevenin: “Electronic music is a constant movement”

Among the many talents and personalities who have walked the red carpet this year, there have been several composers of film music. As an institutional partner of the Cannes Film Festival, Sacem * wanted to separate music from imagery, climbing stairs, concerts (Ouli, Pierre de Mare, Laura Cain …) and the arrival of film. Musicians present their latest compositions for short and feature films.

In this context, AlloCiné met with DJ and producer Chloé, the backbone of the French electric scene, who for several years, under the name Chloé Thévenin, was gaining experience in film music and more broadly in live performance (dance and theater).

Earlier this year, after composing the music for Laurent Cante’s latest film, Arthur Rambo, Chloe Thevenin accompanied Thomas Salvador’s film La Montagne in Cannes, which was selected in two weeks of directorship, winning the SACD Prize in two weeks of directors. And for which he created original music. Meeting with Chloe Thevenin.

His work on Thomas Salvador’s film La Montagne (coming out soon)

“I worked on textures that apply to mountain landscapes. There is also a dimension to the surrounding atmosphere in this film, which is very important. If only for this space immensely. The film tells the story of a character who leaves his life, job and lives in the mountains. He throws everything away. It is therefore a dimension, a somewhat personal and poetic search. Personally, this is what fascinates me and it attracts me even in the mountains. This is a film that has touched my heart for these reasons“.

“Filming in the mountains took place in quite special conditions. So it was necessary to make pictures before composing music. Then he started working on editing the film – with the editor Matilda MuiardWhich is also the same editor Arthur Rimbaud On which I worked. From there, directors Thomas Salvador and Matilda Moyard were able to feel when and where they wanted to have music. Then there was a constant exchange to refine the editing and therefore the music so that it fit organically into the film.. “

The first experiments in composing music for cinema

Chloe Thevenin’s first film experience dates back to the early 2000s in collaboration with screenwriter and director Lydia Leber Terke.I was working on his short and medium films, then he called me on his first feature film, Paris la Blanche.

The peculiarity of Paris la blanche is that it is a film that unfolds between France and Kabila. Therefore, Lydia Leber Turk wanted to work with Kabyle musicians. He wanted to see what I was going to do.

This is something that is interesting about screen music: sometimes it allows me to enter places where I did not naturally go. Finally, it was a wonderful exchange with musicians who play the tradition of art, oral transmission. I was writing songs and they were playing on it. I met wonderful musicians. It was excellent to mix electronic music and cable music“.

“I published my first Max in 2001-2002. Lydia Leber Terkey filmed the work for a medium-length film and has been asking me for her films every time since.. “

Chloe Thevenin also collaborated with Emmanuel Finkiel on the soundtrack to the feature film Je ne suis pas un bastard, which uses the title word for word.

“I wanted to try my hand at film music. Every time people came to catch me. When I started making electronic music, it was a time when electronic music was not recognized and especially famous. It remained very underground. It happened in raves, in a few clubs…“

With the democratization of this music we can see all the infinite possibilities that can exist

“With the democratization of this music we can see all the infinite possibilities that can exist. As the rock exploded, there were numerous categories. I like this job because electronic music is a pretty lonely job. I work alone during the composition. That’s why it’s good that people are coming and taking us out of our comfort zones. “

“I like that if someone comes to catch me, it ‘s because they know where I’m in. There’ s something I know how to do, something I’m not doing. I’m not doing it. What I’m interested in is what we’re doing. “Let ‘s build together and what it’s causing. Otherwise, there’ s something I would never do.”

I am also in the service of more collective work with film music

“It takes me completely out of my world. I’m also in the service of a more collective affair. That is, it puts its ego in its place. It always brings me out of the items I then use for my personal affairs. Projects. I like it. For me it’s electronic music. It’s a constant movement. It transforms like that.. “

Passion for electronic music in cinema

In recent months, several French DJs have performed soundtracks for the first time, such as Kid Francescoli (Azzuro) or Irene Dresel (A plein temps). Last year, Ron created the amazing soundtrack to the Jacques Audrey Olympics. Chloe Thevenin, for her part, has released two soundtracks this year, Arthur Rambo and La Montagne, which will be released soon. How can this form of enthusiasm for electro be explained in French cinema?

“I have the impression that the place of sound in the film has developed immensely. If only for a sound design venue today that is almost musical. Often, the films that make sense today are precisely the films that also work with sound design. Electronic music makes the connection.

It also fits in with the meeting with the director. I can also compose techno as well as subjects and fairly subtle textures. “

Chloe Thevenin’s first cinematic emotions

“My first feelings towards cinema were the midnight movie when I was little, and the VHS tapes when I went to rent them on a Friday night. I was watching things like Blade Runner.

I also later discovered American cinema of the 70s, a somewhat paranoid film of that time. Here is the clown of Alan J. Pakula. I was a big fan of Jane Fonda. She portrayed the “woman of power” at a time when there were not many.

I have always been fascinated by music through movies

And of course, I’ve always been fascinated by music through movies. I really like the sound of horror movies. The sound is so insane. That is why I am glad that today is such an interesting place for sound design. I like to work on music with textures that can sometimes be close to sound design. “

The music composers of the film that he loves

“I love Ennio Morricone. It’s a wonderful classic, but let’s just say that Westerners also rocked my youth. I love these vocal and harmonic procedures … it’s something that reminds me a bit of Pink Floyd’s album The Dark Side of the Moon. This side is a little farther, a little further away.

I’m a big fan of Carpenter too. They are also great guidelines for me. I also really like Mika Levy’s work talking about the contemporary composer. I think he does a great job, especially with the sound. “

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Chloe Thevenin is currently working with Chilean director Fernando Gudzoni for the cinema. In terms of live performance, he is working on 2 Avignon Festival soundtracks

* Thanks to Sacem (Society of Authors, Composers and Music Publishers)