While the La Baule Film and Film Music Festival will run from June 29 to July 3, we were able to interview Alexandre Astier, President of the Jury for this 8th edition.
This week, the 8th La Baule Film and Film Music Festival will take place from Wednesday 29 June to Sunday 3 July.
In the program of this edition of 2022: Honor to the famous composer Alexandre Desplatt (for two Oscar-winning films The Shape of Water and Grand Budapest Hotel), six French feature films in the competition and a four-star jury chaired by Alexandre Astier.
Two days before the start of the festival, we were able to interview the creator of Kaamelott, discuss his tastes and his memories in terms of film music.
AlloCiné: “Kaamelott – Part One”, a Roman instructor tells young Arthur that “war is music”. Do you think we can adjust this line to say “movie music”?
Alexander Astie: I really do not know, because if you ask a director who comes more from photography or lighting, he will approach it all differently. I think that “when” is especially important in the field of comedy (…). When something happens, when something is said, when the sequence changes … especially, I think so.
That’s why I do not like photography, I am also a photographer and I strive for perfection in the field of personnel, etc. But, as much as I am very happy to work with the main lighting operator, I will never run into editing. To me this is a signature of what we do: rhythm. So, again, these would mean that you have to spend for these processes.
Is there a soundtrack that has been particularly appealing to you lately?
I admit that I do not listen to such soundtracks. I listen to even more classic works, but let’s say there are movies whose soundtrack I am still looking forward to. That is, I eat the soundtrack, sometimes before the rest. And it occurred to me not so long ago with a soundtrack that is still very pronounced, runaway. (…)
So signed by James Newton Howard. He has things I have never done before – yes, a little bit, but not enough because I love him – this is what we call orchestral pop. We are talking about all this music, which is with the orchestra – generally quite small, but still with all the desks – and the rhythm section (drums, bass, keyboard, guitar, etc.). He’s definitely very American, but – although this is a style I should not like because it is a hybridization that is still quite dangerous, it can quickly become obsolete – I guess the fugitive is so high.
Well suited to Chicago, this escape, this hiding place, the boy escape. I am also a fan of this movie. And suddenly this soundtrack surprised me. I do not remember doing so well. However, partitioning is not out of the question. These are not John Williams scores where you have to read 50 times to understand what he did. It’s simple, but it works really well.
When a person writes (especially for a movie), he inevitably moves from the original solo work to the collective work. How was this transition for you?
I have a personal problem with frozen work as well as a personal problem while editing. I always feel that editing can be better. So there is always pain when running. In music, it corresponds to the moment when it becomes collective. That is, first of all transferring models to the people I work with, namely to make points, even if I do a little. And then, of course, is the day of the orchestra, whether you are conducting or not …
Danny Elfman said the orchestra was a bit monstrous, I had to go with the monster (laughs). It is true that when you are alone in front of 95 people, something quarrels will prevent you. Obviously, I was lucky enough to do this with an amazing orchestra, but that’s not always the case, so I struggle more to get what you need. But as for the real team, i.e. the days of recording Camelot – the first part, I’m very bored remembering those days. These were potentially the most emotional days in the entire film production.
Why?
Already because I like to develop in this world of extreme precision, where we are all together, in the process of learning a foreign language called music, and where we say to ourselves, “This, we’re going to be a little purple,” “This, we’re going to make it a little greener,” and so on. Etc. We observe things and do ultra details.I admit that I am there in my element.
I may have missed the music on the KV1 from time to time, but it also allowed me to go into the recording room to compare things … so we were more efficient in terms of time. But really, this collectivization of music that I did alone is, above all, a great happiness.
Is it true that in 2023 “Camelot – the first part” will become a movie concert?
Tour, at least! We start in Lyon, but slowly the big French orchestras in our cities are also taking things home. So actually, I think there will be a bit everywhere. I do not have a list yet and everything is not set, but it will not be just a special event in Lyon, it will be a tour.
The interview was conducted on June 27, 2022
(Re) Discover our interview with Alexandre Astier for the release of “Kaamelott – Premier Volet” in July last year …
Source: allocine
Emily Jhon is a product and service reviewer at Gossipify, known for her honest evaluations and thorough analysis. With a background in marketing and consumer research, she offers valuable insights to readers. She has been writing for Gossipify for several years and has a degree in Marketing and Consumer Research from the University of Oxford.
