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  • 5 hours ago
It is the story of a love affair between a musical score and a screenplay! Chief editor Bernard Sasia observes and interviews the key figures of this journey. Centered on the collaboration between composer Michel Petrossian and director Robert Guédiguian, Sasia uses his editing tools to capture the sudden emergence of a musical creation for the cinema.
Transcript
00:01For me, she will be the partitions and she will be the scenario.
00:07At the very beginning of the montage, I imagine their first meeting
00:11on a font of a noir and noir.
00:19I'm not a composer of paper-pain music, like Eric Satie.
00:24A film, in fact, should work with his music.
00:27I'd need a great sound palette and I'd think of an orchestra.
00:32The gesture of the orchestra is very important because it's the sound.
00:40The gesture of the orchestra, it's the sound.
00:42It starts at the moment where he puts his feet in the water, and he flees the water.
00:48First we have double crochets, double crochets,
00:51double crochets, double crochets, and then it's slow.
00:59It's a little bass, but we see more like a bass orc de barbarie.
01:03We're going to play a lot more stable, a little bit like a mechanics.
01:11Comment rendre la présence du piano plus cinématographique ?
01:15Le moment où on voit vraiment les mains ?
01:17Une fausse note ?
01:20Pas trop ?
01:21Non, quand même pas !
01:22La partition appelle le scénario.
01:25Il faut absolument empêcher le film de choisir un tube.
01:28La musique est faite.
01:29Moi ça m'intéresse que, pour ajouter quelque chose bien sûr,
01:33pour que des couches de signification s'additionnent.
01:37J'aime une musique qui a quand même un discours propre,
01:40et qui tienne debout toute seule.
01:41.
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