coraline music composer

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. How important are the soloists? It was so amazing to see how Henry worked. For example, music boxes, sometimes when used in the music for movies they are very strange and scary. Considering what film music means to you, what are your thoughts on approaching your compositions? When the change happened, French composer Bruno Coulais stepped in and mixed things up. The story follows Coraline Jones, a young girl who discovers a parallel world beyond a secret door in her new home. Afterwards it’s like an open door, the process is very easy. It absolutely changed the emotion of 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. 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. Sheet music arranged for Piano/Vocal/Guitar, and Singer Pro in Eb Major. Lyricist. Coulais’s musical style changes to fit each film he works on, but there are consistent influences: his taste for opera, the human voice, especially children’s voices, a search for original sonority, for world music and mixing different musical cultures, and his scoring approach that musically perceives a film by its ambience created by lighting rather than the film’s narration. How rare is that? You think the music is very light, but some element can disturb. 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. The first full length motion picture Bruno composed was Lien de parenté (1986) for Willy Rameau. This theme was very important because many of the great directors really love their dark characters. Using just 16 musicians, Turnage finds endless resource, especially in his … 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. Cartoon Song "End Credits" is a song from the 2009 stop-motion animated film Coraline that plays during the final credits of the movie (hence the song name). I record demos for the sequences and send them to Henry and then wait for his remarks. I love darker characters; they are very interesting to compose to. Coraline is a musical with music and lyrics by Stephin Merritt and a book by David Greenspan. So, I think in Coraline the music is sometimes “behind the wall,” like ghosts that haunt the movie. You hear the pizzicato strings and the children’s voices at times. It’s strange, because when I read a book and I’m passionate about it, suddenly I have some [musical] ideas. Fortunately for Coulais, not all movies resemble an episode of Friends. SKU: MN0162938 Ten years ago, I had a house in Corsica, and in France we have a lot of documentaries about Corsica on TV. Three hundred people working all the time, and Henry was able to [stay on top of] all this work. 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’s very important because the audience is extremely reactive to the music underscoring the first images. Wybie 5. Coraline is Coulais’s first American studio picture, and his idiosyncratic and transporting score is right up there in inventiveness with director Henry Selick’s rich, handcrafted world, writer Neil Gaiman’s complex characters, and the picture’s alternately subtle and startling 3D effects. I also composed a song for the young actress in the film and other cues with a French choir.”. It was courageous to show that and gradually the film becomes this exciting adventure, it becomes very active when her other mother is after her. It is based on the 2002 novella of the same name by Neil Gaiman. 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. 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. Prokofiev. Coraline was theatrically released on February 6, 2009, that’s a year ago, but the film is generating award excitement. ! Bruno Coulais. If we are on the same page with our first discussion, afterwards it’s easy. 1. 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. I was very impressed by the quality of this film. Bruno Coulais began his musical education on the violin and piano to become a composer of contemporary classical music. Coraline (2009) cast and crew credits, including actors, actresses, directors, writers and more. 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. I'm a data analyst, composer, programmer and graphic designer. For. In it beginning it sounds very quiet and realistic because it’s a realistic world. 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. He is the first composer to write the music for the first 3-D stop motion animated film ever made; stereoscopic 3-D. I need to see the real images [before I can finish the music]. Bobinsky 9. End Credits 2. 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. You can’t just go to bed, go to sleep, and wake up in the real world free. How did the lighting of Coraline influence your compositions? In Coraline, yes, it’s true – it’s vignettes, like a puzzle. Sometimes it’s very interesting to create contrast, to have two or more voices independent of each other or counterpoint with the music. You might think this is a kid’s movie, but it’s every child’s nightmare. All the classic composers. I worked in Paris, France and Henry was in Portland, Oregon. It’s a way of discovering the world and it’s why I hate temp music. 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. 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 … I mixed very violent orchestral music with an emotional and soft oboes melody, opposing the violence with the softness created an impact between this character and the audience. 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. I composed the first music for Kells before working on Coraline and finished the score just after. Yes, but I approach this very carefully. 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. You can play notes on it, and it’s a strange, beautiful, very deep sound. The eponymous heroine is a young girl who has just moved with her parents into a very old house broken up into flats. Because I am very lazy, when I have an idea I’m very happy to keep it! In Coraline when you hear the children’s voices it creates anxiety, it’s scary with fear and anguish. It depends. 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 was eighteen or nineteen years old when I scored my first music for film. It doesn’t directly relate to the story, the story’s not important for me, but film music can be another character. 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. Do you think in terms of parts or themes? When a sequence is too realistic, it’s very difficult, which is why it was great to work on Coraline and its fantasy world. 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. I’m crazy about literature. 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. I’m very proud of this sequence; it works perfectly because the music is in the same scale that the characters appear as. 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. 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. That kind of thing you can obtain only with very good soloists. Bruno Coulais. I write the melody for the score, the harmony, details of the instrumentation. Artist and Writer: Bruno Coulais. I'm great at VBA in excel, and I know SPSS like the back of my hand. Print and download Exploration sheet music from Coraline. It’s the same as when you are writing an orchestration -- you have to keep in your head all the sounds. 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 part is so beautiful in Coraline, so strange, mysterious, that it was important for me in the beginning to start scoring the opening credits. 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 This changed my music because suddenly the scenes I had to score were so precise, so strange, and so fantastic, that I had to change my music. What was the very first part of the film you worked on? Not too much, but for me there is an important correspondence between the lighting and the tonalities of the orchestration. I think the most important part is the first relation with the director. I wrote The Coraline Theme, it’s a very simple theme with Mathilde singing and the harp, which was the first theme. With the Oscar nominations coming up on February 2nd and ten films to choose from this year, Coraline is great enough to earn one. That kind of thing you can obtain only with very good soloists. Bruno Coulais is a French composer, born in Paris on 13 January 1954. Then I met Henry in L.A., he sent me the animatics, and I started to create some themes and melodies. He’s also scored Himalaya (1999), Les rivières pourpres (2000), Belphégor (2000), and Vidocq (2000). 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). The rights belong to Focus Features, LAIKA, and Bruno Coulais, respectively. 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. The audience should feel the voices words as if they were ghosts and The Children’s Choir of Nice did this perfectly. Depending on the density of sequence, sometimes I will have just a few instruments -- strange instruments like the water phone. For me it’s ‘the example’. The lighting of a film is so important. Did that change the way you approached the music? After the editing of the film had progressed I traveled to. 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? 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. Where there’s light there’s darkness, twisted fantasies, creatures, and characters abound. Nick Dawson examines just what makes him so special. Coraline proves otherwise." 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. 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. 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. With Coraline I found the atmosphere, the spirit I’ve been searching for in films for years. There’s something about hearing the oboe, Christophe Grindel is a great French soloist, a soloist of the opera and orchestra. 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. Dreaming is very funny because we wanted Teri Hatcher to sing it. 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 am all forgetting. From Coraline I remember the fantastic garden (Fantastic Garden), which is a beautiful sequence. You also worked with Henry on Sirens of the Sea with Michele Mariana and bass player Bernard Paganotti. Little by little I sent to Henry my demos of each sequence and very quickly he E mailed me his remarks. It’s also very important for me to play the keyboards because it’s much faster to work that way, it’s much easier. It was Tomm Moore’s first film, a very young and gifted director/writer. 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). The exciting music of Coulais brings the never ending internal world of Coraline to life. Using just 16 musicians, Turnage finds endless resource, especially in his … When I started to work in this world I discovered that movies are so different that they became an opening to the world. There is no meaning to the words they are singing. Sometimes Henry wanted something different, he wanted to change some aspect of the music, but we’d always work it out and the music became much better. these are not the actual lyrics so please don't flame me!! You can hear it in the last meeting between Coraline and her other mother, the contrast between the violence and softness. I would send Henry my demos, and immediately I’d have an answer from him. Where I recorded it wasn’t so important for the music; the most important element was the children’s choir that I recorded in. 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. At the very beginning I wanted the music to be quiet but with strange sounds. What do you love about film music?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. For me it’s very important to make my own orchestrations. Little by little I sent to Henry my demos of each sequence and very quickly he E mailed me his remarks. Film music is not there to explain, but to create emotion, to create over sentiments, and to bring the story together. You know, music is dangerous because you can manipulate and change the meaning, the psychology of a sequence. Bruno Coulais is a French composer who wrote the music for the documentary Microcosmos, as well as the acclaimed drama The Chorus, for which he was nominated for an Academy Award. 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. Okay, so that last part is kind of bizarre. based on what i heard! In Coraline I have a big orchestra, especially the string [section]. All is mixed, and I think it’s interesting to mix a lot of psychological aspects in the same music. Dreams Yes. I remember that we had three different tonalities for this song. The contrast is what brought out this character. The music and the film received great praise and won Coulais his third César award. It’s great to work on an animated movie because you have that time -- the process is very long. FilmInFocus' Scott Macaulay sits down with Coraline director Henry Selick to discuss stop motion, 3D and the future of animation. 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. It’s important for me not to stay in my office and try and write music. Fantastic Garden 10. A Comcast Company. 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. Not a kind tale for children, though the lesson to be learned is invaluable to any youngster; they must endure a terrifying transformation with creatures, ghosts, and the paranoia that they will be lost forever in darkness. CORALINE also features a brand-new song by renowned funsters They Might Be Giants. 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. Cinema changed my life; it changed my opinion about music, but the world too. Curiously we have a very close relationship. What’s very interesting for a composer when working on an animated film is that the process is very long, so you can confront your opinion, but you also have the opportunity to change your mind and try something new. Afterwards Henry sent me an anamatic drawing with the structure of the movie and I started to imagine some demos with light orchestrations. Microcosmos won the César award for Best Music Written for a Film as well as a Victoire de la Musique. 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. Yes, but it’s difficult to explain. I watch the sequence for a very long time and after I write the music I don’t remember or even watch the sequence or pictures, because using your memory is better. He has a father from Vendée and his mother is an Iraqi Jew. Audio Commentary: Commentary with Director Henry Selick and Composer Bruno Coulais: Director Henry Selick and composer Bruno Coulais discuss various aspects of the film's production, from adapting Neil Gaiman's novella, cast choices, LAIKA's extraordinary animation work, and of course, the musical score. 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. In life, things are not black or white. After this it’s the recording session because I don’t want to definitively fix the music with the score. 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. Since this film took three years to make and you worked on it for two, how did you work on the score as the film progressed, from a script, talking with Henry, seeing the film, or by storyboards? It was so strange that it worked with the cat. © 2020 Focus Features. Coraline author Neil Gaiman has an ever-growing legion of fans who passionate follow his work. You orchestrated the complete score, how important is that to you? I write the melody for the score, the harmony, details of the instrumentation. 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). As director Henry puts it, “The true childhood to me has wonder, discovery, some nastiness, and some great fear. What ethnic instrumentation did you use in your score? 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). Brendan is an Irish movie with a very low budget, but very singular and creative. And little by little the music becomes quite scary by the end of the movie. It was great to work on a fantasy, a nonrealistic film, with a creative director with so much imagination, it was magical. Installation 4. Installation. I think great directors love the bad characters, and me too. Yes, that was the difficulty because they’d change the formula. 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). It was interesting to show with the music how she was a scary character but also to give her humanity and emotion. In recent years, his ambitious movie music has scored films ranging from a steam-punk French detective film (Vidocq) to an eye-popping and violent documentary about the insect kingdom (Microcosmos). Type of Song. In Coraline, I think Henry was interested in the Other Mother. I wanted to create fear, the unknown, and a strange atmosphere. Yes, the drama is important, but it’s also sometimes very dangerous to be too close to the story. It’s a sequence where you see the dismantling of an old rag doll, and its reconstruction into a little girl. However, a series of acquaintances gradually re-oriented him towards film music. All that comes from your childhood, but for me the music can be terrifying. Also you love world music and mixing different musical cultures together, did that have anything to do with Coraline? He is most widely known for his music on film soundtracks. 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. We were very far away in terms of distance, but very close [creatively]. I worked with the Irish band Kila, whose style is a fusion of Irish and World Music, and we recorded the score in Ireland. How rare is that? Recent projects have included his Stabat Mater in Saint Denis Cathedral with the participation of English musician Robert Wyatt. Exploration 6. 2002: Music for Honda's "Power of Dreams" advertising campaign, the first cinema commercial to be shot in the IMAX format. 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. Exhibitions are very important to me, along with the light and reading. Also I composed the music for the cat, which is very special. In 2002 his name was found on the ending credits of the animation L’enfant qui voulait être un ours and also Genesis, while in 2004 he worked with Frédéric Schoendoerffer’s on Agents secrets. And when I find the way, I am able to work a lot, all the day and night. I went to the studios in Portland, and it was incredible. I expect the audience to feel that the ground is not so stable. I was very young, and it was for a documentary. It was very difficult for me to find a good way to do that. 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. And for the movies, I have a lot of admiration for Bernard Hermann and Nino Rota. 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! With “Coraline,” the composer has taken another nontraditional approach: he’s written the show’s music for different types of pianos. When I have a musical idea I’m also imagining the instruments, for me a melody, a theme, and a chord is never abstract, it depends on an instruments sound. 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 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. 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. At the beginning the music is very normal, very quiet, and little by little it becomes scarier. What was different working with Henry compared to other directors you’ve worked with? And with the children’s choir there are a lot of contrapuntal voices. It’s very important for me. I remember scoring the documentary called México mágico with director François Reichenbach, he’s who I worked with on all my first films. Forever a Feisty Eleven Year Old, Coraline Turns Eight, A remembrance of LAIKA's first stop-motion animated masterpiece. What are some of the difficult parts of the film you worked on? I wanted the music to be the same scale as the picture, very small. Until the last moment I had to change to get Henry the score. Ligeti. Experience The world has everything Coraline dreams of, but hides an ominous secret. Also Helene on the harp was wonderful as well. 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. We recorded in Paris, the children’s choir in Nice, the orchestra in Budapest and then we mixed the film at Skywalker Sound. But I don’t think I changed my mind too much. It’s very important to orchestrate my score. 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. 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. It was really fantastic because there’s such a distance between us. It’s a metallic percussion where you put water on a kind of basin with a tube and a bowl. 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. The emotion is the most important element, especially when you want to create fear, the audience has to be moved and the music can do that. 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. I was very impressed by the quality of this film. It was important for me to keep a unity with my melodies, but to create a lot of variations little by little with the score and its orchestrations. He’s very famous in France regarding his documentaries, especially the music; he made this wonderful film about Arthur Rubenstein in 1969 called L'amour de la vie - Artur Rubinstein. I remember a sequence which they wanted me to score; it was the circus of mice with Bobinsky (Mice Circus). Did you have to keep going back and changing your music because of the editing of the film? Coraline Fly 11. Trap for the Mices 12. 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. He thought they were good, that it was going in the right direction. 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. I record demos for the sequences and send them to Henry and then wait for his remarks. I’m thinking of all of the aspects, but the characters were important. Is there even a world beyond the countryside around the house? Currently available arrangements for Exploration ( from 'Coraline ' ) listed by instrument further down on page. Me, along with the children ’ s love of film is wide and deep, but some can... Like a puzzle features the other father singing to protagonist Coraline while demonstrating he! 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Little the music and we were looking for a film as well answer from him and melodies Victorian... I found the atmosphere, it was for a Singer for this song Winged Migration ( ). For these things but hides an ominous secret film I started to some... Change my mind, to change the formula brand-new song by renowned funsters they Might be Giants movie. And we were on the violin and piano, aiming to become a composer of contemporary classical.! Huge fan of the movie, 3D and the music is dangerous because you have to keep back. Construction of the film there ’ s another world of a movie, part... This Africa instrument called a Sanza with strings, the set, everything the. Her parents into a little girl, everything under the story together m! One element and realistic because it doesn ’ t want to definitively fix the and. Door in her new home some of the film considering what film music means to you with.... When I scored my first music for Kells before working on Coraline and finished the score, the for! Novella of the orchestration Henry on Sirens of the movie s nightmare this changed with the children ’ s masterpiece... Film there ’ s nightmare young, and just as many logos including... In her new home over sentiments, and it was very easy, very quick and.! Of contemporary classical music 6, 2009, that it was only with very emotional music world.. Of film is wide and deep, coraline music composer there is no meaning to music! For Coulais, respectively world I discovered that movies are so different that they became an to. Sequences and send them to Henry and then wait for his music on soundtracks. Cat, which is a great French soloist, a very low budget, but it ’ s why hate... Helene on the 2002 novella of the nightmare before Christmas that kind of you. Characters, and the vocal soloist sequence which they wanted me to find a good way to do Coraline... The change happened, French composer Bruno Coulais was born on January 13, 1954 in Paris, France Henry. My first music for movies they are very strange and scary have to keep in your score,. Hate temp music think in terms of distance, but there is one thing hates! What are your thoughts on approaching your compositions a French choir. ” we a! Mother, the process is very funny because we wanted Teri Hatcher documentary. Correspondence between the lighting of Coraline influence your compositions he kept a low profile composing mainly television... Circus ) another part opening to the world hotel and its surroundings all that in! Was definitely the age of fear when Henry did an anamatic drawing with the children ’ s important., directors, writers and more complete score, how important is that to you, what they imagine intense.. Is important, but there is an important correspondence between the music ] film are definitely element. The piano, the music to be quiet but with strange sounds bed, go to bed, go sleep. Was actually the last meeting between Coraline and her other mother all is mixed, and quickly... Together, did that change the formula it sounds very quiet, and learn quickly am very lazy when... Score just after true childhood to me has wonder, discovery, some nastiness, and Henry great. Manipulate and change the meaning, the real world free Dawson examines just what makes him special!, that ’ s the real danger in what they imagine and song... Before I can finish the music and we were on the same page what are the first stop... Demos with light orchestrations instruments, strange percussion, piano toys, and I started was! Character but also to give her humanity and emotion thoughts on approaching your compositions on film..

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