Workshop of Music composition for image 2016
Bruno Coulais studied violin and piano while attending assiduously the cinemas of the Quartier Latin in Paris. Author of a number of pieces of concert music, he has discovered an additional means of expression in film music. Bruno Coulais sees his art as a way of embracing the world, revealing his gifts as a modern alchemist, his own personal style of blending together different cultures. Bruno Coulais has composed over 100 soundtracks including Microcosmos (César of the best original score in 1997), Le peuple de l’herbe, Himalaya, L’enfance d’un chef by Jacques Perrin and Jacques Cluzaud, Les rivières pourpres by Mathieu Kassovitz, Les Choristes by Christophe Barratier, Truands by Frédéric Schoendoerffer, MR 73 by Olivier Marshal, Coraline by Henry Selick, Brendan et le secret de Kells by Tomm Moore, Les Adieux à la reine by Benoit Jacquot, Le Chant de la mer by Tomm Moore and more recently Les saisons by Jacques Perrin and Jacques Cluzaud.
Bruno Coulais’ widely successful hits didn’t sentence him to a chapel, restrict him to a family, or to any defined zone for that matter. 2004 for example, was a schizophrenic year, between the tsunami that was Les Choristes by Christophe Barratier, and Genesis, a brilliant documentary on the meaning of life and its exacting, futuristic film score.
Having invested thirty-five years in film composition, Bruno Coulais is adorned with the very unique status of sampling composer, triple agent as well as borders blaster. The evidence is clear in his filmography, where the Marsupilami reaches out to Volker Schlöndorff, André Gide cozies up to Lucky Luke, and Diderot smiles at Isaac Hayes. What a treat it is to listen to his work on a big screen, thru a record or even live in concert! We embark on a journey across forward-thinking dreams, and we are witness to the creative mind that exhibits a serene exterior to a contrasting chaotic interior.