Composer:
Fred Avril
Total Time:
21:27
Label:
Plaza Mayor
Purchasing Links:
MP3, iTunes
Release Date
March 18, 2019
Find more about the soundtrack (previews, track list) after the jump.
Fred Avril
Total Time:
21:27
Label:
Plaza Mayor
Purchasing Links:
MP3, iTunes
Release Date
March 18, 2019
Find more about the soundtrack (previews, track list) after the jump.
Product Description:
COMPOSER'S NOTE
This B.O. is the result of a close collaboration with the Director José Alcala, who supported me and trusted every step of the way. The question I always ask myself is: where is the projector being put? José 's strength is his sincerity: he retranscribed the human soul with an extraordinary precision-we can guess an amused smile when he recognized himself, his father or his uncle, and we smile because we recognize our own. For me, this sincerity is primarily served by the flaws of the characters: from the beginning credits, I wanted to highlight the aspect "broken ", rough, wobbly Daniel Auteuil alias Gilbert who appears badly shaved at the back of a jeep. With a guitar cigars box, percussion and a Berimbau, I created an instrumentarium "rough " often returning in the film, opposed to the aerial aspirations of Simone (strings). I also thought about their awkward relationship, like big fingers trying to play gently on a guitar amplified very loud, ready to explode. Later in the film, it explodes, accompanying their momentum of freedom, with elements of rock'n'roll especially from the end of the years 70 (time of their youth).
A key element of this comedy, the flamboyant nature present everywhere evoked the American lands of a road trip whose characters would be nickelated feet. In the blink of an eye to this road trip, I imagined as an end credits a country-folk trio composed, like the main characters, of two men and a woman. An illustrious figure of post-punk, I invited Mick Harvey who has this manliness and tenderness in his voice, with elegance and simplicity that fit well with the universe of the Director.
NOTE FROM THE DIRECTOR
In my previous films, I didn't want music. I would rather treat sounds as a kind of "musicalized support" to the images, to the story I was telling. For this new film, everything is different, the evidence of the music was imposed as soon as it was written. The idea of the screenplay came from a couple of elderly people whom I have been crossing for years in a village in the South of France. They round off their lean retirement by selling pizzas that they cook in a truck installed in their backyard. He, the old mechanic with the appearance of dark rocker, and his wife, always cheerful, accompany the service of musical pieces of the years 60/70 which vary according to their mood. English pop, variety, rock, folk, it's always a surprise. Almost in spite of me this music has guided the writing of history.
Very quickly, the guitar became a reference instrument. A guitar whose rock-folk tones stick to the character of Gilbert (Daniel Auteuil). To his way of being, to his look: jeans, boots and old wrestling jacket. Gentle or sometimes rougher rides accompany the sentimental road-movie of this stubborn and brawling retiree. A man in search of love, as much as of himself. Flanked by his grandson with a well-tempered character and his old friend who plays the wrong turn to be also the lover of his wife. As I am not a musician I only have the words to share the music I imagine.
In meeting Fred Avril, these words, these ideas, turned into musical notes. He looks at the montage: Daniel Auteuil magnificent generosity, with his beard of three days, his mustache of the years 70, who watches his old tow truck disappear at the end of the path, kidnapped by bailiffs. Fred is touched, inspired. Ideas, which we exchange, are quickly transformed into
Music. His guitar resonates, gives a profound sense to the landscapes that parade, in perfect agreement with the vastness of the arid and Red lands of the South of France, the ponds, the beaches, the sea, which stretch to infinity. Soon it is no longer Daniel Auteuil, but Gilbert who, at the wheel of his old 4L van, leaves his garage, his habits, to go and fetch his wife, Simone (Catherine Frot).
Fred Avril works around a main theme in several variations that are based on different situations. Melancholic music when Gilbert surprises Simone lasciously hugged in Etienne's arms his neighbor and friend. When Simone goes after abusing various substances and the gendarmes catch her, she is accompanied by a music a little crazy, but always tender, like a benevolent caress on her drift.
The music accompanies the film, sticks to the skin, underlines the sensations, the emotions, with extreme elegance. It embraces the sounds, supports them at the same time as it enhances the play of the actors, the dramatic intensity or the playful aspect of the story.
COMPOSER'S NOTE
This B.O. is the result of a close collaboration with the Director José Alcala, who supported me and trusted every step of the way. The question I always ask myself is: where is the projector being put? José 's strength is his sincerity: he retranscribed the human soul with an extraordinary precision-we can guess an amused smile when he recognized himself, his father or his uncle, and we smile because we recognize our own. For me, this sincerity is primarily served by the flaws of the characters: from the beginning credits, I wanted to highlight the aspect "broken ", rough, wobbly Daniel Auteuil alias Gilbert who appears badly shaved at the back of a jeep. With a guitar cigars box, percussion and a Berimbau, I created an instrumentarium "rough " often returning in the film, opposed to the aerial aspirations of Simone (strings). I also thought about their awkward relationship, like big fingers trying to play gently on a guitar amplified very loud, ready to explode. Later in the film, it explodes, accompanying their momentum of freedom, with elements of rock'n'roll especially from the end of the years 70 (time of their youth).
A key element of this comedy, the flamboyant nature present everywhere evoked the American lands of a road trip whose characters would be nickelated feet. In the blink of an eye to this road trip, I imagined as an end credits a country-folk trio composed, like the main characters, of two men and a woman. An illustrious figure of post-punk, I invited Mick Harvey who has this manliness and tenderness in his voice, with elegance and simplicity that fit well with the universe of the Director.
NOTE FROM THE DIRECTOR
In my previous films, I didn't want music. I would rather treat sounds as a kind of "musicalized support" to the images, to the story I was telling. For this new film, everything is different, the evidence of the music was imposed as soon as it was written. The idea of the screenplay came from a couple of elderly people whom I have been crossing for years in a village in the South of France. They round off their lean retirement by selling pizzas that they cook in a truck installed in their backyard. He, the old mechanic with the appearance of dark rocker, and his wife, always cheerful, accompany the service of musical pieces of the years 60/70 which vary according to their mood. English pop, variety, rock, folk, it's always a surprise. Almost in spite of me this music has guided the writing of history.
Very quickly, the guitar became a reference instrument. A guitar whose rock-folk tones stick to the character of Gilbert (Daniel Auteuil). To his way of being, to his look: jeans, boots and old wrestling jacket. Gentle or sometimes rougher rides accompany the sentimental road-movie of this stubborn and brawling retiree. A man in search of love, as much as of himself. Flanked by his grandson with a well-tempered character and his old friend who plays the wrong turn to be also the lover of his wife. As I am not a musician I only have the words to share the music I imagine.
In meeting Fred Avril, these words, these ideas, turned into musical notes. He looks at the montage: Daniel Auteuil magnificent generosity, with his beard of three days, his mustache of the years 70, who watches his old tow truck disappear at the end of the path, kidnapped by bailiffs. Fred is touched, inspired. Ideas, which we exchange, are quickly transformed into
Music. His guitar resonates, gives a profound sense to the landscapes that parade, in perfect agreement with the vastness of the arid and Red lands of the South of France, the ponds, the beaches, the sea, which stretch to infinity. Soon it is no longer Daniel Auteuil, but Gilbert who, at the wheel of his old 4L van, leaves his garage, his habits, to go and fetch his wife, Simone (Catherine Frot).
Fred Avril works around a main theme in several variations that are based on different situations. Melancholic music when Gilbert surprises Simone lasciously hugged in Etienne's arms his neighbor and friend. When Simone goes after abusing various substances and the gendarmes catch her, she is accompanied by a music a little crazy, but always tender, like a benevolent caress on her drift.
The music accompanies the film, sticks to the skin, underlines the sensations, the emotions, with extreme elegance. It embraces the sounds, supports them at the same time as it enhances the play of the actors, the dramatic intensity or the playful aspect of the story.
TRACK LIST:
1. Lui (2:34)
2. Elle (0:57)
3. Simone (4:07)
4. La démangeaison des ailes (0:57)
5. Terrils alcalins (1:02)
6. Jaguar (1:40)
7. Nuit (1:16)
8. Pergola (0:58)
9. Simone (Instrumental) (0:56)
10. Shred (1:10)
11. Rictus (1:13)
12. En voiture (0:55)
13. Simone (Comeback) (2:12)
14. Retrouvailles (1:30)
2. Elle (0:57)
3. Simone (4:07)
4. La démangeaison des ailes (0:57)
5. Terrils alcalins (1:02)
6. Jaguar (1:40)
7. Nuit (1:16)
8. Pergola (0:58)
9. Simone (Instrumental) (0:56)
10. Shred (1:10)
11. Rictus (1:13)
12. En voiture (0:55)
13. Simone (Comeback) (2:12)
14. Retrouvailles (1:30)
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