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THE MUSIC, A CHARACTER IN ITS OWN RIGHT

There are the pictures. There is the text. And then there is the music, which accompanies us and reveals emotions, but never becomes superfluous and never sentimentalizes the simple, poignant tale told by Yann Arthus-Bertrand's movie.

Armand Amar’s experience, syncretism and worldliness enriched the project with a unique poetic dimension. Amar made several journeys to record with the Budapest Symphony Orchestra and the Shanghai Percussion Ensemble. He wove into his score chants and instruments from several continents  (Mongolia, Armenia, Iran, etc).

"Writing the music for a film, you are at the mercy of numerous imperatives," explains the composer. "Everything stems from a scene, intentions. The idea is to understand what the director feels, but also develop a personal vision of the film while not overemphasizing the message. The score tells one part of the story, the pictures another and the dialogue speaks yet another language, but it all must combine in a symphony, a harmony. Composing the music for a film made out of footage without a script was a real challenge for me. The music also lends movement to the pictures and the soundtrack exacerbates the emotion that its vision provokes. The film's rhythm is contemplative, but I didn't let myself be carried away by these constraints. It was important to let the images breathe. They're very silent images. We fly over landscapes, so we need silence. I kept only the piano and strings from the orchestral parts. I didn't want an oversymphonic effect. Like in traditional music, I favored horizontal writing rather than vertical."