Normand Roger moderates a round table exchange, "Pictures and Music: The Original Soundtrack" about the under appeciated art and aspects of composing music for animation, June 4, 2004 at 4:00 pm in the Theatre, part of the many programs going on June 2-7 at Annecy 2003.
Behind the music stands Normand Roger, composer of many original soundtracks for Frédéric Back, Paul Driessen, Michaël Dudok de Wit and others, where the harmony between animated images and music proves especially fruitful. Panelist Didier Lockwood, renowned as a jazzman as well as for his concertos and symphonic compositions. Included on the panel is Patrick Bouchitey. After Bouchiteys "Lune froide" score, the violonist signed the soundtrack of the film opening the Festival, THE RAINCHILDREN. Panelist Serge Besset composed the music for Jacques-Rémy Girerds feature, RAINING CATS AND FROGS Rounding out the pane is Judith Grüber-Stitzer, who wrote the soundtrack of the Annecy 1999 winner WHEN THE DAY BREAKS by Wendy Tilby.
Besides the guests, the round table features a recorded interview with pop singer Phil Collins. Genesis former drummer contributes to making the "cinemelodic" news since hes now finishing the soundtrack of Disneys upcoming film BROTHER BEAR.
Instead of the carte blanche he was offered by the organization, Roger preferred a debate on the relationship between animation filmmakers and composers; a creative relationship apparently obeying no fixed rules. No doubt the well-chosen extracts will phrase exchanges full of anecdotes, showing major or minor harmonies on ways of working.
As a prelude to this word, image and sound jam session, we asked Didier Lockwood how he has decided to tackle the exercise. "Even more than in live-action films, the animated film soundtrack is there to express what the drawing cant, to deepen the emotional aspect," said Lockwood. "The musician has to bow to the vision of the director, even though they play the same role of expressing an idea. The music relates a scene, a little like in an opera. Actually we chose the opera as a reference for THE RAINCHILDREN. The action of the film is not set in time, which gives a certain freedom. But, as for the opera, costumes and sets give some pseudo-temporal clues. The music has to be based on the images, even if it is sometimes to go against them."
This article by André Joassin was first published on June 3, 2003 in LE QUOTIDIEN #2, a publication of the International Animated Film Centre, Annecy. . For more information on this and other events at Annecy go to www.annecy.org.
