Where Bryan was after villains who had the impersonal motive of sex slavery, the bad guy Murad here is driven by the grief of losing his sons because of their appalling acts. Her body language, the cold precision to her movements and the way she guards her emotions really inspired me. That way I would get to do a fantastic science fiction score! What do you think are the biggest similarities in how Luc and Oliver direct, and approach music? And as you become more internationally popular for your action scores, how important is it for you to keep up with more intimate pictures?
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For example, Tzken worked with a fantastic player of Arabic violin, Zied Zouari I to record some themes as well as some wonderful improvisation over the orchestra. As a director himself, he also intimately understands the importance of the tight relationship between a director mecbaly his composer. Her body language, the cold precision to her movements and the way she guards her emotions really inspired me.
Could you tell us about how you started composing for film, and particularly for Luc Besson-produced pictures?
Interview with Nathaniel Méchaly
And it works as well in the other sense — the relative freedom of working on smaller films allows me to develop as a composer and bring new colors to the bigger films I work on. The films we work on demand a particular style that is strongly influenced by the expectations and tastes we associate with certain kinds of cinema.
For me, working on more intimate films is an opportunity to return to the laboratory as it were, which gives me a much-needed freedom to explore and develop new ideas and new approaches.
And as you become more internationally popular for your action scores, how important is it for you to keep up with more intimate pictures?
He Shoots, He Scores – Ep. Leave a Comment Name required Email will not be published required Website.
Nathaniel Méchaly – IMDb
I can definitely tell you that the experience of working on this film was one of those awesome, crazy adventures that you remember for the rest of your life! To follow on from the previous question, composers like Hans Zimmer, John Powell along with many others have definitely brought a certain style to the music we associate with modern action cinema.
Also, one of the keys for me to be able to work successfully with the orchestra in film music is top-notch music editing. In nathanniel end, what impact do you think Luc Besson will have on the world of action movies, and scores? What do you think are the biggest similarities in how Luc and Oliver direct, and approach music? They both have a strong sense of the relationship between music and the pace and rhythm of a film. With regards to music, my personal experience has been that nathahiel is pretty open to good surprises.
At the same time I was working as assistant to Gabriel Yared, which gave me a lot of exposure to the realities of working on feature films. How heavily involved is Luc in the scoring process? For example, in the first pursuit scene in the souk in Istanbul, I developed a strong electronic-driven score with my synth programmer Antonio Gambale to give the scene a dark emotionally intensity above and beyond its geographical setting.
I nathamiel audiences were pleasantly surprised to see him take on the role of a leading man in an action movie, something about his fatherly presence really just worked. Finally, in terms of music, I think Luc is a great example of a director who has maintained the long-held and very valuable relationship between a mmechaly and his composer. What was that experience like? In any case, in terms of his impact on the presence of France in world cinema, his influence and importance is undeniable.
So, he takem very comfortable to let us take our work to its full conclusion, and only then does he give us his comments to refine the result. With action scores becoming increasingly percussion-oriented, how important was it for you to have an orchestra in the score?
Taken 3 (Original Motion Picture Soundtrack) by Nathaniel Mechaly on Apple Music
That way I would get to do a fantastic science fiction score! By Webster Emmanuel on October 29th, at 9: After these films, I started being offered naghaniel film work in France. I got the call to work on this film quite late, to say the least. Occasionally I need to detach myself from the picture in order to really take the music where it needs to go. For me, if there was anything specific to Kim to underline musically, it was maybe just the fear for the situation she found herself in.
For example, the soft acoustic guitar sound when playing solo themes with strings is pure delicate beauty… but when you amplify and destroy a rock guitar sound, you have a tool for mevhaly incredible stress and intensity.
Email will not be published required. Another thing that many people might not know is that his casting choices have been a big influence on the films we see today.