Cerf Volant - Music

Bruno Coulais Is A French Composer Born In Paris On 13 January 1954. He Has A Father From Vendée And His Mother Is An Iraqi Jew. He Is Most Widely Known For His Music On Film Soundtracks. Coulais Began His Musical Education On The Violin And Piano Aiming To Become A Composer Of Contemporary Classical Music. However A Series Of Acquaintances Gradually Re-Oriented Him Towards Film Music. Coulais Was Particularly Influenced By Director François Reichenbach Who Asked Him In 1977 To Write The Soundtrack To His New Documentary Mexico Magico. The First Full-Length Production He Composed The Score For Was The 1986 Film La Femme Secrète By Sébastien Grall. Until The End Of The 1990s He Remained Low-Profile Composing Mainly For Television. His Name Can Often Be Found From TV Films By Gérard Marx And Laurent Heynemann. He Also Composed The Soundtracks For Christine Pascal's 1992 Film Le Petit Prince A Dit And Agnès Merlet's Le Fils Du Requin In 1993. In 1994 He Met The Television Producer Josée Dayan Who Let Him Write A Theme For The TV Series La Rivière Esperance Aired On The France 2 Network In Autumn 1995. He Worked With Dayan Again With Other Major Productions Such As Le Comte De Monte-Cristo Balzac And Les Nuiteux. The Largest Turning Point Of His Career Came In 1996 When He Worked With Directors Claude Nuridsany And Marie Pérennou Of The Documentary Microcosmos. This Single Film Which Gave A Great Significance To The Music In It Was A Great Success And Made Coulais One Of The Most Wanted Composers Of French Film Music. In 1997 He Won The César Award For The Best Musical Score In A Film As Well As A Victoire De La Musique. His Reputation Was Confirmed By The Soundtracks To Himalaya 1999 And Les Rivières Pourpres 2000 And After That Bruno Coulais's Name Was To Be Found On Most New French Blockbusters Such As Belphégor And Vidocq. After Producing The Soundtrack To Winged Migration In 2001 Coulais Announced That He Wanted To Significantly Reduce His Contributions To Film Music And Instead Concentrate On Other Projects Such As The Creation Of An Opera For Children And Collaborations With Akhenaton Akhenaton's Group IAM And The Corsican Group A Filetta With Whom He Had Worked Since He Had Made The Soundtrack For Jacques Weber's Film Don Juan In 1998. In 2002 His Name Was Found On The Ending Credits Of The Animation L'enfant Qui Voulait Être Un Ours And In 2004 On Frédéric Schoendoerffer's Agents Secrets. The Same Year He Wrote The Soundtrack To The Film Les Choristes By Christophe Baratier Which Subsequently Became An International Hit. The Music For This Film Received As Great Praise As The Film Itself And It Won Coulais His Third César Award. Since Then Coulais's Collaborations In Cinema Seem To Be Limited To Works By Directors With Whom He Already Shares Some History In Particular Jacques Perrin Frédéric Schoendoerffer And James Huth. Bruno Coulais's Musical Style May Vary Significantly Between Different Projects But There Are Some Constant Factors Visible His Taste For Opera And For Human Voice In Particular That Of Children For A Search For Original Sonority For World Music And Mixing Different Musical Cultures And Finally A Certain Tendency To Give Preference To The Ambience Created By Lighting Rather Than The Film's Narration. read less