Rone: “Working with Jacques Audiard was a dream”

The composer Césarised for La Nuit Coming signs the sublime ambient and electro soundtrack of the Olympiades, of which he tells us about the creation process

What did Jacques Audiard’s cinema represent before working with him?

Rone: For a long time, when I was asked in an interview with whom I would dream of working, I spontaneously cited the name of Jacques Audiard. He’s really one of my favorite directors since the first movie I saw of him: The Beat That My Heart Skipped. I still remember the feeling I felt coming out of this screening. I felt like I had seen something completely new in French cinema. A very dark film of which I loved the music of Alexandre Desplat. And my enthusiasm never wavered, especially when I found out later a prophet. I had the French Scorsese in front of me! I had the feeling of a physical cinema that takes you to the guts, something very sensual in the image, a crazy work on the sound. I live a sensory experience and not just a cerebral one in front of each of his films.

And so comes the day when the dream becomes reality …

I’m mixing an album in Paris when I get a phone call telling me that Jacques would like to meet me for the music for his new film. Everything happened really fast. He showed me The Olympics the next day and so I found myself in a room next to him. The film was already edited, although there were obviously many changes afterwards. And I take a slap. It is an Audiard which takes an unprecedented form by tackling new themes by seizing a generation that is not its own. This last point is bluffing. He speaks incredibly well of French youth. And the freshness of the film sticks well to Audiard’s eternal youth! Jacques then takes me to his editing room next door and we talk to each other for a good 4 hours about what he imagines for the music. There is a real urgency because he wants to present it to the Cannes selection committee

What do you perceive of his expectations?

In fact, on the cut that I saw, he had put some music by Schubert. Suddenly, I really believed that there was wrongdoing! (laughs) But he reassured me by telling me to forget everything. And I understood that he wanted both to be surprised and a certain modernity that sticks to his characters. He contacted me because he liked my soundtrack of La Nuit Coming and also the show Room with a view that I did with the dancers of the Ballet National de Marseille.

He’s someone who knows music …

Yes, his musical culture is quite amazing

THE OLYMPIADS: AUDIARD REINVENTS ITSELF IN A GENERATIONAL FILM [CRITIQUE]

How then do you start to work?

When leaving the meeting, there was still a form of test. He asked me to choose 3 scenes of my choice and send him 3 music proposals in 3 days. I worked like crazy with the fear of missing out on something crazy. And I will remember his return all my life: an email with just written ” Amazing! “. Then he called me and told me something that both gave me great pleasure and terrified me: he realized that the music had to be more present and spend 25 to 45 minutes. All with just one month to create it. This is the month when I have worked the most of my life! And I followed the same method as for Night has come, inspired by that of my idol Miles Davis who had composed the music ofElevator for the scaffold in front of the film. So I invested in a big screen, I got the editing back, I looped the film and I composed on it. And I would record whenever something interesting happened. Then I sent it to Jacques who reacted. I can only compose by looking at the images, to have a carnal relationship with her. I had Jacques on the phone 3 or 4 times a day. He pushed me into territories that I usually never experience. The soundtrack is quite rich in the end with very refined songs and others where he pushed me to extremes, in the saturation of sounds like this MDMA rising scene

How did you experience the screening of the film in competition at Cannes?

Like a shock! Seeing Tilda Swinton at the end of the film shaking her head to the beat to the music in the credits will remain an unforgettable image for me. And throughout this screening, I experienced the same feeling as in some concerts.

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