“MANIACS OF PROCREATION, bipeds with devalued faces, we have lost all appeal for each other. And it is only on a half-deserted earth, peopled at most by a few thousand inhabitants, that our physiognomies might recover their ancient glamour. The multiplication of our kind borders on the obscene; the duty to love them, on the preposterous. Which does not keep our thoughts from being contaminated by the presence of the human, from stinking of the human, and from being unable to cleanse themselves of it. Of what truths are we capable, to what revelation can we rise, when this pestilence asphyxiates the mind and disqualifies it from considering anything but the pernicious and fetid animal whose emanations it endures? He who is too weak to declare war on mankind must never forget, in his moments of fervor, to pray for a second Flood, more radical than the first.”

CIORAN, History and utopia

“I am deeply taken with traditional music, it moves me, it connects you to emotion.

The idea with HUMAN was to create songs that would reflect the same emotion generated by the interviews. I wanted things to open up, to open up one’s heart, to let the sadness be without any restraint. HUMAN has been one of these rare moments in my life as a film composer during which I could express all these different cultures at the same time : either working on minimalist songs or meeting with these singers and musicians coming from all around the world. Which note did I first produce ? I had more like a global vision in mind, an atmosphere that would merge into the film and that would bring people together, this was my starting point. The part I created for the Mongolian sequence might be the best summary of the atmosphere I wanted the film to have.

Yann has given me a particular role as a film composer that is very diffrent from the one other directors usually give me. There is a strong friendship between us, an intimate relationship. He’s generous. You follow him because of his fantastic instinct, I can advise on the artistic process being in a way the first audience.”

Armand Amard, composer of the HUMAN music.

“Les musiques traditionnelles m’ont accaparé, elle me touchent, elles ont un rapport direct avec l’émotion. Pour HUMAN, mon idée était de construire une sorte de résonnance des interviews par un chant qui délivrerait la même émotion. J’avais envie que les choses s’ouvrent, que le cœur s’ouvre, que la tristesse s’ouvre, de ne pas avoir de retenue. HUMAN a été un des rares moments dans ma vie de compositeur de musiques de film, où j’ai pu exprimer toutes ces cultures différentes : être aussi bien dans des musiques minimalistes que dans des rencontres avec tous ces musiciens et chanteurs venus d’ailleurs. Quelle note m’est venue en premier ? C’était plus une vision globale, un univers en osmose avec le film, où il était question de partage et de rencontre, qui ont été mon point de départ. D’ailleurs, pour moi ma composition faite pour les images de la Mongolie résume particulièrement l’univers que j’ai voulu pour ce film.

Avec Yann, j’ai une place particulière en tant que compositeur, différente de celle que me donnent les autres réalisateurs. Entre lui et moi, il y a une amitié profonde, nos échanges sont complices. C’est quelqu’un de généreux. Son instinct assez fantastique fait qu’on arrive à le suivre, je peux me permettre de donner mon avis dans la construction du film, parce que je suis dans le fond, le premier public.”

Armand Amar, compositeur de la musique de HUMAN.

Publicado por:Portal E.M.Cioran/Br

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