Etienne Forget

I heard everywhere things that surprised me and carried me away. Also, like many others, I do not think there is any bad style of music. So why the movie music? Why not Rock Electronica or Folk? After all, I started there. When I started to write in the picture, it very quickly seemed to me that no film required the same musical approach and it attracted me. Here as in staging, we can treat a story in many ways, everything is history of point of view. And the choice of a suitable musical genre is already one. This demand for permanent adaptation is in itself an encouragement to diversity. This is one of the things that I like most about this relationship to music and that's what finally made me decide to take this path. Having followed Bruno Guiganti's courses with admiration, I believe in the subject of sound and the dialogues she can maintain with the image. Also, the feeling of correlation between the two subjects, "The touch" that emerges from an audiovisual plan, quickly became an obsession even to produce a certain number of experimental objects ... To the creation of sounds, to the taken as mixing, the choice of treatments to achieve this alchemy is in my opinion one of the major issues of a good soundtrack; Later, wanting to better understand how to articulate a properly musical speech, I had the chance to become a student of Sebastien Villers; graduated from the CNSM and a true pedagogue. My concerns then came back to Music: The choice of a theme, how to present it, its sound context, the timbres used, the rhythms, the silences, the densities ... everything has an influence on the reading the movie. When he reaches the stage of writing music to the image, the film is shot, and in a fixed sense. The frames will not move, neither the costumes nor the actors' interpretation etc ... The interaction with the scenario, the realization and the characters is the first concern. So we observe, we adapt. We interrogate the film itself by presenting themes and consider how to respond. Then the choice of instruments and the modalities of their dialogues become more pressing. We still observe: how does the film react? Finally it is this meaning, this perception that we sharpen. We dialogue with something temporarily "frozen" and we observe the curves that are drawn and the movements that flow from it, thanks to discussions with the director. The director is the one who gives us his confidence. This can be a difficult stage for many of them because the language of the music seems sometimes difficult to penetrate to them. But by simply talking in a studio, sitting around a piano, there is nothing that can not be exchanged. At the end, there must be only the movie