Lhe gift of the Sœurs Jumelles festival, which combines images and music in Rochefort from June 25 to 30, is to invite stars of course, but also to offer the public intimate moments with the artists who come to speak of their way of working. Thanks to what they say about the creative process, spectators go behind the scenes of a film, a concert or a dance. A way of understanding music and cinema differently. Inside. And break down barriers.
Face-to-face
To respond to the issue, artists attend film screenings with the public. So Franck Dubosc for the preview of “Prodigieuses” Tuesday evening, or Dany Boon for “The Hennedricks Family” this Thursday evening for example. The same goes for the authors of documentaries on Legrand, Le Forestier, Higelin, Brigitte Fontaine and other Martin Scorsese. But the highlight is the artistic encounters, moments of intimacy and almost one-on-one time with the creators.
ROMUALD AUGÉ/SOUTH WEST
The film’s composer, Clément Ducol, and Camille, who wrote the songs, join Jacques Audiard on stage.
So, this Thursday, June 27 in the morning, we are rushing to the Golden Cup: Jacques Audiard is coming to talk about the musical creation of his latest film “Emilia Perez”. The work, awarded at Cannes, was previewed the day before at the cinema. Jacques Audiard was also there. But this conversation complements the projection.
In a film, there is not music and sound effects, but a set of organized sound accidents
His trilby hat screwed on his head, his black glasses on his nose and his red socks which contrast with his light outfit, he looks like a young man… 72 years old. Simple, clear and spontaneous, this “omnivore of music”, who is not a musician, speaks without fuss about his relationship with the fourth art. “It’s a mistake to have music in mind before making the film. There must be a distance between music and images. Because in a film, there is not music and sound effects, but a set of organized sound accidents. In the idea of manufacturing, there needs to be surprise. »
And this first musical is one of them. “For several films, I have realized that I have a very musical relationship with creation. I abandon my mother tongue to rely on the expressiveness of other languages that I do not understand. As I detach myself from meaning, I attach myself to phrasing, to poetry, it’s a great freedom. »
The one who worked with composer Alexandre Desplat for seven of his films chose Camille (lyrics) and Clément Ducol (music) for his first musical, “Emilia Perez”. “Alex remains a friend, but his schedule is such that he can only give me a little time and I am a demanding lover! »And here the singer and the composer arrive on stage. Like at home, Camille is in flip-flops, that’s how it is for Twin Sisters’ artistic conversations!
Joint work
The trio discusses it around the table. On “Emilia Perez”, they worked empirically to “re-enchant a disenchanted reality”. The result: “a very original score in which the voice remains at the heart, which is rare”, appreciates the filmmaker who mischievously answers the question “what is a beautiful soundtrack?” ” : ” Mine ! »
ROMUALD AUGÉ/SOUTH WEST
The choreographer of the film “Emilia Perez”, Damien Jalet, joins the filmmaker, the composer and the singer, to talk dance.
The film’s choreographer, Damien Jalet, invites himself into the conversation. “In “Emilia Perez”, there was something to invent with the dance, which is not decorative, but must bring a new layer of reading. » This is a film of encounter, “we do not exist in relation to each other, but we do a common work which goes beyond us”, summarizes Clément Ducol. And the spectators, who come to witness this moment of grace, also participate in bringing the films to life.
