Our spotting session for Amélie is perhaps our most unique installment thus far. We endeavor to cover the entire soundtrack for the film, putting each piece in its time and place. Jeunet, Tiersen and the editorial team assembled a clever collection of 'needle drops' into a narratively compelling underscore. We progress track by track through Amélie's music, uncovering the spirit of the film and the soul of our heroine. From 40s era showtunes to carnival organs to club remixes to intimate original piano ballads, listening to the music of this film end to end is an aural delight. Breaking down each individual piece, we set the table for next week's full-length audio commentary. Enjoy!
Today we continue our whimsical adventure through Yann Tiersen's music to Amélie. While much of the score originates from Tiersen's back catalogue, there is some exceptional original music we've yet to cover. Let's start with one of our very favorite pieces from the score, L'autre valse d'Amélie, a melodious delight emblematic of our heroine. We explore just how beautifully her two primary themes (both of them waltzes) embody the sun and moon of her persona. Next is one of the film's most recognized pieces, Comptine d'un autre été: L'après-midi. Breaking character somewhat from the rest of the score, this flowing piano ballad seems to reflect not the yesteryear of Amélie's fantasies, but the contemporary world she truly lives in. We close with another lovely selection composed specifically for the film, Le moulin. "Sans toi, les émotions d'aujourd hui ne seraient que la peau morte des émotions d'aut"
In an episode of many firsts we're thrilled to introduce our next film subject - Amélie. Yann Tiersen's irreplaceable score is brimming with charm and today we explore the film's central theme, La Valse d'Amélie (Amélie's Waltz). We study the musical features of the theme and discover what it suggests about the inner life of our film's heroine. Along the way we dive into the history of the Waltz in European musical culture and the legacy of the French Bal-musette tradition. Tiersen's score was uniquely constructed, ultimately including several pieces of music from his existing catalogue. This theme, along with a handful of others written specifically for the film, marked his first foray into cinema scoring and the result is something worthy of the canon of great film music. Bon appétit!
Today we are delighted to share our conversation with composer/producer Gabriel Mann. You know Gabriel as the composer for the multiple-Emmy winning television series Modern Family, including its signature title theme. He has also composed the music to Rosewood, Dr. Ken, Rectify, Dawn of the Croods, and School of Rock, currently airing on Nickelodeon. Additionally, Gabriel is an in-demand record producer and his band The Rescues has met great acclaim since its founding in 2008. Fans of Arrested Development will recognize Gabriel as he served as the resident songwriter and vocalist for the series. Along with Rebecca Kneubel, Mann composed the scores to three games in the popular Spyro series. A graduate of the USC scoring program and a great champion of melodic pop music Gabriel is a delight to talk to and an all around enthusiastic and hilarious person. Enjoy!
-Leaky Family - from Rectify (Sundance Channel / Gran Via Productions) -This Feeling - from the album Tall Buildings (Gabriel Mann, 2007)
Arrested Development (Imagine Television): -As It Is Such (Gabriel Mann, David Schwartz, Lucy Schwartz) -Getaway (Mitch Hurwitz, Gabriel Mann, David Schwartz) -Floating Islands - from Legend of Spyro: Dawn of the Dragon (Gabriel Mann, Rebecca Kneubuhl)
Modern Family (ABC/ 20th Century Fox Television): -Main Title -Feldman Brenda -Can't Stand The Rain - from the album Let Loose The Horses (The Rescues, 2010)
Dr. Ken (ABC Studios / Sony Pictures Television) -Main Title
Rosewood (20th Century Fox Television) -Petechiae
Marry Me (NBC / Sony Pictures TV) -I Was Just Worried About You