MUSIC COMPOSER

I joined the Fatum team in February 2016. Sylvain and Séverine, the two directors, had placed an ad on the cinéast.org website, indicating that they were looking for several technicians, including a composer.

 

I applied by sending a CV and some links to music. Sylvain contacted me some time later, offering to meet him, accompanied by Séverine, in an artists' house located in Paris. The meeting went very well and the first foundations for the collaboration were laid.

 

I remember very well the first pre-production meeting held in February 2016 in one of the meeting rooms of a sports complex located in Paris. I met the entire technical team, including the actors, the director of photography and the sound engineers. As always with Sylvain and Séverine, the atmosphere was friendly, but professional. They presented the main stages of the calendar and the role of each while waiting for the start of filming.

 

Back home, I read and reread the scripts for the 2 episodes and their alternate endings, taking notes to determine when I should compose. We then discussed with Sylvain who provided me with several temp tracks to give me a more precise idea of ​​the atmosphere and the theme he wanted for the different scenes.

 

I then worked on several demos, in particular for the credits whose music should not leave any doubts as for the cinematographic orientation of Fatum. Sylvain and Séverine were thrilled by the second demo that I offered them and laid the groundwork for the final version of the credits.

 

In parallel, I also worked on the credits of the end of the first two episodes, because Sylvain wanted two different versions; music for each of the two camps that clash in Fatum.

 

Once these three musics written and pre produced, I set out to write those of the important passages of each of the two episodes, by always offering demos which represented my vision of the scenes. Luckily, my ideas often corresponded to those of Sylvain!

 

In all, I spent almost 3 months writing and producing all of the music for the first two episodes of Fatum. It was a very enriching experience, both from a human and professional point of view.