When the images are gone, the music remains

When the images are no longer there, the music remains”, remarked the Franco-Lebanese composer, Gabriel Yared, during a meeting, organized on Wednesday at the sumptuous Palais des Congrès in the ocher city, as part of the “In Conversation with…” program.

Invited to interact during this conversation, one of the most anticipated appointments of the 19th edition of the Marrakech International Film Festival, placed under the High Patronage of HM King Mohammed VI, Gabriel Yared shared with his audience his experience as a composer of film music, evoking his love for music, especially jazz, from an early age.

The Franco-Lebanese artist emphasized the importance of music in a cinematographic work since when leaving the cinema, the public always keeps in mind the theme of the film, the effect of which is not negligible. . “I was born for music,” he said, before recalling his childhood in Lebanon and his desire to devote himself to music instead of fulfilling his parents’ wish by studying law.

The composer emphasized the need to accompany the whole process and not wait for the images of the film to compose his music. “It is important that the music is born before, during and after the image,” said Mr. Yared, who took his first steps in film music with the Franco-Swiss filmmaker Jean-Luc Godard. “Musical disciplines are very important,” he also pointed out, adding that musical harmonies help develop a person’s personality and boost their self-confidence.

This session was particularly marked by an exceptional performance on the piano, the opportunity for Mr. Yared to play his most famous music, with the projection of some scenes from films for which he composed the theme, in particular “Camille Claudel” and “37.2 in the morning”.

Born in Beirut, Gabriel Yared abandoned his law studies to follow, as a free listener, the lessons of Henri Dutilleux and Maurice Ohana at the Normal School of Music in Paris. Thereafter, he stayed in Rio for a year and a half, collaborating in particular with Ivan Lins, ambassador of modern bossa. On his return to Paris in 1973, he was caught up in the world of music and later composed the soundtrack to Sauve qui peut (la vie) by Jean-Luc Godard.

In the space of a few years, Gabriel Yared has multiplied his collaborations with renowned directors, including: Robert Altman, Costa-Gavras, Jean-Jacques Annaud – with L’Amant for which he won a César. For several years, he has worked with a new generation of authors such as Xavier Dolan, Florian Henckel von Donnersmarck, Angelina Jolie and Maïwenn

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