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| Interview mit Klaus Badelt zu Le Petit Nicolas Interview with Klaus Badelt |
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 Christine Blanc und Fabrice Steurer konnten zusammen Filmkomponist Klaus Badelt für ein Interview zu Le Petit Nicolas gewinnen. Ein Grossteil führte Christine Blanc, da sie das Interview auf englisch führte, während Fabrice Steurer sich um den deutschen Teil kümmerte, der jedoch noch nicht fertig beantwortet wurde. Wir hoffen, dass der deutsche Teil demnächst von Herrn Badelt beantwortet und uns zugestellt wird. Besten Dank dafür. Nachfolgend das Interview, welches man auch unter inter-activities.com findet. ----- Christine Blanc did an interview with Klaus Badelt to Le Petit Nicolas. The most part was written by Christine Blanc, because she did the interview in english with Mr. Badelt. Fabrice Steurer did the german part, which is unfortunately not finished and answered by Klaus Badelt till yet. As soon as we have the german part from Klaus, we will publish it here. Now you find the interview, which is also presented on inter-activities.com. Have fun and thanks to Mr. Badelt for the time. Hope your german part will coming soon ;o) Dear Mister BADELT, may you tell us how you came to work on the movie “Le Petit Nicolas”? What’s brought your attention into this project? As many Europeans, I grew up reading “Le Petit Nicolas”. I really loved the stories and especially the main character Nicolas when I was a kid. The film came to my attention because I already worked with the production company, that produced “Le Petit Nicolas”, on another French movie, "Pour Elle". What do you think about France, and about French people? I like the French lifestyle, the culture, their quality of life. The French know how to appreciate the fine things in life. People in the Unites States are fast-paced, and usually do not have time to sit down, relax and enjoy a good glass of wine. That is what I love about France. Is it different for you to work on a movie about France? Yes, the way of making movies in France is different to how they would do it in the US. I work with a smaller group of people in France, usually with the director. It is a much more intimate way of film-making. Did you listen to French music to prepare your score? No, because we did not want to compose French music for the movie, I wouldn’t be the right composer for that anyway. The goal was that the music for “Le Petit Nicolas” should have its own flavor and character, and on the same time avoid all the typical clichés. Even though I did not listen to French music before writing the score, I love to listen to Ravel and Debussy. Did you stay in France to work on your score? Yes, I like to stay where the filmmakers are. I now have a second studio in Paris where I spend a lot of my time during the year. Could you describe your process of writing and explain your approach for “Le Petit Nicolas” soundtrack? Unfortunately there is no such thing as a typical process of writing. If it were, it would be done quickly. In general, I am getting inspired by the script and then I am experimenting on the themes. For “Le Petit Nicolas”, the aim was that the music reflects Nicolas’ world. Even though he is “just” a kid, and I don’t mean that in a negative way as I do have two small children on my own, Nicolas takes his world pretty serious, as we grown-up’s do. The music I wrote mirrors that. It is like music for a “grown-up” movie, but just on a smaller scale. How would you describe your soundtrack? Emotional, fun, sincere, intimate but light. What is your typical day at work? I like to avoid daily routine so every day is different. But I like to start my day with a good cup of coffee. What’s your favourite tool to work now? Is it easier for you with the computer? I have an elaborate, high-tech computer set-up at my studio. By using such a set-up, the production is part of the writing process. Which orchestra played and who choose it? How many musicians played? How was the recording and the orchestration of the score? We recorded the music with an orchestra in Belgium. We had about 60-80 musicians that made up the orchestra, and many soloists that played, for example, acoustic guitar, mandolin, accordion and jazz clarinet. It was the most non-conventional and complicated score I’ve worked on since there are so many individual instruments included in the score; each needed its own performer. We also had a Jazz-Band and a string quartet. The music for “Le Petit Nicolas” was the most complex production I’ve done thus far. Did you use special instruments? Yes, actually we did. I found this incredible whistler, actually he is the World Champion in whistling and he can do incredible things. After you hear him, you never want to whistle again, he can do Arias, really difficult stuff. Some people will smile at him and don’t take him seriously, but for him it is the most sincere thing in the world. It is similar to Nicolas’ story, that’s why he was such a great fit for the movie. How many time did you spent working on this score? I spent about 4 months working on it, which is an unusually long time frame. Did you create themes? May you tell us more about that? Creating themes is probably the most important work I do when approaching a score. There are several different themes throughout the movie, but the one that meant most to me that I had to create before any of the rest is Nicolas. It is very emotional, melancholic, but needed to be adaptable. Once I had his theme written, the others came much easier. His feelings and actions are the core of the music. Did you use electronic sounds, if yes, how and why did you use electronic sounds? I always use synthesizers but I rarely use them in an electronic way. In “Nicolas”, the programming was done in quite an organic way. You would be surprised how much synthesizers we actually used in the score. What are the future projects you are impatient to start? I just finished “The Extra Man”, and I am working on another French film, “L’Immortel”, directed by Richard Berry, and right after I start “Dead of Night” where I re-unite with Kevin Munroe, who was also the director of TMNT. I’m also working on a Chinese opera about “Emperor Qin” and his Terracotta Warriors, to be premiered in Xian in 2010. What is the project that you are dreaming to achieve someday? I would love to work on more projects in collaboration with recording artists, bringing the sound of film scores closer to what our audience is actually listenening to outside movies. My background as a record producer has a lot more potential to be explored. Did you plan to perform concerts with your music? I do from time to time. Placido Domingo for example just performed some of the music I wrote for the 2008 Olympics Closing Ceremony at a concert in Beijing. You are working on 12 movies between 2009 and 2010 (IMDB source). Which are your criteria to choose your projects? Besides the quality of the film, my main criteria is variety. Being inventive and progressive is my main source of inspiration - nothing for me could be more boring than doing the same thing again. Film budgets play a secondary role to me. Do you sometimes meet difficulties in writing? Problems of inspiration for example? Honestly, writing is a hard process for me and doesn’t come easy. I guess I was lucky enough to pick the right projects so that inspiration is not the problem though...let’s hope it stays that way! Could we expect a “Pirates of the Caribbean 4”? Would you like to take part to it? “Pirates of the Caribbean” was a fun film, and I hope they make a few more. But that would be a project I would probably choose not to work on - as I mentioned, I like new challenges, and therefore can’t imagine warming up themes I wrote years ago... How did you develop your style since you start, since your beginning ? I sure hope so… I am getting influenced by world-wide projects I worked on. Different cultures and music inspire me. Over the years all the different projects in different cultures changed my perspective, and these experiences definitely influenced my style. Would you like to perform a concert with movies music in the RomanAntique Theater in Orange, south of France? Of course if I would get the opportunity.
17:44, 05.01.2010 posted by Fabrice  |
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done by Fabrice Steurer, © Copyright by Klaus Badelt
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