{"id":14933,"date":"2013-10-12T11:46:24","date_gmt":"2013-10-12T09:46:24","guid":{"rendered":"http:\/\/jameshorner-filmmusic.com\/vienna-2013-interview-james-horner-thor-joachim-haga-2\/"},"modified":"2014-05-20T23:48:48","modified_gmt":"2014-05-20T21:48:48","slug":"vienne-2013-entretien-avec-james-horner-par-thor-joachim-haga","status":"publish","type":"post","link":"http:\/\/jameshorner-filmmusic.com\/fr\/vienne-2013-entretien-avec-james-horner-par-thor-joachim-haga\/","title":{"rendered":"VIENNE 2013\u00a0: ENTRETIEN AVEC JAMES HORNER PAR THOR JOACHIM HAGA"},"content":{"rendered":"
\n
\n\t\tVendredi 4 Octobre 2013. <\/span>\n\t<\/div>\n
\n\t\tEn plein milieu de l'événement musical Hollywood In Vienna, James Horner a été interviewé par Thor Joachim Haga pour le site Tunes Celluloid<\/a> et le web magazine norvégien Montages.no<\/a>.<\/span>\n\t<\/div>\n
\n\t\tSont aussi inclus des entretiens avec le compositeur de film David Newman<\/a>, qui a dirigé l'orchestre lors des concerts, ainsi que la productrice du festival Sandra Tomek. Cependant, les points forts évidents sont les quelques questions posées à James Horner lui-même, placées entre des extraits du concert : le générique de fin de Star Trek II – La colère de Khan<\/a>, de Braveheart<\/a>, ainsi que des parties d'Aliens<\/a>, Légendes d'automne<\/a>, Le Garçon au pyjama rayé<\/a> et Titanic. <\/span>\n\t<\/div>\n<\/div>\n
\n\tLes réponses apportées d’une voix douce nous permettent de plonger dans le fin fond créatif de son esprit, même s’il s’agit ici d’allusions et d’aperçus sur sa manière de penser, son ressenti sur les œuvres passées, son actualité et les projets à venir. James Horner revient sur l'époque Roger Corman<\/a>, sa relation avec le réalisateur James Cameron<\/a>, sa musique pour Aliens ainsi que sur sa méthode d'écriture. <\/span>\n<\/div>\n
\n
\n\t\tAvec l'aimable autorisation de l'auteur, nous publions ci-dessous trois réponses de James Horner. Pour écouter l'entretien complet, nous vous invitons à vous rendre sur celluloidtunes.no <\/a><\/span>\n\t<\/div>\n
\n\t\t \n\t<\/div>\n
\n\t\tQuestion : Beaucoup de compositeurs n'aiment pas regarder en arrière et pourtant cela suscite votre intérêt, et les labels éditent votre musique depuis les années quatre-vingt et je me suis toujours demandé si vous voyiez ceci comme un honneur ou si vous préfériez que cela reste dans le passé? <\/span><\/strong>\n\t<\/div>\n<\/div>\n
\n
\n
\n\t\t\tJames Horner : Oh, c'est une bonne question. Cela dépend de jusqu’à quand dans le passé. Il y a certains films que je ne ferais pas aujourd’hui, et certains films pour lesquels je préfèrerais que la bande originale ne soit pas sortie aujourd'hui. Il y a d'autres films qui n'ont pas marché mais qui ont été de bonnes bandes originales selon moi, qui mériteraient d’être rééditées, mais il y a pas mal de films qui ont très bien marché et dont les bandes originales ont eu du succès aussi, qui ressortent, ce qui est ma foi intéressant. Je n'ai jamais pensé que cela intéresserait autant ou que ce monde puisse exister. <\/span>\n\t\t<\/div>\n<\/blockquote>\n<\/div>\n
\n\t \n<\/div>\n
\n\t\"\"<\/span>\n<\/div>\n
\n\tPhoto © Marian Schedenig<\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n
\n\t\tJames Horner, sur Aliens<\/a> et sur sa collaboration avec James Cameron<\/a> : <\/span><\/strong>\n\t<\/div>\n
\n
\n\t\t\tJames Horner : Jim et moi avons travaillé plusieurs fois ensemble quand il était à Roger Corman<\/a>. Il était un monteur et un caméraman, puis il a fait Aliens<\/a>. J'ai donc rencontré Jim quand il était un caméraman sur Les Mercenaires De L'Espace<\/a>, c’était il y a une éternité. Il se trouve que c’était le premier film de Roger Corman<\/a> a avoir été co-produit par un studio plus important, Orion, et Paramount l’a sorti, et c'est ainsi que Paramount m'a découvert, c'était mon premier tremplin, le premier des films que je faisais pour eux. Mais Aliens<\/a> a été intéressant parce qu'il (Jim) avait beaucoup de pression pour le faire dans un laps de temps donné, et il avait l’habitude de tout faire tout lui-même, dans un coin. Et une fois en Angleterre, tout était fait, mais tout avançait lentement. Et je m'étais rendu en Angleterre pour écrire la partition, mais ils fimlaient toujours, sans parler du montage, ce que le studio ne savait pas vraiment. Tout a finalement été bouclé, mais j'ai eu très peu de temps pour écrire la partition. C'était une tâche difficile pour moi. <\/span>\n\t\t<\/div>\n<\/blockquote>\n
\n\t\tQuestion: (sur Le Garçon Au Pyjama Rayé<\/a>) Quelle l’intention, en quelque sorte, derrière ce score sur le schéma innocence enfantine contre ténèbres des camps de concentration ? <\/span><\/strong>\n\t<\/div>\n<\/div>\n
\n
\n
\n\t\t\tJames Horner : La seule scène que j’ai fait de manière sombre à la fin du film était cette longue, longue séquence. C'est très intense. Le reste a été fait comme à la manière d’une berceuse de Brahms avec l’idée de décrire la période, la famille et le garçon, sans être totalement narratif. C’était mélancolique, doux-amer. Le but n’était pas de raconter le film en musique. Il s’agissait plutôt de réflexions sur cette période, et c'était vraiment la mission que je m'étais fixé. <\/span>\n\t\t<\/div>\n<\/p><\/div>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Vendredi 4 Octobre 2013. En plein milieu de l'événement musical Hollywood In Vienna, James Horner a été interviewé par Thor 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