Julie Gaye, Eric Toledano and Olivier Nakache. “We use the soundtrack of our lives in our movies”

If their careers were built in cinema, Julie Gayet, Olivier Nakache and Eric Toledano are also music lovers. He was destined for lyrical singing and created the Sœurs Jumelles (1) festival, dedicated to the meeting of music and image (film, video, video game, etc.), again held in Rochefort from June 27 to July 1. They give pride of place to music and dance in each of their films. We remember, for example, Tahar Rahim’s swing Sambanow from the cult soundtrackUntouchables – and Omar Sy’s dancing – or the stunning creditsIn therapy… So it was only logical that Julie Gayet invited the filmmaker duo to New Aquitaine for “Art Conversation,” the Twin Sisters’ signature format that combines film excerpts, public sharing, and live music.

The directors will also take the opportunity to present a preview of their new film, A difficult year (2), which they are currently accompanying on tour throughout France (dates: uneanneediffiile-lefilm.com). In addition to the shows (Zazi, Benjamin Biolay, Zaho de Sagazan…) and other artistic talks (JB Dunkel, Jeanne Balibar, Chasol, dancer Sylvie Guillem, Jeanne Herry, Cathel Quillever…), the arrival of the most famous directors. French cinema is one of the highlights of the 2023 festival and the chance to find a distant acquaintance for Julie Gayet. thirty years ago, she met Eric Toledano on the benches of the University of Letters, in the film version. reunion for Miss Figaro.

In the video, In therapyBy Olivier Nakache and Eric Toledano

Julie Gayet. – How do you feel about the music of each of your films?
Eric Toledano. – We cannot write without music. When we work, we have a general playlist that we choose from depending on the mood of the scene. On Untouchablesexample we heard to fly By Ludovico Einaudi When we were writing and when it came time to choose the music, we weren’t projecting anything other than this. So we met Ludovico, who was the first person in the world to see the film, in Milan, on his TV, Olivier and I trying to translate every joke into broken English.

Olivier Nakache. – Time is an important sign for us. When the music takes over the writing, filming, editing, we know it won’t let us down upon arrival. And finally, what happened to Ludovico Einaudi’s music? UntouchableFor our other projects it was la… We almost only work like that. as we write, we are trying to find the best clothes for our images. The only risk is that the composers then refuse to let us use their music, but at the moment we’re in luck, whether it’s with Avishai Cohen. A sense of celebration or for grandfathers Out of standards.

JJ:– I remember Dominic Farrugia, who on the set Dolphin 1-Yvan 0played by Marvin Gaye to give us the pace of the scenes… Sometimes you do.
O.NO – It happened to us in some scenes where we didn’t get what we thought. Music enters through other channels and sometimes creates something magical.

E. T.– I recently saw a documentary about Ennio Morricone where we see Sergio Leone playing his music on set.Once upon a time in America…

JJ:– For the soundtrackIn therapyhow did you work
E. T.– To guide composer Yuksek, we spoke to him about the emotional turmoil patients face with Dr. Dayan. The music had to convey this idea, these little ripples like those made by ricochets…

O.NO – With this crystalline piano sound that really resembles water ricocheting…

E. T.– When it came to Season 2, which we couldn’t imagine at first, Yuxek’s music was even a way to reconnect us with the series.

JG – You’ve used a lot of pre-existing titles on your soundtracks, cult songs that you’ve updated, from Earth Wind and Fire. untouchables,For example…
O.NO – It was the music of our childhood. We wanted it and we hid from Omar what title would have the effect of surprise during the filming, preserving the spontaneity of his dance. Later, when we saw Earth Wind and Fire albums with this label. “With the music ofUntouchables “, the world was upside down. We couldn’t handle it.

E. T.– It taught us to trust each other. Two months before filming, I went to see the band in concert and there was this sign on the stage. Nostalgia represents Earth Wind and Fire. It got me thinking. But we followed our instincts and, somehow, the film was revived Remember And Boogie Wonderland, who have been making hits in the evening since that day.

O.NO – We are lucky to be able to use the soundtrack of our lives in our movies. I think about … i wanna be where you are By Michael Jackson, for credits Our happy days For example…

E. T.– Or end Doors, no A difficult year. We wanted, because the title fits the theme perfectly, this fear of the end of the world. Of course there was Apocalypse Now:, but it’s rare for a feature film to get the rights to such a work for synchro. It’s a dream we thought was out of reach… Get it! little wing by Jimi Hendrix, was no easy task either, but it was our ideal soundtrack.

“As of writing we are trying to find the best outfit for our images”

Olivier Nakache

JJ:– What is good soundtrack for you?
O.NO – The one that immediately comes to mind when the name of the film is mentioned, the one that remains and goes beyond the confines of cinema itself. I think Godfatherto: things in lifeTo: rocky…

E. T.– AT: 37°2 in the morning, with a score by Gabriel Jared, which is the film’s ID card. I also love Frances Lai’s work for Claude Lelouch. And then always Once upon a time in America which undoubtedly remains the quintessence of film music… Good music for me is music that accompanies and uplifts, music that does not weigh down the subject matter.

O.NO – And let’s not forget whiplash By Damien Chazelle who marked us a lot. The juxtaposition between the soundtrack, story and editing is astounding.

JJ:– Would the musical tempt you?
O.NO – I love seeing people sing and dance in movies, but a musical will require us to step aside, find a very unique angle.

E. T.– This is an exercise that requires great skill. Many people have broken their teeth there, and it is difficult to reach the level of Michel Legrand and Jacques Demy. The Demoiselles de Rochefort. Recently, only Damien Chazelle has stood out La la land.

JJ:– Are you musicians? I remember seeing you play guitar in college Eric…
O.NO – We go through the guitar. We are joking.

E. T.– The level is not terrible for me.

JJ:– Music, it’s true, was one of the highlights of your friendship.
E. T.– We met in our post-teens, and Olivier was already known for his great musical knowledge. Even today he is my Shazam, my encyclopedia. But we have a very different musical culture. Me, I was more Kool and the Gang, 1980s funk.

O.NO – And me, I’ve had a lot of goth, English rock, a lot of Cure. But we had meeting points, like Bob Marley. When we met, we talked a lot about music.

E. T.– A sense of celebration is a little inspired by our shared history. In our early days, when we were making our short films and we were a bit broke, we would party at trendy bars, clubs, weddings. It developed a certain musical insight.

JJ:– Is this sensitivity enabled for production?
O.NO – Obviously, because the script is like a score. Your characters have to play different notes and you have to deal with yourself strong your mezz… Not to mention that global harmony should be found for all of that.

E. T.– In this sense, we were inspired the most by jazz, because musicians listen to each other, adapt to each other, improvise… We look for the same musicality on our set.

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JJ:– When you’re an actor, you’re not just an instrument of the director, but you have to play the score with others to avoid dissonance… Me, I’m always looking for the little music of my character. I always approach my roles through voice and rhythm, definitely coming from an opera singing background.
AND:– But you didn’t tell me that when we were in college together. I could offer you a show for BDE…

O.NO – You will sing us a little something during Soeurs Jumelles…

JJ:– I stopped altogether when I started acting. When you were taking him in? too muchI chose to invite Aloïse Sauvage live during your art talk at the festival. More careful…
AND – It represents the bridge we’re trying to build between music and character. Me, my childhood dream, my film project when I was a kid, was to just put music on images. And that’s something we really hit on with Olivier. We are happy to be able to talk about caring for our soundtrack at the Sœurs Jumelles festival.

O.NO – Especially since we are almost twin brothers.

(1) Information and ticket sales at sistersjumelles.com
(2)A difficult year By Olivier Nakache and Eric Toledano. Released on October 18.