This morning I had a great meeting with an Austin area musician and songwriter who was born in and raised in Paris and has lived here in Texas the last twenty years. His name is Olivier Giraud. I introduced him to the film, played him the two tunes I wrote, and then discussed my approach to the lyrics we were looking for.
I discussed this first with Cliff and Kyle last night when they were here. Basically we're on the same page. I did learn however no utterance of "Artois" should be in the song. That's good to know because I originally was going to title the song "Artois, Artois" and it would be repeated throughout the chorus. Hah! Good thing I asked.
I talked with Olivier about everything that we discussed and he seemed real open and receptive. We're actually pretty loose on the ideas. All we're really looking for is great sounding French. When it comes down to it I don't really have any preferences for the lyrics themselves, I just want the words to flow. I also told him not to follow the narrative to strictly. Add a layer that isn't already there. That's about it. He'll have free use of his imagination after that.
I'm going to get a copy of the film to him and then we'll move on from there. There's still so much to do and so little time to do it but I'm confident in the end this is all going to be amazing stuff.
Here's Olivier with his group Paris 49. It's awesome!
Last night I had Cliff, Kyle, and Richard over to hear the five cues I had completed since their last visit. The first two I played for them were the two dream sequences (ART-M11 & ART-M16)They laughed hysterically throughout both scenes so I knew pretty quickly I had a pair of winners there. They even applauded and chimed, "The dream sequences are funny again!"
The third cue I played is going to require some rewriting (ART-M19). I held back a lot on the drama and they really wanted me to push it. It shouldn't be difficult to reconstruct and it's a short piece. I just need to push the drama more which I usually tend to do anyway but held back this time just because thats the status quo I guess. Since when do I follow the status quo? Lesson learned.
The next cue was when Virgil says goodbye to Artois (ART-M22). I just used the chorus of the main song and laid it in for solo piano and accordion. They loved it. They thought it worked really well and was really glad to finally see that scene emotionally correct.
Finally I played them the scene that I always thought was the funniest in the whole film (ART-M26). The first time I saw this I cracked up so hard I had to stop the film and catch my breath. That's always difficult to approach because if it was that funny with just the temp music, would I be able to live up to that or better? I certainly didn't want to ruin it.
We all laughed mightily through the three or four times we viewed the scene. I may go in and tweak subtly the timing of the music. I already worked on that for hours the previous day but there's one little tweak that I think would make it perfect. It's amazing what a little shaving here and there can do to the timing of the comedy. Start a note a millisecond too soon or end it too late and it looses some of the comedy. Interesting observations for sure.
This weekend, I'll go in and clean up a few of these edits and move on to the cheese making scenes. Those will be beefier pieces of music but now that I've got a few of these smaller puzzle pieces off the board the overall picture is more clear.