Jean-Michel Jarre, the famous musician of electronic music (Oxygene), was the guest of Light Festival 2013 in Lyon to take a Master Class dedicated to his father Maurice Jarre, famous composer for film (Lawrence of Arabia). On this occasion, he gave an interview to Cinezik where he discusses his music, the father figure, and talks about his desire to extend the work of Maurice Jarre by signing him as film music.

At its conference in Lyon Festival of Light (October 2013), Jean-Michel Jarre said “This is the first time I paid tribute to my father,” telling her that soon 5 years and the divorce of his parents, he has not seen his father for a long time, this absence has eaten, you can still feel the bitterness in him. When they later had the opportunity to review, they did not talk about music, “modesty”. This tribute has enabled Jean-Michel Jarre release his word for the first time about his father. During this emotional time, mixing the personal and the artistic, the musician does not hide his gratitude to his parent: “It has revolutionized the music scene in a culmination of sound music.” He cites two films are his favorites: “The head against the wall” and “Lawrence of Arabia”.

7 years after having met the father, the son Jarre has also been releasing his word Cinezik front of the camera, and make a few announcements.

“My approach to music has always been to provide the soundtrack of the film that everyone can have in his head.”

Cinezik: How your father Maurice Jarre may have contributed to your desire to be a musician?

Jean-Michel Jarre: When I started making music, it was not at all connected to the existence of the work of my father, because of the lack of relationship I had with it. I always said it was better to open conflict with his father, because at least there is something that exists against which they can rebel. An absence is worse, because it is in space, facing a black hole. So when I start the music, it is not strange at all related to the fact that I have a father composer. I do not really realize. My mother encouraged me to do so. I hesitated between painting and music. I’ll eventually make music through my passion for painting. I played in rock bands. I studied music at the Conservatoire de Paris. I then returned to the Groupe de Recherches Musicales de Pierre Schaeffer, this is the year 1968 when we questioned everything. The organic approach to sound is close to the abstract painting that interested me (Relieves, Pollock …), in a work on the texture of the material. All this is very related to an identity that I wanted to build me from my father.
But now I realize that the music scene has greatly influenced me when I was very small. The first show I saw was in the air for the first festival of Avignon. There was already the sense of space on the musical map. It took me to wait today to realize that this was something that had to show me to do what I did, of course.

Did you have the feeling of having to prove yourself, you have to make a name?

JMJ: It has never had the need to give me a name since the name of my father was not known where I lived. And the soundtrack was not in front of the stage like today. I did not have this problem.

When you did your sound and light shows, with a relationship between music and image, did you work for your father?

JMJ: I never considered that I was of sound and light. I always had the vision of the concert as a single event. Outdoor concerts are from travelers who pose their marquee for one day and disappear the next day. I remember the circus Amar Pinder … It gave me this vision outdoor concert and to the image, especially as I had the paint. I think if I did not make music, I would have done the architecture. I found out much later that my father had created one of the first sound and light shows. It was at the Château de Chambord, in the ’50s.
My approach to music has always been to provide the soundtrack of the film that everyone can have in his head. It is from there that I imagine a set design, visualization of my music, which is somehow anti-MTV, not particularly wanting to incorporate a narrative content, but in order to extend the sound arrangement in the visual arrangement to continue to let people tell their own story. It’s a bit a composer of film music in reverse.

Why did you not do more film scores so far (a few films in the 70s)?

JMJ: Subconsciously, I always thought it was the territory of the father. And concerts and albums I did, it was not worth going on an already occupied territory. Today I changed a little, I want to do for him. This is fairly new that I feel over it.

What kind of collaborations do you imagine for the movie? What kind of film music you want today?

JMJ: It depends a meeting. For my father, there was the founding meeting with Georges Franju who put his foot in the stirrup of French cinema, starting together by short films to give then rise to very special films in the sound approach . Then later there was the meeting with David Lean that will be the starting point of his career in Hollywood, and a new way of using the theme, more systematic and obsessive. Continue this interested me today in a meeting with a director who has the means to achieve its ambitions. The independent film interested me more than the cinema of big studios, mostly because the filmmakers do not decide the music of their film. There are supervisors who are responsible for establishing the soundtrack, and studios lose interest, from the time when music meets the economic criteria decoration film. Freedom of the composer shrank. It no longer exists in the independent cinema. Unfortunately, I do not find enough in the French cinema. I think, with rare exceptions, the French filmmakers are not very bold. I think Tarantino. Although use of existing music, that someone who has a clear vision of his that his films should have. The music is part of the chromosome from his movies. They are not many. There is also David Fincher with Trent Reznor and Atticus Ross (“Social Network”), a good example, and then Cliff Martinez with Soderbergh (“Traffic”). It is in this direction that I want to go.

As Delerue or De Roubaix, takes care of offspring to perpetuate the composer’s work disappeared. Do you think you can contribute to this task for Maurice Jarre?

JMJ: Things are blocked due to his widow who has not even seen my sister and me on how to use his music. I think over my position in the world of music, it would be very easy for me to get to “exploit” this catalog, in the right sense. There are things that should be done and which have not yet been made. I hope someday it will be possible.

And pay tribute to your father in your own music, by the recovery of a theme, for example, you think?

JMJ: It’s something that matures in me. Thierry Fremaux, who asked me to make this tribute to the Festival of Lights Lyon had made this proposal immediately after the death of Maurice, to the Cannes Film Festival. He wanted to organize a concert at the Palais des Festivals. I thought it was too soon. It was digest. Do homage to Lyon this year makes sense, since this is our city. In the future, I would like to do a musical tribute, as a theme or resume work. I’d like to do on a strict emotional and emotionally, his music can resonate through his descendants, and resonate all runs to an audience of another generation.
Source : Cinezik

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