Asked whether this approach could be considered too risky, Yared said: Working this way you can serve the film well. We have to be risky, we must be bold. ‘After the ceremony, which attracted the editor and frequent collaborator Walter Murch, Yared told The Hollywood Reporter that the Ghent festival is special because it celebrates the music of the film with his words.
Yared, who began to study composition at a college of the Jesuits in Beruit as a child, said he particularly appreciates the emphasis on live music Ghent s, which this year includes a performance of the work of the Brussels Philharmonic Abel Korzeniowski , who won the discovery of Ghent’s of the Year Award in 2009 for Man Tom Ford SA only.
Ghent means a lot, because I started coming here 11 years ago when they started the festival, he said. I am happy to know that there are festivals all over the world, now in film music. But Ghent has more depth. It ‘s respect for film music.
As part of its ongoing series of CDs for the record, the Ghent Film Festival has hosted a reception for composer Gabriel Yared Brussels Philharmonic to celebrate a re-recording some of his most famous film scores.
Available for the release of a new compilation of his work, says the Oscar composers need to take more risks.
The music is performed by an orchestra really great and a good conductor [Dirk Bross], he said. I’ve never been a big fan of having concerts of film music. What I like is the way in which film music is performed here without the image, so the public can re-create images for themselves.
If the methods of the composer’s work are any indication, he is no stranger to experimentation. Unlike many composers, who normally starts work on a score, after a film was shot, Yared prefer to immerse themselves in the very beginning of the process.
Yared was on hand for the release of the compilation, which includes his Oscar-winning theme of The English Patient, and the scores for Talented Mr. Ripley, Camille Claudel and others.
I’m not allowed to say this because I’m not really a filmgoer and I do not listen to film music, but I feel his little stagnant, he said, adding that the problem doesn t necessarily stem composers themselves. We need composers [experience], but we also need to understand the musical director of the film, because very often, this stagnation stems from a lack of knowledge of the administrators who should have the same kind of films they had before.