musicians-from-france

"Que sont mes amis devenus Que j'avais de si près tenus Et tant aimés?"

"L'amour est morte: Ce sont amis que vent emporte, Et il ventait devant ma porte."

"It was Dolmetsch, the Belgian sic] musician, who first taught me what a great musician Sullivan really was; till then I knew nothing of him except as a writer of the comic operas; but Dolmetsch taught me the splendor of 'The Golden Legend' and the beauty of some of his songs, such as 'Oh Mistress Mine' and 'Orpheus with His Lute'. Dolmetsch explained many musical problems to me. Of course, everyone knows that he was the first to make the harpsichord and clavichord as in the earlier days, but to hear him play Bach on the instrument that Bach had written his music for was an unforgettable experience: it was like hearing a great sonnet of Shakespeare perfectly recited for the first time."

"Has he tempered the viol’s wood To enforce both the grave and the acute? Has he curved us the bowl of the lute? Lawes and Jenkyns guard thy rest Dolmetsch ever be thy guest."

"Out of the conquered Past Unravishable Beauty; Hearts that are dew and dust Rebuking the dream of Death; Flower of the clay down-cast Triumphant in earth’s aroma; Strings that were strained in rust A-tremble with Music’s breath!Wine that was spilt in haste Arising in fumes more precious; Garlands that fell forgot Rooting to wondrous bloom; Youth that would flow to waste Pausing in pool-green valleys— And Passion that lasted not Surviving the voiceless Tomb!"

"I have seen the God Pan and it was in this manner: I heard a bewildering and pervasive music moving from precision to precision within itself. Then I heard a different music, hollow and laughing. Then I looked up and saw two eyes like the eyes of a wood-creature peering at me over a brown tube of wood. Then someone said: Yes, once I was playing a fiddle in the forest and I walked into a wasp's nest. ... When a man is able, by a pattern of notes or by an arrangement of planes or colours, to throw us back into the age of truth, a certain few of us – no, I am wrong, everyone who has been cast back into the age of truth for one instant – gives honour to the spell which has worked, to the witch-work or the art-work, or whatever you like to call it. Therefore I say, and stick to it, I saw and heard the God Pan; shortly afterwards I saw and heard Mr. Dolmetsch."

"Me llaman el desaparecido Que cuando llega ya se ha ido Volando vengo, volando voy Deprisa, deprisa a rumbo perdido Cuando me buscan nunca estoy Cuando me encuentran yo no soy El que está enfrente porque ya Me fui corriendo más allá Me dicen el desaparecido Fantasma que nunca está Me dicen el desagradecido Pero esa no es la verdad Yo llevo en el cuerpo un dolor Que no me deja respirar Llevo en el cuerpo una condena Que siempre me echa a caminar"

"Mentira la que manda Mentira comanda"

"Todo es mentira en este mundo Todo es mentira la verdad Todo es mentira yo me digo Todo es mentira ¿Por qué será?"

"Solo voy con mi pena Sola va mi condena Correr es mi destino Para burlar la ley Perdido en el corazón De la grande Babylon Me dicen el clandestino Por no llevar papel Pa' una ciudad del norte Yo me fui a trabajar Mi vida la dejé Entre Ceuta y Gibraltar Soy una raya en el mar Fantasma en la ciudad Mi vida va prohibida Dice la autoridad"

"One could say my life itself has been one long soundtrack. Music was my life, music brought me to life, and music is how I will be remembered long after I leave this life. When I die there will be a final waltz playing in my head that only I can hear."

"La découverte d'un mets nouveau fait plus pour le bonheur du genre humain que la découverte d'une étoile."

"Dis-moi ce que tu manges, je te dirai ce que tu es."

"I’m becoming daily more and more misanthropic and misogynous…nothing worthwhile, good or useful to do… no one to devote myself to. My situation makes me horridly sad and wretched. Even musical production has lost its attraction for me for I can’t see the point or goal."

"Alkan possessed the finest technique he had ever known, but preferred the life of a recluse."

"Chanfrault is one of the few French musicians to accommodate both a classical and a true technological expertise."

"François-Eudes Chanfrault is a young French musician who participated in the soundtrack for ' , a thriller by , before he distinguished himself by his compositions and electronic offset to the documentaries of (including that of ')."

"She relates how she then viewed his body at the morgue, while a long static shot of the park where the murder took place unspools, backed by Francois Eudes Chanfrault's sparse, sorrowful, string-based score."

"Much attention has been paid … to the music of François-Eudes Chanfrault, composer of The Hills Have Eyes."

"The director/writer team is friends and fans of another French duo, Alexandre Aja and Grégory Levasseur, responsible for the blood-drenched Haute Tension. Logically, they have chosen to share the same editor (Baxter) and composer (François-Eudes Chanfrault), resulting in equally effective jackknife editing and a sonorous score."

"Donkey Punch is powered by claustrophobic menace and a notably effective score, by François-Eudes Chanfrault, that features spectral synths and the eerie clack of electro-castanets."

"Between survival and the camera bobbing at sea, the film draws from its cast and some convincing gore scenes well, all on a trippy soundtrack by François-Eudes Chanfrault ({{w|Vinyan]], The Hills Have Eyes)."

"The film is supported by its strong, vivid images and a hypnotic score by François-Eudes Chanfrault (known by his equally great music for Inside)."

"...the frenetic pace, driven by the music which is sometimes metal, and sometimes seraphic, of François-Eudes Chanfrault."

"The whole is supported by a soundtrack by François-Eudes Chanfrault that is absolutely remarkable."

"I enjoy a freedom of tone and experimentation unparalleled, almost unthinkable in more traditional films — producers are becoming more conservative, dramatically."

"I love working on genre films."

"I worked carefully in the darkness and the silence."

"My own story is like a fairy tale nobody would believe because it's exactly what you expect but it never happened."

"I think my work is unusual, so when someone comes to me, it's rarely to ask me some Zimmer shit, even though it happens sometimes. When it happens, I do my best to write decent / elegant music that could match their needs and mine. But mostly, people want me to be myself."

"We thought about the movie as a global piece of work, not picture, then voices, then music."

"It was a fascinating experience where I literally wrote and recorded music live on the picture while Fabrice was screaming "more, more", yelling and singing to finally explode together in a "yeahhhhhh, that's fucking great!""

"And while expecting me to be the more free I could be, he pushed me to my own corners, always asking for more. More freedom, more experiments, more noise, more trash, more, more."

"Finally, the role of sound in these films is very important, and directors give it a lot of attention. We work hard, we try, it is not just enough to illustrate. We must build a character in its own music."

"But there are constants. The first is anxiety, because you have to reinvent an entire personal universe from that of another, understanding the film, its form, its rhythm, its colors."

"To arms! to arms! ye brave! The avenging sword unsheathe! March on! march on! all hearts resolved On victory or death!"

"Allons enfants de la Patrie, Le jour de gloire est arrivé! Contre nous de la tyrannie, L'étendard sanglant est levé, (bis) Entendez-vous dans les campagnes Mugir ces féroces soldats? Ils viennent jusque dans vos bras Égorger vos fils, vos compagnes! Aux armes, citoyens, Formez vos bataillons, Marchons, marchons! Qu'un sang impur Abreuve nos sillons!"

"To transform oneself one must give, but to transform oneself one must also learn. One closes oneself off and does not admit love from another, the tenderness or the help of another. The real leap is learning to receive, which is as difficult as learning to give. And it is necessary to learn to ask for what one needs: justice is to give to oneself what one deserves. This is why the gospels say, "Knock and the door will be opened." If I ask for a long life, it is because I have the right to ask for it. If I ask that we will use an energy other than oil, it is because I have the right to ask for it. We have to learn to ask for what is just and to not ask for what it is not necessary to ask."

"I think the art of filmmaking is something you learn through actions, by doing it, not by learning theories. And as you do it, your mind starts to change."

"At that time they said I was crazy because I wanted to make a movie that was 14 or 16 hours. But now people do it. There are three—"Hobbit 1," "Hobbit 2," "Hobbit 3." Everything I wanted to do is possible to do today."

"When we didn't make the picture, Dan O'Bannon needed to be interned in a mental institution for two years, suffering because we didn't get to do "Dune." And when he came out he wrote the script for "Alien." "Alien" was the reaction to not doing "Dune." Who would believe that? But it's true!"

"Birds born in a cage think flying is an illness."

"For art to be art it has to cure."

"It is useless to know the future if one ignores who one is here in the moment. (...) The more I advance, the more I notice that all problems stem from the genealogy tree. To enter into a person's difficulties is to enter into his family, to penetrate the psychological atmosphere of his domestic milieu. We are all marked, not to say contaminated, by the psychomental universe of our people. A number of people have associated with them a personality that is not theirs, one that is borrowed from one or more members of their emotional environment. To be born into a family is to be, if I may say it this way, possessed. This possession is transmitted from generation to generation: the enchanted becomes the enchanter in projecting onto his children what was projected onto him—unless an awakening comes to break the cycle. (...) For the awakening to become operable, I must make the person act, lead them to commit a very precise act, but I must do so without taking charge or assuming the role of guide regarding their life."

"We only have problems we really want to have."

"The people with low level of consciousness look for someone else to affirm their value, but people with higher levels of consciousness, what they seek is someone to point out their defects so they can become better."

"That is the marvel of true art, that no one has yet found a way to commercialize it."

"But everyone in the world has a cross. Mine is mine, yours is yours: I only can make you conscious of your cross and, apart from that, you free yourself or not. This depends on you."

"If we want to transform reality, we begin with ourselves. We do not ask the world to change, and we do not fight against society. It has to be us ourselves who affirm our own values."

"Many people effectively stop carrying out what it's called "life's a movie." The majority of people want to be like others, and this drives them to a death in life. It is necessary to find what distinguishes us from others in order to be something. To the extent that we try to be like others, we convert ourselves into zombies."