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luís soares

Blog do escritor Luís Soares

The Border

Nicolas Godin’s new single, The Border, is out now.

Credits:
Director & Animator - Alden Volney
Production Company - Riff Raff Films
Exec Producer- Natalie Arnett
Producer - Kate Brady
Skin Textures - Mindfront
Denim Textures - Punkduck
Record Label - Because Music

Current Mood (Pocket Symphony)

Pocket Symphony is the fourth full-length album by French duo Air. The album was released in March 2007 and features collaborations with Jarvis Cocker and Neil Hannon. Pocket Symphony also incorporates some of the Japanese instruments Godin recently learned to play from an Okinawan master musician: the koto (also referred to as a Japanese floor harp) and the three-string, banjo-like shamisen. However, a press release claims that "conventional instruments continue to play a great role" in the duo's music. The album features art by Xavier Veilhan.

Nicolas Godin - Elfe Man

Directors: Camille Vivier & Sanghon Kim

Creative direction: David Herman

Model: Clara Fosset

General coordinator: Victoria Laubie

Executive Production: Hansboodt Mannequins / Artdicted / ASVOFF 8e édition

© 2015 NCLS under exclusive license to Because Music

 

“I wanted a tune like Snow White lost in the forest, all super-scary,” Godin explains. “There are many influences here. The celeste is inspired by Danny Elfman, who writes Tim Burton’s scores. When I was young, I watched John Ford westerns with my dad, with music by Aaron Copeland, which is my favourite period of music. So ‘Elfe Man’ is both gothic and about a cowboy in Arizona — but then Tim Burton grew up in California, in the middle of a former desert, which unites both worlds! It’s two worlds, light to night.”

Of the impressionistic video, directors Camille Vivier and Sanghon Kim say, “Listening to Nicolas’ music made us think of an ultra sophisticated music box. It inspired us a modern fairy tale both romantic, mysterious and full of magic like the track. It is a story of a doll that dreams to become human so that she can fall in love.”

Air and Sofia Coppola.

“Air?”

“Isn’t that what you were humming?”

“I was?” He might have been, as Peter was reading.

“Playground Love, right?”

“The boy knows his French electronica.”

“And his Sofia Coppola,” he says with a disarming smile, “wasn’t she scheduled to do a movie about you at some time?”

“She might have been.”

“What’s your favorite?”

“Sofia Coppola movie?”

“And Air album.”

“I would go with Premiers Symptômes and… Somewhere?”

“Really?” Peter finds his choices intriguing.

“Which one?” Uly asks.

“Somewhere. I find it boring. It’s Marie Antoinette for me.”

“The boy likes his French baroque.”

“I do. And Kirsten Dunst, I mean… She’s perfect in that Sofia Coppola way, always seeming detached, always making you guess what rivers run deep inside her.”

“In my mind, there is a connection between that album and that film.”

“So many years apart?”

“Time is of no importance. Very different things can connect over time. Take Coppola’s Versailles. And didn’t Air do music to a Meliès film? I can imagine Premiers Symptômes as a soundtrack to Somewhere, a soundtrack even before there is a movie. All that too-bright permanent-summer Los Angeles light drenched in their sound… Le soleil est près de moi.  It could be I’m thinking of a different movie.”

“Don’t you like Phoenix?”

“I do, yet… Air would have made it a smoother film, more… dreamy, I guess. I always liked these unexpected connections. In that same album, there’s a tune called Casanova 70. It’s a Fellini film from thirty years before. I mean, who cares if things are simultaneous in time and space? In our minds time and space are what we make of them.” Peter seems genuinely interested in what he’s saying. “And Elle Fanning is…”

“She’s a young Kirsten! Right?” the boy interrupts excitedly.

“Perhaps. Could be. It’s a contemplative movie, I love that. It gives you time to stare and wonder and wander and... Premiers Symptômes was a Gainsbourg song. Well not a song exactly, a short spoken piece.”

“Do you think there’s a connection?”