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impresses me most about Michel is his love for music, his enthusiasm and
his involvement. Regardless of his eloquent career, he starts any job as if
it was his first, as if his life would depend on it. His joyful
determination will push the film further than the director or the producer
would expect it. This is the mark of the great composers, they do not
hesitate to deploy considerable energy to push the limits. Not unlike
Bernard Hermann with Alfred Hitchcock, Michel knows how to defend a
creative point if it will enhance to the final product.
I have had the opportunity to work with Michel on several occasions and it
is for Largo Winch that I have most appreciated his qualities.
Michel's challenge was to push further the musical style of the series
with well crafted details like "the Bulgarian voices" and many
middle European and Asian instruments, giving the score an important part
inside the dramatic action. And, although we keep wishing that, in the
final dub, the music would be louder, his score has considerably
contributed to create characters that are both endearing and moving, which
is what made the series successful.
Michel has a humble vision of his work and he is only interested by the
present, he is not concerned by the past and it is only during casual
conversations than one realize the wealth of his creativity. But rapidly
his focus brings us back to the new stuffs, the new challenges. It is not
an accident if novelty comes to him with Madonna and Mirwais for Don't
tell me. The electronic French nouvelle vague, the famous
"French touch" looks up to him with reverence, a reverence only shared
with Serge Gainsbourg, his ex-partner from the mid-60's. Michel moved
successfully to the US in the 80's, today the "French touch" is on the US
Thank you Michel to have opened all those doors.
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