Working with Michel was one of the most rewarding,
satisfying and enjoyable experiences of my professional life. By the time a
director takes his edited film to the composer he's spent so long working
on it, watching it, studying it, changing it, that the film can seem, to
him, tired and lifeless. So he goes to the composer with the little energy
he has left and says, "Please put some life back into my film." And the
composer, who is never given enough time, has to draw out of this weary and
often unmusical person, what he wants the score to do.