Paris en Couleurs, an Étude in Composing and Filmmaking
- Shayne Kasai
When you learn how to play piano, whether it’s classical, jazz, or any other genre, you learn by playing other music. In a way, I felt it was time to get back to basics and not only score music with familiarity, but also scrap my filmmaking rig down to its basics: a single lens, a camera, and no tripod. I guess I could have taken this furthur with a prime.
As luck would have it, my wife and I found ourselves in Paris with a simple blue satchel, some decent walking shoes, and a metro/museum pass. I had five days to film.
I sort of had this idea on what the film should look like: I really love the yellowish tint you sometimes see with Luc Besson films, and I also love fast cuts that are syncronized with the music. Though at first I was contemplating filming textures only, but Paris as a whole is amazing.
I’m a big Yann Tiersen fan, and I also have Philip Glass records on the shelf. There’s just something whimsical about repetition, in a way that makes your brain fill in the rest of the parts. This would also be the first time I wrote something in 3/4 come to think of it, but definately not the first time that I’ve played music in this time signature.
A couple of weeks later, I had finished the first cut and track. I miss Paris, but I look forward to working on some new film and music for The Curators with some skills that I picked up overseas.