00:00I think the sound of love is something, it's like a heart beating, probably.
00:04When you're close to someone, so close that you, like you hear the heart beating,
00:08so you hear life and death at the same time and you're in this very moment.
00:31Your music is linked to the natural elements of the movie, wind, water.
00:39It was intentional, it was a request from Xavier, or it's you, do you love nature or not?
00:47Wow, I would say yes to all of this.
00:48I think, to be honest, working with Xavier is very much putting yourself to the service
00:54of someone else who knows what he's doing, very much.
00:57I discovered what the meaning of the music was by sitting and knowing,
01:03like, okay, he wants some piano there and there and there.
01:05And I very like much your relation to the, I mean, I'm from the countryside
01:10and I'm very linked to nature and, you know, Canada and all those ideas you have.
01:14That's how life is over there.
01:15So I've always been very much, and you see in my, if you don't know my music,
01:20you'll see that there's a lot of this, like, rain and wind and also people speaking,
01:26walking, talking, like, I like sounds of life so much.
01:30And I think Xavier, like, knows that about me and he wanted, there's, like, a natural match in it.
01:36So, of course, but it's also a tradition, like, in classical music, right?
01:41So, like, so many composers wrote something about the sea or, like, you know, a snowstorm
01:46or, like, whatever, like, I think we try to replicate nature somehow to speak with it.
01:52So there's this very interesting fusion, and I think it gives so much power to those scenes.
01:58Like, Xavier, I'm so touched by the fact that he left so much space to the piano
02:03and you have those long moments, it's just, like, shots, piano, and it's not just, like, background music.
02:09It's very much, it's a character telling you how, I think, Matthias and Maxim, like, sort of feel.
02:15Like, the way I understand it, like, it speaks about their inner world somehow
02:20and it's not telling you, it's suggesting you how to feel.
02:24And I think it's, I don't know, I think he's done, I think he's done a great job.
02:29I mean, I just sit, I improvise, I recompose some stuff, he picks, he puts it.
02:34I mean, I guess I've done more than this, but to be honest, it's this collaboration with him
02:39was just so, like, natural and beautiful.
02:42Yeah.
02:43We have classical music, your music, and then songs like Dragoschett in Tei,
02:49in this movie, Britney Spears, Landon Ray, how you mix this total opposition kind of music together
02:57and how he's choosing the songs, you are suggesting something?
03:02Yeah, it's all within his hands and when we met the very first time,
03:07like, we met at his place and he showed me two long, like, list of music.
03:12One was everything that would be synced, like, in the film,
03:16all those, like, the one you're referring to.
03:18And the other list was all about, like, influences for the instrumental music,
03:25mainly piano stuff.
03:26And I think that's how the dynamic works, like, exactly like you said,
03:31like, this back and forth between, like, loud, powerful, like, produce,
03:37and songs that we know so that we recognize ourselves through it.
03:41And on the other hand, like, the world that we don't know,
03:44like, the new music that's fragile, piano, intimate, improvised,
03:48like, I think it speaks about and it very much helps those moments of, like,
03:52they're in a car, they're singing together, you know,
03:55and then someone's alone thinking about what is my life about?
03:59Am I living the life I want to be living?
04:01And I think this contrast just makes the extremes more, like,
04:08powerful when they come at play.
04:10In the movie, there's a character, the piano guy,
04:13who says to himself, for whom I'm playing.
04:18Yeah.
04:19Oh, yeah.
04:19Did you ever do that question to yourself?
04:21Oh, my God.
04:23This scene is so powerful because it's so funny.
04:26And the way it was shot was very interesting too because I was,
04:30he asked me to learn the Schubert that I'm playing,
04:33but also I played it not the way I would play it, right?
04:38I had to play it as, like, someone who's pissed by someone,
04:41like, people not listening to him.
04:43And he was even behind me when I was playing.
04:44Like, he was, like, tickling me and, like, pushing me so I would make mistakes,
04:48you know?
04:49And it's very interesting the way he directed the scene to have this product.
04:54And that's for sure.
04:55Like, I think I've experienced that a lot.
04:57and I worked in a restaurant for two years, in a cafe for three years,
05:02playing piano.
05:03And a few times I would be pissed, but you learn from that
05:09because you learn, like, why am I now attracting everyone's attention
05:13and why now are people, like, just not listening and talking?
05:16and it helps you to understand how to grab the attention, how to keep it.
05:21So I think you learn a lot from it.
05:22I think in this scene, he just, he should just have not played
05:27because this was not the context, you know?
05:29And it's very annoying and it's undermining the power of music
05:35when you're playing for people who don't, who talk, who don't listen.
05:38But also it was funny.
05:39It's one of the great scenes, I think.
05:41and it speaks a lot about, I think, all the musicians experience this moment.
05:45Yeah.
05:46I think it's very funny and powerful.
05:47I read that you moved from Canada and abandoned music for a while.
05:55You studied psychology.
05:57Yeah.
05:57So I want to know, studying psychology helped you to be a better musician after or not?
06:04I think everything helped me to be a better musician.
06:08I think when I was 21, I was still believing doing music,
06:12but I knew nothing.
06:15I was very naive and unexperienced.
06:19So learning languages, traveling, listening to all sorts of music.
06:24And for sure, I studied special education in psychology
06:27and all this meeting people and work really helped me to, I guess,
06:34open my heart to be empathetic and understand how people work
06:38and who they are and how to deal with them, you know?
06:40And also I was teacher of this, of like some sort of psychology at one point.
06:44and so this teaching is like how to give a show, how to present this to people.
06:50So all this together certainly shaped my way to play the music
06:54and to be, I don't know, to try to connect with people.
06:59And I think it's all about authenticity and just being at the right place at the right moment.
07:04And so for sure, it for sure shaped me a lot.
07:08Yeah.
07:08In the movie, the protagonist has to understand some things about himself
07:18before going where he needs to go
07:22and mix and form his own voice.
07:27So you did the same thing.
07:29Do you think that sometimes we have to understand ourselves before
07:33and then everybody can understand us?
07:38Yeah, I mean, of course.
07:40But I think it's not like you don't know yourself and then it's you know yourself
07:45and then you open yourself to the world.
07:47I think it's an infinite ongoing process of you think you know yourself
07:52but then you still learn.
07:53And then when you think the most you know who you are,
07:56it's probably the moment where you're very off of like another big section that you don't.
08:00So for sure, there's this back and forth between yourself and the world and art too.
08:07And like I didn't know I could compose music for film before this.
08:11I haven't done that before, right?
08:13So it's just now I just love it and I want to keep on.
08:17And I have an idea of how it could be next time and it probably won't be that way
08:20because you need to just always be in the present moment
08:23and like, I don't know, opening your mind to see what's there
08:27and to deal with that and to recognize.
08:29It's an infinite recognition.
08:31I think that's why a lot of people relate to this film
08:33because that's what they see.
08:35You don't need to question yourself about your sexual orientation.
08:38I think it's much broader.
08:39It's like, are you doing the job you want?
08:41Are you in a couple with the person you want?
08:44Is it the family you want?
08:45And with the beauty of it, there's still beauty to it.
08:48It's not just like black and white, right?
08:50It's in between and this may be why it's so difficult to make decisions sometimes
08:53because it's not always clear.
08:56And for sure, it speaks, I think, to a lot of people
08:58and to me personally, I mean, I read the scenario and I was crying
09:01because it just like struck me.
09:03I was like, is this my life or what?
09:04And I think this happens to a lot of people too.
09:08This is a Billy Elliot question.
09:10So, what do you feel when you play music?
09:14It's very, yeah, when you're improvising and Xavier don't are beside you
09:19and you're supposed to do something for the film,
09:22what you feel is like it needs to be good.
09:25You know, it's just very stressful.
09:26It's stressful in a nice way.
09:29You just try to be resting and relaxed
09:34and you just try to connect.
09:36You just try to connect to something bigger
09:38and let it flow through you.
09:41Yeah, it's like when I play, I don't have images.
09:44I just have forms.
09:45I have shapes.
09:46I think of chords and numbers.
09:48It's very boring what's going on in my head.
09:50And having this with the film,
09:52and Xavier would often teach me
09:54because I didn't know how to do that, right?
09:55So, he would put the, maybe like,
09:58there's a screen shot and it was like,
10:00you should, yeah, and I would look at the screen.
10:03It was like, try to follow like this,
10:05like this happens, the head turns, the hand there.
10:07So, like for some moments, I would follow it.
10:10And for other moments, it was the other way.
10:11Like he would sometimes take the music
10:13and edit the film on the music.
10:16He would play the music while shooting the film
10:19and then editing on it.
10:20So, this is a very messy way to work.
10:23not messy, but it's not like, you know,
10:26film's done, you have three weeks to come with the soundtrack.
10:29So, we had this very creative process
10:32and I think that's why it's so all like shaped together
10:35and I think it works very nicely.
10:38Yeah, thanks to him for that.
10:39Last question.
10:40You're a musician.
10:42In your opinion, what is the sound of love?
10:45Last question.
10:46It's an A major.
10:49Love.
10:53Very, very tough question.
10:56This...
10:58Yeah, I think the sound of love is something,
11:01it's like a heart beating, probably.
11:04When you're close to someone,
11:05so close that you, like you hear the heart beating,
11:08so you hear life and death at the same time
11:11and you're in this very moment,
11:14I think there's something about it.
11:15So, it's maybe not even musical,
11:17the way I see it.
11:18It's a bit catchy.
11:21It's a bit catchy question, yeah.
11:22Thank you so much.
11:23You're welcome.
11:39You're welcome.
