INTERVIEW by ATTN:MAGAZINE (excerpts) :
ATTN: I understand that the film Tabu had quite a profound effect on you. When did you first see the film, and how did you come to the idea of developing a live soundtrack for it?
CHRISTINE OTT: Yes, Tabu has and still have a profound effect on me. I was deeply moved and shattered by the fantastic and unusual love story and, at the same time, impressed by the beauty of the light. I saw the film first in 2012, and it was a special moment of my life for me. At this moment, my life looks like a sort of mirror of the film…a sort of “Paradise lost”. (...)
ATTN: How did the writing and recording process work for your score?
CO: From the moment I chose the film, everything went very quickly. I worked four days at the conservatory of Strasbourg where I currently work as a teacher. I installed all the stuff I imagined for the soundtrack: the Ondes Martenot, the piano, all percussions I thought would work for all the sound effects. A good sound engineer agreed to accompany me in this residency and to record everything.
Of course, I had analysed the scenario before, and thought about a plan for working. The original idea was to first record my improvisations chapter by chapter. These improvisations were totally free and totally spontaneous, and it came so quickly and easily compared to the month I spent afterward notating all of the recordings! I have to say I’m not very good at transcription work. Finally I recorded all the ideas for the score in three days.
I had chosen to work as though it were an opera score, with leitmotivs for the main characters (Matahi, Reri, Hitu). I added another main theme, the one for the sea. In this movie, I feel the sea as a character in itself. The sea, or maybe the water in general…successively the waterfall, the run to the sea, to the boat, or the end tempest. I thought I would keep this work and that I would only play it as a live soundtrack. (...)
ATTN: I’m always intrigued as to how a filmscore composer handles the negotiation between sound and image. Many of my favourite soundtracks demonstrate an understanding of where to drop back to give the visual element plenty of room, and when may be suitable to push to greater levels of intensity. How did you find the experience of finding this balance for Tabu?
CO: I think this is important for the composer to understand the power of the images in order to not make it clumsy. It has to build a whole thing; the music has to not be preponderant, or and sometimes has to fit in with the dynamic of the show. As for Tabu, the last chapter is as a climax, and this is a part of the ciné-concert in which I like to play very strong, very punk, just as the movie and the story is!
The movie is the conductor! For the intentions, the energy, but also for the tempi to use, the dynamic. Then I think there are no rules. Each movie gives its own life to the composition.