Utilisateur:Edouard Dubois/Brouillon
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Edouard Dubois (born 29 October 1963) is a French Musical Director and Music Consultant based in Paris, France.
Being, since his childhood, a cinephile as well as a film scores collector, his two passions led all his professional engagements.
In 1983, his first job was manager of the film music department in Champs-Disques, a then famous records store in the Champs-Elysées avenue in Paris.
In the turn of the nineties, he was hired as D.J. in the Salle Wagram in Paris where he worked for six years.
Meanwhile Edouard Dubois began consulting for a few films including Le Brasier directed by Eric Barbier, and A Lapse Of Memory with John Hurt and Marthe Keller (as Supervising Music Editor).
In 1994, he became A&R manager for the French publishing company XIIIbis Music who then controlled the rights of songs performed by Cher, Céline Dion, Johnny Hallyday and sub-published the works of Rick James and worldwide famous rock band ZZ Top.
He left the company in 1996 to initiate a full-time activity as Music Consultant for films starting with Gérard Depardieu’s social-comedy Le Plus Beau Métier Du Monde directed by Gérard Lauzier.
The success of this feature naturally brought professional attention on his work.
Edouard Dubois was the first officially recognized Temp-Score Editor in France. His name and his specificity quickly spread in the French cinema industry and within two decades, he was involved as Musical Director, Music Consultant, Music Supervisor, Artistic Director, Music and Temp-Score Editor in more than 100 feature films.
Mr. Dubois’ approach helped his collaborators to find the proper placements, language and volume of each musical narrative element in the movie. How to tell the story in the best musical way, who should be hired to write an appropriate score in the best conditions, how to translate cinematic principles in precise musical codes and terms, all of this is part of his creative involvements and explains why his knowledge is such in demand.
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Edouard Dubois has been associated with some of the most successful and prestigious projects and directors of the last twenty years.
LA VIE EN ROSE, AMÉLIE, LE DÎNER DE CONS, CRIMSOM RIVERS 2, A VERY LONG ENGAGEMENT…
Jean-Pierre Jeunet, Brian De Palma, Patrice Leconte, Mathieu Kassovitz, Olivier Dahan, Francis Veber and many others asked for Dubois to be part of their film’s musical process.
His most demanding and enduring contribution, so far, has been LA VIE EN ROSE, the worldwide acclaimed biopic about Edith Piaf starring Marion Cotillard.
Director Olivier Dahan’s musical requests for the film needed Edouard Dubois to push forward the artistic and technical limits of any musical film to this date. During a year and a half period, he covered and coordinated all the musical aspects of the project (including doubles, extras, sets and costumes accessories, scores restoration, recordings, overdubs, synchronization, repertoire, original music…), from pre-production to the shooting, editing, mixing and dubbing until the release of the film. His major effort has been professionally and critically recognized.
Edouard Dubois won an Award (Czech Lions) for Best Musical Achievement for LA VIE EN ROSE in 2008, alongside Christopher Gunning (composer) and Becky Bentham (score coordinator).
Christopher Gunning won the BAFTA award in 2008 for his score of LA VIE EN ROSE.
The 2007 soundtrack album of LA VIE EN ROSE sold in France more than 75.000 copies (Disque d’Or).
In 2019, the new recording of Bernard Herrmann's score for François Truffaut's THE BRIDE WORE BLACK conducted by Fernando Velázquez, produced by José Maria Benitez and Edouard Dubois on Quartet Records was nominated for the International Film Music Critics Award (IFMCA).
Always aware of the essential qualities of brilliant and inspired musical performances, most of the film projects supervised by Edouard Dubois have been performed by the best musicians in England including the London Symphony Orchestra, The Royal Philharmonic Orchestra and The Philharmonia Orchestra.
Edouard Dubois’ contribution to film scoring in France had a major artistic and logistic input on such of his creative partners as composers, directors, producers, editors, sound and mixing engineers and performers.
Mr. Dubois is a frequent guest lecturer for Master-classes about film scoring in France’s most renowned cinema schools and universities including La FEMIS and La Sorbonne.
Very active on television projects and soundtrack expanded editions, Edouard Dubois is, as well, applying his skills to new cultural and leisure medias.
About Edouard Dubois :
Mathieu KASSOVITZ (Director, Actor):
« Edouard fills an artistic emptiness in the film process, the link between music and picture. He brings a different and often surprising vision to the director's own convictions, he helps us to enlarge our options and to consider a different approach to the film's voice. It is a little known job that is not often enough acknowledged in the making of a movie. One that requires musical and obviously equal cinematographic knowledge; an essential combination. I hope to have the pleasure of requesting new challenges in the future. »
Brian DE PALMA (Director):
« This guy (Edouard Dubois) is crazy ! He’s the Quentin Tarantino of film scoring. »
Tarsem SINGH (Director):
« Edouard Dubois is a walking musical encyclopedia.
His knowledge of all things musical is truly phenomenal and very inspirational. Without him I never would have found the tone of my film, The Fall.
Dean HUMPHREYS (Dubbing Engineer):
« Working with Edouard Dubois is the combination of many facets and skills. An encyclopedic knowledge of music is the first thing that is apparent, which is strongly linked to a complete understanding of what is needed emotionally and dynamically for a film. He has a passion that doesn't run into obsessiveness which can often be detrimental to a movie. In addition, he is a most warm and generous spirited man, who, in my experience, is an undeniable asset to any movie. I cannot think of anyone who fills his role on a movie so completely. »
Patrice LECONTE (Director):
« I have known Edouard Dubois for several years, and we have collaborated together on numerous films.
His knowledge of music (all music), his sensitivity, his availability, and his open mind make for a remarkable and unique partnership. Although I have not searched the globe over, I am without a doubt certain that there is only one Edouard Dubois, et that with his unlimited competences, he is irreplaceable.
When I was in need of his expertise, it was to access certain repertoires that I had little or no knowledge of at all. He played and revealed to me amazing pieces of music that significantly enhanced my films. When I needed to call upon Laetitia Casta to sing a Maurice Chevalier song, Edouard was able to establish the right contacts and organize rehearsals, and all of the other various things I was unable to plan. He was invaluable and indispensable.
He is able to listen, advise, conduct without ever interfering with the director. He is brilliant as well as modest. A sort of "shining shadow worker"...
I can't wait to need him again, because his presence is spellbinding and I can't imagine what kind of "musical mission impossible" he wouldn't be able to challenge. »
Timothy BURRILL (Producer):
« I first met M. Dubois while I was co-producing Olivier Dahan’s production of “The Angels of the Apocalypse” for Legende in Paris in 2003. We needed advice on European composers specialising in the International film industry and in particular composers working in the United Kingdom. His knowledge and appreciation of the various talents was quite extraordinary, added to which his remarkable skill as a musician made him almost unique.
Since our very successful collaboration on this production I have worked with M. Dubois on virtually all the Franco/British co-productions that I have been asked to co-produce. He has always been able to propose the ideal composer for each production and has ensured that the recording of the music has been efficiently and professionally administered. I have been delighted to introduce him to my many producer friends in Paris who have always expressed their delight after working with him.
His latest achievement, for which he has been justly given an Award by the Czech Film Industry, has been the extraordinary work that he achieved on “La Mome”. It is worth mentioning that when the composer for the film, Christopher Gunning, received his BAFTA Award he personally thanked Edouard for all his help.
I look forward to working with him in the future. »
Philippe CLAUDEL (Director, Writer):
« I had created a sequence in my film having in mind the beautiful Pavane by Maurice Ravel. But I also knew that the publishing rights of that work were very expensive and that we wouldn't be able to use it. During the editing process, I could not resist the free pleasure of placing it on the scene and it was just superb. Sadly enough I got used to it and wondered how to replace it. That is where Edouard Dubois came in. He suggested to me four pieces of music that were all perfectly adapted to the needs of the sequence. One in particular , "Une Larme" (A Tear) composed by Mussorgsky, happened to be even stronger than Ravel's music. Not only did Edouard make me forget my first choice, but his suggestion so perfectly and so intensely enlarged the sequence that it left no room for regret. »
Bill PANKOW (Editor):
« It was on the post production of Femme Fatale that I met Edouard Dubois. Before the music composer was hired, we needed a temporary music score and I enlisted the services of Mr. Dubois.
He sought out music which would complement the action and drama of the film. His results were excellent and enabled us to see the film in a way that made it feel like a completed work.
We were all happy with the end result and I look forward to working with him again. »
Gérard JUGNOT (Director, Actor):
« Edouard Dubois has you believing that repertoire material has been composed specifically for your movie....
This man has a gift to marry music with pictures. But this has to be a marriage of love. This is a very mysterious chemistry that Edouard Dubois masters perfectly. Pictures can be slaughtered by music. The harmony of movement and music is a very delicate balance. Good music is not enough, it must fit the mood, find its place or sometimes vanish.
Like lyrics in a song, film music possesses a key that must be found. It shouldn't be a pleonasm or a band aid.
It is one of the elements like editing, set designing, costumes or dialogue.
Edouard Dubois helps you to achieve all of it.
It is a knowledge but mostly a feeling. »
Olivier DAHAN (Director):
« I would like to thank Edouard Dubois who directed this endeavour on LA VIE EN ROSE right from the start. »