#YANN TIERSEN AMELIE POSTER FULL#

It is performed three times – as a superb instrumental piece one might here strolling down the Champs Elysees in Track 3, by the full orchestra in Track 11, and by Tiersen himself on solo piano in Track 19. Of the original cues, the centerpiece is “La Valse d’Amélie”, a lovely Parisienne dance which captures all the rustic flavors of the city through a delicious combination of mandolin, guitar, accordion and various vibraphones and glockenspiels.

However, only eight of the 20 tracks on the CD were composed originally for Amélie – the others are taken from his non-film music albums La Valse des Monstres (1995), Rue des Cascades (1996), Le Phare (1997), and his latest, L’Absente (2001). Jean-Pierre Jeunet was introduced to Tiersen’s music while driving with one his production assistants, who was playing a Tiersen CD in the car Tiersen himself is an accomplished performer and recording artist, with soundtrack experience by way of the films Alice and Martin, The Dream Life of Angels, and Night Shift.

However, to call Tiersen’s score for Amélie an “original” score is something of a misnomer, as several of the tracks on the Virgin album are pre-existing material. But one of the major talking points has been Yann Tiersen’s score, which overflows with Gallic moods and textures, while never resorting to cliché. The director is the man responsible for, among other things, Delicatessen, The City of Lost Children and Alien Resurrection: hence, Amélie has style in abundance. To say that this film is “feel-good” is a definite understatement. Much of the charm of Amélie as a film is its hyper-reality, and pervading sense of kindness and humor. Could this handsome, shy young man be her soul mate? And, if so, will she ever find the courage to talk to him face-to-face and admit her feelings? This is Paris, the city of romance. However, Amélie continually neglects her own happiness while concentrating on that of others, until she meets the equally quirky Nino Quincampoix (Mathieu Kassovitz) in a photo booth. Heading off to find the box’s owner, the joy she brings to its eventual recipient gives Amélie a new lease of life, as she decides to help others around her in any way she can. All grown up and working as a waitress in a Parisian café, Amélie’s life changes when she finds a small box filled with old family heirlooms hidden in a secret compartment in her apartment. Already a massive success in its native France, Amélie subsequently raced to the top of the North American charts, has been nominated for multiple major awards, looks to be a shoo-in for the Foreign Language Film Oscar, and has increased further the reputations of its director Jean-Pierre Jeunet, leading actress Audrey Tautou, and composer Yann Tiersen.Īmélie is a whimsical, dream-like fable about a young woman in Paris (the eponymous Tautou), who has spent most of her life existing in the background, overwhelmed and overshadowed by her emotionally distant father (Rufus). This year we have Le Fabuleux Destin d’Amélie Poulain – or Amélie, as it has become known across the world. Before that, we had Life is Beautiful, Run Lola Run and Il Postino. In 2000, it was Crouching Tiger Hidden Dragon. Yann Tiersen plays at the Concert Hall, Sydney Opera House, on Tuesday, January 24, year, it seems at least one foreign language film takes the international box office by storm, becoming the art-house crossover darling of its time. I know lots of people on the island bought my album, but none of them told me.' 'Everybody is shy about it, so we just talk about everyday things like the weather or farming. 'We don't talk about anything like that,' says Tiersen with a laugh. Each evocative track is accompanied by a specific map co-ordinate that points to its inspiration, although the composer's act of dedication to his environment isn't something the locals discuss. Tiersen's ninth and newest studio album, EUSA, is a solo piano journey through the landscape and mood of Ushant, the tiny island community off the coast of Brittany that Tiersen and approximately 800 other people call home. 'I grew up in the '80s, I like punk rock, so I'm not going to sit there and tell someone how I can add orange-ness to my strings.' We had to talk about the orange-ness of music for one hour – I really have better things to do,' says Tiersen. 'I once had a director asking me if my music could be more orange. It was a productive partnership, but not every filmmaker Tiersen has subsequently encountered has been as easy to work with. Amelie director Jean-Pierre Jeunet discovered Tiersen's work during the film's editing and while the pianist was able to write a selection of pieces for the film, Jeunet also went through his back catalogue to find extra material.

Yann tiersen amelie poster