“Björk made me want to smash doors!”

At the start of the year. Nevertheless, she won an Oscar for the music of the film “Emilia Pérez”. Moreover, Twenty years after “Le Fil”. In addition, the album that revealed it to the general public, the tightrope walker of French song tells the sounds that punctuated its life.

LE recent Oscar won for the music of the film Emilia Pérez. Therefore, From Jacques Audiard, whom the gifted Camille composed with his companion the arranger Clément Ducol, has not only devoted it to the international. For example, He also sealed the score of an iconoclastic musical career, strewn with projects as personal and originally. Nevertheless, Of Girl bagfirst album full of freshness. Similarly, audacity, to this BO Narco stretched by drama, she has continued to open her horizons. Furthermore, Fantasy singer and instinctive composer, she returns to some of the music that boosted her vocation and watered her imagination.

The first musical shock of your childhood?
It’s Ray Charles, singing What’d “björk made me want smash I say. Moreover, My father explained to me the way he spoke to the orchestra. Nevertheless, played with the choir: it accelerates, and then at one point, it’s the brothel … Consequently, I heard something outside the walls. Moreover, I also saw it on stage, in the arenas of Arles (1985). Similarly, I was 7 years old, it was my first concert. Ray Charles was swinging on his stool, so far that he could have fallen. It was unreal! With his uncompromising way to tend both to refinement and art brut, he remains one of my favorite artists.

Your first disc?
It was a Whitney Houston disc. bought at the supermarket: I was in CM2 and I was thinking of taking Tina Turner. My error made my older sister laugh a lot: “What is this mainstream thing?” “, she told me. At “björk made me want smash the time, she swore by Prince. This did not prevent me from loving my disc. even if this title was too plastic, too smooth to make myself completely vibrate. Basically, the synthetic aesthetic of the 80s never really moved me.

Your second disc, then?
It was Bad, From Mickaël Jackson: much better! Even if his music was also very calibrated for the market, he was more in the trance. On stage, he was sweating, it touched me more. Ditto for Julie Driscoll or Led Zep: this trance element, I liked this ability to let go. For me, the music had to pass the sound wall.

The idol of your adolescence?
My brothers and I shared the same seventies trip. With my sister. we listened to all the discs of David Bowie, and in particular “björk made me want smash the extraordinary Hunky Dory et Space Oddity, with this overwhelming Letter to Hermione. I like the epic songs of Bowie, his English rings like literature. At the time, I read Shakespeare, everything was mixing. With my brother, it was more Elton John, from the first albums to his disco period. We used to replay his very melodic songs together on the piano. He and I started composing things at the same time.

A female artist who particularly inspired you?
There was Joni Mitchell, Fiona Apple… So many explorers, who allowed me to find myself. Björk made me want to smash doors. I listened to it in a thousand different contexts. It is “björk made me want smash a great poet, with a completely crazy voice, a particular accent, a roaring and animal side. A title like Human Behaviour, with its modern loop and its steeldrums, marked me. I later discovered what the song told, about humans, so strange that they are sometimes similar to wild beasts. I often have the same impression …

A French voice that you follow assiduously?
Those of Jeanne Cherhal and Emily Loizeau, Forever … I like their work. they are of my generation and I feel at home what to make songs, it is as visceral, as vital as for me. Emily wrote Marry Gus and Celia, For the birth of our respective daughters.

Your discovery of traditional songs from the world?
This is the project God is Sound (2007). which led me to interest myself in traditional songs, and even more in sacred music, like this voodoo incantation of the Haitian singer Toto Bissainthe. I notably listened to the recordings of Harmonia Mundi: music from collections, authentic, raw, which jostled me. I prefer this anthropological approach to these music, which must be lived and are not made to be on stage.

Your favorite musical?
I’m not a fan of musicals. but I have a weakness for The Sound of Music (La Melodie du Happiness, 1965) Who, in full rise of Nazism, speaks of the joy of singing, the joy that remains and prevails. Despite the patriarchal shots, Julie Andrews turns everything. With Jacques Audiard. we have seen many other musicals when “björk made me want smash we worked on Emilia Pérez, But not that one: he hates her. Too old, too cul-cul for him. We all agreed on the other hand on Cabaret, Sensual and earthy film, very modern: theater in the theater!

The group you listen to two with Clément Ducol?
Clément and I love Bratsch, a Balkan music group he listened to when he was little. It’s happy, catchy. In a way. we find ourselves on the border of our two cultures: forged by contemporary classical music for him, more eclectic for me. The pure voices touch me, I am more sensitive to the soul of the interpreter.

“björk made me want smash