CLAIRE DENIS FILM SCORES 1996-2009
2011 sees tindersticks celebrate their long-standing collaboration with acclaimed French Film Director Claire Denis via the release of Claire Denis Film Scores 1996–2009 – a boxed set collection of 6 Claire Denis film soundtracks which is being made available for the first time together on cd, vinyl and download on Constellation Records. It will be released worldwide on April 26th 2011.
The collection comprises Claire’s award-winning Nenette et Boni (1996) to her recently acclaimed White Material (2009), also including the beautifully observed 35 Rhums (2008), the infamous Trouble Every Day (2001) and 2 solo soundtracks: Stuart Staples’ solo score for Denis’s lyrical and impressionistic The Intruder (2004) and Dickon Hinchliffe’s score for the sensual Vendredi Soir (2002).
In conjunction with the release tindersticks have developed an ambitious live show which they will be performing in cinematic settings bringing together the music with the evocative images that inspired it. These concerts will take place in carefully chosen venues throughout 2011.
Ma Soeur, Nénette et Boni, 1996
The Black Mountain, L’Intrus, 2004
Opening, 35 Rhums, 2008
Children’s Theme, White Material, 2009
Tindersticks and Claire Denis
“Sometime in Paris ‘95, I thought it was La Cigalle, she says it was the Bataclan, I’m not sure.
That is where we met anyway, one of those places, after a concert.
She was writing the screenplay for Nenette et Boni and something in our song ‘My Sister’ had clicked with her, she asked us if we would like to make the music for the film. We had film scoring pretensions, soundtrack music had always been a thing of David’s from when we met way back (though we could barely play, we had dreams).
We had this thing about Miles Davis’ Lift to the Scaffold. Passing through Paris he stopped off at the studio with his band and recorded the score right there and then, in a day, watching the film for the first time and reacting musically.
‘Seemed like a good place to start.
I suppose the essence was there, that’s how we began, and after a few fumbling months we delivered the music for Nenette et Boni, nervously.
That’s how it all started, maybe we just got on, had some kind of understanding; we have never really talked about it. I was told she said in an interview that we understand her films before she does; maybe that’s true in some way, but I think she was just being gracious.
Approaching each film has always asked us to step into an unknown, stretch ourselves and do things we did not think we were able. At the end we always feel changed in some way. This has fed into all our other music and is a contributing factor to why we’re still struggling to catch our ideas after all these years, still frustrated and fascinated in equal measure.
Other people have asked us to score their films, but we always reached a point where we realised that the freedom and conversation Claire affords (and expects from) us is not there, and then it becomes something different, making music for a purpose (money?) – something we’re well aware we have never been very good at.”
Stuart Staples, January 2011