The collection "Listen to the cinema!" at 20: interview with its creator, Stéphane Lerouge
“Listen to the cinema!” celebrates 20 years.This collection, born from Stéphane Lerouge's passion for film music, has so far allowed the re-release of many cult or forgotten soundtracks.On the occasion of this anniversary, Fred Pallem (whose work is abundantly nourished by film music) went to interview the one who is not related to Rackham Lerouge.
Before the Ecoutez le cinéma! Collection, the soundtrack albums of the great composers of music in images were rare, if not even ever published.Often in a hurry to very few copies, prized by collectors, then by disc- jockeys in search of the ultimate sample, these “soundtracks” are in fact much more than the music that accompanies the film: we can also listen to them without the images.They ultimately constitute real author albums, those of François de Roubaix, Michel Magne, Ennio Morricone, Francis Lai, Pierre Jansen, Philippe Sarde, Maurice Jarre, Michel Legrand and so many other legends of the BOF, that Stéphane Lerouge, the brilliant designer of this essential collection, has painstakingly restored, or unearthed like an archaeologist, to introduce them to the general public.
“The film music of the 60s and 70s was a submerged continent.There was a memory to reinvent, to reactivate.”
Fred Pallem: Dear Stéphane, how was this collection born and who had the idea?
It all started with a studio session, that of an album by Michel Legrand with Stéphane Grappelli in 1996.Legrand invited me there and I met Daniel Richard, head of Universal Jazz, a sort of mutant clone between Bruce Willis and CharlElie Couture.With Daniel, a former record store at Lido Musique on the Champs-Elysées, we immediately mentioned all these original tapes now untraceable ...and that he had previously sold on LPs.His clients were also called Bertrand Tavernier, Jean-Pierre Marielle, Alain Corneau or Philippe Sarde In 1996, Daniel was aware that, being broadcast on television, films such as Plein soleil, Pierrot le fou, Ne nous vâchons pas or Coup de torchon created on their music.a demand that could no longer be satisfied.The original vinyls, published at the release of the films, had become “Graals” of the LP.For example, the only mention of the promo single of La Horse, printed in 150 copies, highlighted fire collecti Vannier and Gainsbourg complementists! In short, the film music of the 60s and 70s was a submerged continent, there was a memory to reinvent, to reactivate.
Posted Date: 2021-02-15