PRESS

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Wissembourg,FRANCE. 17 mai 2016

Timothée Schuler: Hello Jonathan! Thanks for being here today and answer a few questions for the team                         at Trustwonder. You grew up in Paris and developed a love for music?

Jonathan Galland: That's correct. As a little kid I was fascinated by music and sound. I also nurtured growing up, a passion for moving pictures and by the age of thirteen, writing music for film and animation was for me the obvious career choice.

TS: You're a musician yourself. Are there any others in your family?

JG: I wasn't raised in a family of artists but was fortunate enough to be exposed to the Arts for as long as

    I can remember. My parents must have seen some musical sensitivity because I had started musical             training by the age of three, and the violin at seven.

TS: And then?

JG: I was taught in the traditional music conservatory until I was 14 and then I ended up in a music section     high school near Paris. After graduating from there with a Music Technician Certificate, I attended the     Superior Institute of Sound Techniques in Paris. I now live in San Francisco, California since 2011,         where I'm about to finish my MFA in Music Production and Sound Design for Visual Media, at the Academy       of Art University.

TS: Why San Francisco?

JG: At the time I left, there were no master-level schools in France that would deal with both the artistry     and the technical aspects of music for motion pictures.

TS: Have you ever had the opportunity to work on big projects?

JG: Working on long-term, big budget movies while being a full-time student is not exactly recommended... My     focus in the recent years was writing music for short films which ended up in a number of national and       international festivals such as Sundance or Cannes. Shorts are also very good practice for anyone in the     film crew. 

TS: So what is the difference between festivals and movie theaters?

JG: Well, a festival is essentially a competition between filmmakers. It's also a great place to "test" the     success a film before it is released nation-wide or internationally. As a composer, festivals are very      valuable to make my name known to the professional industry.

TS: How would you define your musical style, your signature sound?

JG: I mainly compose orchestral music to which I add sound design elements and non-conventional instruments.     Music is for me like a painting, and the sounds are like colors used in various combinations. By adding     original and intriguing sounds to the traditional orchestra, my range of expression is pretty much           infinite. The Hollywood-type blockbuster score is also what the general audience expects nowadays. It       became one of my specialties.

TS: How did you come to work with Trustwonder?

JG: I was put in contact with Michel (director of Edahlion) through an "Open Doors International"               conference, and we immediately shared our common interest for film and music. Our collaboration started     while Edahlion was still only an idea.

TS: Pure Luck?

JG: The best encounters are often the most unexpected, but nothing happens by pure luck.

TS: So you're going to compose the soundtrack for EDAHLION. What's your motivation?

JG: I am very impressed by what was already accomplished with such a tiny budget (the equivalent of 15 000       dollars). I see in Edahlion a huge potential. The Trustwonder team is unified, motivated, persistent and     very ambitious. I like that. A lot. And I sincerely believe that everything becomes possible for such a     crew. I also want to promote these values unfortunately so rare nowadays, so here I stand with an army       of volunteers to show the world what can be done.

TS: Have you already started to write for EDAHLION?

JG: Yes, I have already sketched a few themes but I have to wait until I receive the picture compose            anything tangible. I have scored more recently the first trailer, released on April 15.

TS: Is it possible for you to work from the other side of the globe (you in the States, the production team     here in France)? How do you work in these conditions?

JG: Sharing files has never been easier than today with the Internet. Of course you have to constantly be in     touch with the director and the production team to make sure everyone is still on the same page.             Misunderstandings can happen very quickly!

TS: Will you be hiring real musicians for the score or will you create the music on computers?

 
JG: Both. I combine professional grade VSTs (virtual instruments) with real players and voices recorded in      studio. I am also mixing each instrument so the outcome will be as realistic as with a world-class           orchestra.

TS: I thank you on behalf of the whole team for your valuable contribution to EDAHLION! The fans and all         those who follow us are eager to see the release of the film. Thank you Jonathan and good luck!

JG: The pleasure is mine! I think we're all impatient to see the finished product!