Francis Lai Quotes
Best 10 Quotes by Francis Lai
“As I didn't want to go to the United States – I've always been afraid of flying – the production had asked another composer to do the music for Love Story. The result not being satisfactory, they came back to charge.”
“At first, I didn't want to do the music for the film 'Love Story'! And I had completely absurd demands...”
“First, I didn't want to go to the United States. I asked to be shown the film in France, not even in Paris, but on the Côte d'Azur, because it was my vacation time and I wanted to spend it with my children... They must have said to themselves: this guy is completely crazy!”
“I always ask for the script first. I need it to soak up the story. It's from there that I start to ponder.”
“I really like the intimate side of the singers. With Piaf, there was a power of voice that was out of the ordinary. Piaf was unique. But what I love above all is the personality of the timbre of the voice. You hear three notes from Jacqueline Dulac, you know it's her and no one else! Same for Marie Laforêt, Françoise Hardy or Nicole Croisille. There are a lot of pretty voices in the song, with fabulous ranges, but they are too impersonal, you don't always know who is singing...”
“I think you have to memorize the first notes of a composition. Afterwards, of course, you have to go deeper, try to renew yourself, not take it easy and not fall into the trap of plagiarizing yourself...”
“I was a jazz buff. Not traditional jazz, but especially Charlie Parker, Dizzie Gillespie, Miles Davis... Melodic jazz, with lots of nice musical phrases.”
“I've always been attached to writing melodies and I think that when you've found a melody that holds up, you can swerve it in other directions, adapt it to classical or jazz... I do it often.”
“It's good to be able to identify a film by a musical theme. I think we have quite a few that are recognizable by their music.”
“The sound of this electronic accordion opened up new horizons for me, gave me new ideas.”
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“I am everything and I am nothing. I am what was made of me. I accept this prize, this palm, long refused, because I would have liked it to be given to my directors.
I was first violin or piano and I had exceptional conductors. It is to them that we must give the prize. They are all dead, so I am taking the prize for them, in their memory, in honor of their strength, their talent.
That's why I'm here, otherwise I wouldn't be here.”
