Tag Archives: Film Composer

From Composing UEFA Anthems to Film Scores, Yohann Zveig’s Musical Genius

Yohann
French Composer Yohann Zveig

Whether it be the film scores and trailers that touch the hearts of audiences and create palpable emotion, or the anthems played at sporting events that energize stadium goers for the anticipated event, French composer and music producer Yohann Zveig is a master at creating compositions that enrapture fans around the world.

With its power to surpass language barriers, transform a listener’s emotional state and make a listener feel something, it’s no wonder that music plays such a massive role in film, something Yohann Zveig knows all about. Zveig has composed music for countless films including Sarah-Laure Estragnat’s film “Bleu comme la mère,” which took home the Prix Saint-Germain Award, the Best Family Short Film Award from the Los Angeles Olympus Film Festival and was selected for Cannes Film Festival’s Short Film Corner, “Honni soit qui mal y pense” with Sara Mortensen (“Contact”) and many more.

Zveig also recently produced, as well as composed the score for the films “Et Voilà!” starring multi-award winning French actor Moussa Maaskri (“Mondialito,” “22 Bullets”), Samuel Wizmane (“Le Môme”) and César Award nominee Sinclair (“The First Day of the Rest of Your Life”).

A comedy film that centers on a tyrannical boss who makes the lives of his employees a living hell, “Et Voilà!” was recently chosen as an Official Selection of the Paris Court Toujours Film Festival where it will screen later this month, and the C’est Pas La Taille Qui Compte Film Festival.

“As a composer, my role is to find the right tone between the emotion of the actor and the general mood of the film by creating this binder that is music. It is a very sensitive and precise work, one must never fall into excess and yet, we must bring something more,” explains Zveig.

“So many films go through the ages because they have a very strong musical identity, I could mention a dozen of them but the first one that comes to my mind is obviously the work of Ennio Moricone who left an incredible mark to the cinema of the twentieth century.”

Having collaborated with massive names in the industry including Disney, Visual Music, Position Music, RedCola, Glory Oath+Blood, Grooveworx, Dos Brains and more, Zveig is one of the rare individuals who has managed to turn their talent into an exuberantly successful career.

Growing up in France, Zveig immersed himself in music at a young age.

He recalls, “I couldn’t help myself from hitting everything I had at hand. My parents even reproached me for making too much noise in restaurants because I was unable to stay still. I took the cutlery and hit the glasses and plates.”

A skilled drummer, pianist and bassist, Zveig proved himself to be a musical prodigy at a young age when he was able to miraculously pick up instruments and without lessons, teach himself to play simply by ear.

“The percussions and drums were my first preferred instrument. I’ve always been attracted by rhythm and groove, and more generally by drummers. Then I played the piano for the melodies and harmony,” Zveig explains. “I had a musical ear and was able to play the tunes I could hear on the radio at our at home. After this, the fourth instrument I played was the bass, mostly on stage since I sang and played the bass together.”

The multi-talented musician first began singing and playing bass on stages across France with well known-musicians such as Mino Cinelu (Sting, Miles Davis, Stevie Wonder, Ray Charles), Vic Emerson (10 CC), Patrice Renson (Salif Keita, Vanessa Paradis, Mathieu Chedid) and Matthieu Chedid.

Whilst in his teens Zveig got his first computer, the Atari 520, a revolutionary moment in his life that allowed him to begin creating his own demos. From there, Zveig’s career unfolded at an incredible pace. His ability to create powerful, rhythmic and exciting compositions soon caught the attention of major sports franchises, such as the Union of European Football Associations (UEFA), which brought him on to create the famous anthem for the Europa League in 2009.

“I included strings, brass, choirs and a lot of percussions.The piece had to be recognizable, it had to be an anthem in its own right, and it had to go through the times and gather the fans in the stadium,” says Zveig.

Played in 185 countries around the world, as well as in commercials, Zveig’s UEFA Europa League anthem was played during all of the matches in the competition and it was the sound fans heard through the speakers as the players entered the field

He admits, “At each final the stadiums were full of 80,000 people. It was an incredible emotion, a crazy joy to hear so many people chant my anthem”

After composing for the UEFA Europa League Zveig went on to compose the anthem for the German Federation of Football aka Deutscher Fussball Bund, the biggest Football Association of Europe, and an associate of the UEFA. Another huge mark in his career, and one that was heard by fans across the world, Zveig’s anthem was the one that played when Germany won the FIFA World Cup in Brazil in 2014.

Though Zveig has achieved inimitable success composing anthems for sports teams around the world, his capacity to create music that help bring the stories within films to life and touch audiences on a deeper level is one of the aspects of his talent that makes him so unique.

“Overall I’ve been passionate about music and cinema forever,” explains Zveig. “Unconsciously I think I’ve always been attracted to film scores. For instance, I could go to the cinema to watch a movie only to listen to the score. I think I’ve listened to more than 300 films scores. I really love it.”

In 2016 Zveig earned a nomination for the Jury Prize from the Sundance Channel Shorts for his work as the composer on the French film “Premier Jour.” Directed by Yohann Charrin (“Ta Mort en Salopette”) and starring Luchon International Film Festival Award winner Thierry Neuvic (“Hereafter”) and Alain Figlarz (“The Bourne Identity”),“Premier Jour” also won the Silver Award from the Mindfield Film Festival Los Angeles, as well as Best Short from the Cognac Festival du Film Policier.

“I am convinced that some films would never have had the success they received from the public without the music they had… music is able to seek other emotions, stronger emotions, from people. Many theme songs are so recognizable and engraved that they will remain forever in people’s minds. I think this is the true talent of a composer,” admits Zveig. “Saying this, I immediately think of the score of ‘Back to the Future’ written by Alan Silvestri, which I adore and which carried me away… as much as the story in this movie. Just at the thought of it I have shivers down my spine. I am a big fan of American composers, I can not deny it.”

Inspired by the composer of yore, Zveig has become quite the inspirational composer himself and his work on films like “Half the Sky” aka “La Moitié du Ciel,” which earned numerous awards from the International Marrakech Film Festival, Tanger Film Festival, Tetouan Film Festival, Alexandria International Film Festival and more, are only the tip of the iceberg.

Recently Zveig composed the score for the rivetting horror film “Play or Die,” which was released earlier this year and directed by Jacques Kluger.

About composing for films, Zveig says, “The score of a film is there to emphasize, and I insist on the word emphasize, the emotions in a movie. At no time should the music be at odds with the dialogue or the acting of the actors.”

For “Play or Die,” which stars Charley Palmer Rothwell (“Darkest Hour”), Roxanne Mesquida (“Gossip Girl”) and Marie Zebukovic (“Interrail”), Zveig created a score that heightens the emotions and piques the audience’s anticipation at every turn.

“A horror movie is an alchemy between images and music. Yohann’s creation came to enrich my creation to make the film. What Yohann has created is an indispensable piece to the puzzle that constitutes the film. The music he imagined is very strong because it creates the chills and anxieties necessary for a good horror film,” explains “Play or Die” director Jacques Kluger.

“I wanted a music that supports the atmosphere and emotions that I wanted to create by the image. Yohann very quickly understood what I imagined and how to create a sound universe that enriches the images. We worked together in sharing to create a true entertainment experience.”

Zveig seems to live in the mode of ceaseless creation. Back in 2004 he founded the Paris-based music label and production company Boburst Productions, followed by the production company NJNL in 2016, which is based in Los Angeles. Over the past few years he’s composed and released several major albums including “Amsterdam Rhapsody,” “Bucharest Rhapsody,” “Dublin Rhapsody” and “Hamburg Rhapsody.”  Last year Zveig was tapped by Position Music in the U.S. to compose and produce the album “Darkwater.” With Position Music specializing in releasing music for trailers, Zveig went to work creating a thoroughly diverse album of 12 tracks where each song boasts a uniquely powerful rhythm using an array of instruments and emotive percussion.   

One of Zveig’s tracks off “Darkwater” was snatched up earlier this year to be used in the official trailer for the Lionsgate produced crime-thriller “Crypto” with Golden Globe nominated actor Kurt Russell and Luke Hemsworth from “Westworld.” 

Whether he is using his talent to convey the thrill of competition that fuels the hopes of eager footballers, or composing brilliant scores that help take the films he works on to the next level, Yohann Zveig is truly a rare breed of genius and he’s one that we can bet on hearing a lot more from for years to come.

Zveig says, “I’ve always loved creating melodies and themes from scratch, listening to my inspiration. Music is a bearer of emotions and this is precisely what I’ve always searched for in composing music– to feel strong emotions that I could give to people.”

Leading Chinese Composer Min He transports audiences to North China in ‘Jin Zhu Xi Yan’

When watching your favorite movie, the score is what truly creates the emotion behind each scene. Check out videos on YouTube where iconic clips from films have different music in the background, completely changing the feeling you have when watching. As a composer, Min He sees her role in filmmaking as more than simply writing music. For the Chinese native, a score is a second layer of dialogue. Her notes strung together act as sentences in their own way, making you laugh or cry, and feel scared, happy, or suspenseful; she is a dramatist. This understanding of such nuances is what makes He so talented at what she does, and it is why she is so sought-after around the world.

“I wanted to be a professional composer because music is such a beautiful thing in my world. I wanted to be able to create any kind of music I felt like,” said He.

Although He is a classically trained composer, she has created a distinctive and unique sound that separates her from her peers. She composes in a hybrid style, combining tradional instruments with a synthesizer, and even designs her own sounds to feature in her compositions. Examples of this can be heard in her work for the popular iPhone game Pursuit of Life 2, and the films Princess Eun Hwa, and Snow. Her work on the animation film Ever Star lead to outstanding success, and resulted in the film being an Official Selection at the Official Selection- Northwest Animators Showcase, Animex Awards 2015, 10th Annual Children’s Film Festival Seattle 2015, Sarasota Film Festival, International Animation Festival CHILEMONOS 2015, Festimation Festival, The World Animation Celebration, and the Geneva International Film Festival.

“I had the immense pleasure working of working with Min on Ever Star. I like how delicate her music is, and all the melodies she composed are all from deep within her heart, it was so touching, and many audience members approached me after watching the film to ask to listen to more of Min’s music. Without Min’s beautiful music, my movie is nothing,” said Yawen Zheng, the animator and director of Ever Star.

This trend of captivating fans with her music occurs with every project the award-winning composer works on. On the film No Smoking (Jin Zhi Xi Yan, 禁止吸烟) He once again provided audiences the wonderful sense of escapism that comes from listening to her compositions. The film, directed by Xinwen Dong and Gang Wu, was an opportunity for He to work in one of her favorite genres: comedy.

The film premiered in January of 2014, and was released in theatres in China. It was extremely well-received, screening at the Shanghai Film Festival 2014 where the directors were nominated for the Asian New Talent Award. The film then went on to be broadcasted on the very popular Chinese television station CCTV-6 (China Central Channel). Now, it is on the famous live streaming service, 1905.com, where it holds a record of 1,750,000 views.

When the directors were looking for a composer to help bring their film to great success, they immediately thought of He and the esteemed reputation she holds not only in China, but internationally as well. She is not only a composer, but also an orchestrator, and knowing this, they approached her to work on the film. They had immense trust in her work ethic and music, and that faith was justified. Without her, the film could not have achieved what it did. Her music brought the audience into the world that the movie presents, and because this is a comedy, many funny scenes that make audience laugh out loud did so with He’s compositions. She tried to make funny sounding melodies to add a fun part to the movie, and she succeeded.

“I really like to explore new area of music style that I never touched and working with different instrumentalists and learning new instruments are very fun parts of music creation. Every time I delivered some cues to the directors, I not only got approval, but also praise. It was very satisfying,” she said.

The story of the film takes place in North West China, an exotic part of the country with beautiful natural scenery, and a different culture than the rest of the country. He wanted her music to represent the geography in the film. She extensively researched the area’s music, including their folk songs, and native instruments. The composer enjoys expanding her realm of knowledge, learning about new styles that she has never encountered before, keeping her humble. This research was fruitful, and her score truly transports audiences to the area of China. To find out more, however, He says you will have to watch the movie.

“I think the film is such a good story and everyone should see it,” she concluded.

Head to 1905.com to laugh out loud watching No Smoking and listen to He’s beautiful work.

Master Violinist Carlos Felipe Silva Makes his Mark as a Film Composer

 

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Carlos Felipe Silva at The Latin Grammys in Las Vegas (from left to right: Stefano Melillo, Sophie Maricq, Luis Tellez, Oscar Stagnaro, Calros Silva, Manuel Lara and Marco Flores.) Photo by Nora Gonzalez

Venezuelan composer Carlos Felipe Silva was born a prodigy. He received his first music lessons when he was just 5 years old; by 7 he’d begun formally training in the violin. Silva took to it like a bird takes to flight, but a mind like his could never be restricted to a single instrument. In the young virtuoso’s head rang entire symphonies, and as he grew older it became clear what he was born to do.

“At 18, I had the opportunity to come to the States to attend the Interlochen Arts Academy in Michigan,” said Silva, recalling how music went from being his passion to his career. “It was during that time I realized how important music was to me. I knew from that moment on that I had to spend the rest of my life making music.”

Silva spent the next five years as a violinist with Venezuela’s world-renowned Simón Bolívar Symphony Orchestra, led by world-renowned conductor and violinist Gustavo Dudamel, who has since become conductor of the Los Angeles Philharmonic.

“[After that], I got to study at my dream school — Berklee College of Music in Boston, the best place on earth to learn music,” Silva said. “I studied with world class instructors, and I was immersed in an environment that breathes music 24/7.”

By the time he earned his B.A. in Film Scoring from the ultra-exclusive Berklee College of Music, Silva already possessed more experience than many musicians gain in a lifetime. He immediately set out to prove his brilliance as a film composer, captivating audiences with his score for the 2015 thriller “Skye.” At the heart of the film is the titular Skye, a girl who is abducted for ransom by three of her male classmates. As the action intensifies and the plan goes south Skye finds herself walking the line between survival instinct and Stockholm Syndrome.

“‘Skye is a great thriller with fascinating turns. It shows the complexities of our society, and of how we react to life’s greatest challenges,” Silva said. “I wanted to create a score that could portray those complexities… In the first talk I had with the director we agreed upon a sonic landscape full of provocative elements and electronic pulses, with a lot of tension and suspense.”

Following the success of “Skye,” Silva didn’t waste a single second continuing his work. Within the year he had finished composing and recording his next masterstroke, “Clocks.”


“This piece and other cues were commissioned and produced by Moai Films, a production company based in L.A. I’d previously worked with them on the film ‘Matthew,’ and I developed a great relationship with Lukas Colombo, the head and creative mastermind behind Moai Films Productions,” Silva said. “It was an incredible opportunity to record and conduct a full orchestra…  [who] brought the score to life, and we were all very satisfied with the results. The session was incredible, and I got to work with some of the best musicians in town.”

When writing “Clocks,” Silva drew his inspiration from the beating pulse of the sprawling cities he’d spent his life in, starting in Caracas, then Boston where he mastered his craft, and ultimately Los Angeles, where he currently spends each day creating and performing.

“‘Clocks’ was written to portray the intensity of modern lives in big cities, where we all strive to achieve our dreams, but forget about the simple things that make life meaningful,” he described soulfully. “We used a traditional instrumentation, where the trumpet has the main melody line which sits on top of a provocative string ostinato; the choir adds an emotional layer to whole composition.”

In a way, however, “Clocks” represents the exact opposite of who Silva is as a person. Though he’s led a metropolitan life, Silva has never been forced to choose between reaching his dreams and finding meaning in life. Through his music, he has captured both in equal measures. In that sense, Carlos Felipe Silva, the Venezuelan virtuoso, has discovered the true meaning of life.

“Music is everything in my life. It’s a gesture of love which must be shared with others. It’s an act of faith and spirituality, and it’s the best way for me to communicate,” he explained. “As Nietzsche said: ‘Without music, life would be a mistake.’’’