French director

Gérard Krawczyk graduated from Paris- Dauphine University (Master of Management and Economics) and IDHEC / FEMIS, in Film directing and Image. In 1986, he wrote and directed his first feature film, Je hais les acteurs, which was nominated to the Césars and to the Michel Audiard Awards, soon followed by L’Été en pente douce. In 1997, after having directed numerous commercials, Gérard Krawczyk returned to the feature film industry with a musical film Héroïnes . The same year, he started shooting the first Taxi. It was the beginning of nine years of collaboration with producer Luc Besson with films like Taxi 2; Wasabi; Taxi 3; Taxi 4; and Fanfan La Tulipe (which opened the 56th Cannes Film Festival). In 2005, he co-produced and directed La Vie est à nous! where he returned to the world of his first intimate films . His tenth film L’Auberge rouge took us into a visual and acoustic universe of fantasy tales rarely found in a comedy. Between 2000 and 2010, Gérard Krawczyk was second at the box office in French theatres behind Peter Jackson (The Lord of the Rings; King Kong, etc.) with nearly 25 million admissions. In 2013, he directed the last two episodes of the TV series Taxi Brooklyn, written by Gary Scott Thompson (Las Vegas; Fast and Furious, etc.), which was broadcasted on TF1 in France and on NBC in the United States. In 2014, he produced a 110 minute documentary about the city of Marseille.

French director and producer

Moïra Chappedelaine-Vautier began her career in cinematographic production with short films and then expanded to documentaries. She directed her first documentary, Bogotrax Red Sonante in 2006 in Colombia. This musical documentary captures the international and national musicians and artists roaming the streets of Bogota seeking encounters with citizens during the Bogotrax festival. The film is a reflection in images of the festival, as both a social and artistic manifesto.  Moïra joined Ciaofilm in 2011. With Ciaofilm, she produced Zona Franca, a documentary by Georgi Lazarevski, Coby by Christian Sonderegger, and Salut et Fraternité by Oriane Brun-Moschetti . At the same time, she is safeguarding and restoring the cinematographic work of her father René Vautier. Her goal is to revive his films and bring to life his long-time censured works in order to preserve and pass them on to new audiences. In 2012, she supervised the digital restoration of Avoir 20 ans dans les Aurès (subtitled and distributed in the US by the French Film Festival). In 2014, she, with her father, directed Histoire d’Images, Images d’Histoire . In 2011, she began production of the full length work of fiction Enfin des bonnes nouvelles by Vincent Glenn which premiered in French theaters in 2016. She also is a director of post-production for Rouge International while continuing to produce and direct documentary films.

French director and producer

Vincent Glenn holds a degree from the Louis Lumière Film School in Paris. He recently co-wrote with Christophe Alévêque On marche sur la dette : Vous allez enfin tout comprendre!

French director

Stéphanie Gillard was born in 1973 in Paris. After studying law, she pursued a film degree at ESAV (Ecole Supérieure d’AudioVisuel) in Toulouse and started working as an assistant director and production assistant. Thereafter, she produced and directed her first documentary, Une histoire de ballon, about the meeting point of oral tradition and the culture of soccer in Cameroon (aired on Arte, TV5, RTBF, France Ô, NHK World TV) and for which she received several awards (Etoile de la SCAM 2007; Special Jury Prize at the International Sports Film Festival – Palermo 2007) . She directed a second documentary in 2009 in coproduction with France Ô, Les Petits Princes des sables (Special Jury Mention for Documentary at the International Pan-African Film Festival of Cannes 2009; Second Jury Prize at the Caméra des Champs Film Festival 2010). Her third documentary, Lames ultramarines, focusses on young fencers from the French West Indies and their dream of joining the National Fencing Team of France. Co- produced by France Ô, the film received the Best Documentary prize FEMI-Guadeloupe (Regional and International Film Festival-Guadeloupe) 2016). The Ride is her first feature documentary which will be theatrically released.

French professor at University of Paris

Nicole Brenez teaches Film Studies at the University of Paris III Sorbonne Nouvelle. Graduate of the Ecole Normale Supérieure, agrégée of Modern Literature, she curates the Cinémathèque Française’s avant-garde film series and the Cinéma du Réel’s section « À l’œuvre / At Work ». Her publications include: De la figure en général et du corps en particulier (1998), Abel Ferrara (2007), Cinémas d’avant-garde (2008), Cinéma d’avant-garde mode d’emploi (2012), Jean-Luc Godard théoricien des images (2015), Cinémas libertaires. Au service des forces de transgression et de révolte (2015).

She is the scientific editor or co- editor of the writings of Masao Adachi, Edouard de Laurot, and Jean Epstein. With Philippe Grandrieux, she produces the collection “It May Be That Beauty Has Strengthened Our Resolve”, devoted to revolutionary filmmakers forgotten or neglected by the histories of cinema. She worked for Chantal Akerman and Jean-Luc Godard. She has organized many film events and retrospectives, in Buenos Aires, Rio de Janeiro, New York, Tokyo, Vienna, London, Madrid, Singapore . . .

French director of photography

Director of Photography, then specialist in mechanical and optical special effects throughout the 1980s, Christian Guillon began, in the 1990s, to emerge as one of the pioneers of image synthesis in cinema. Later, his groundbreaking work would also extend into digital effects. He contributed to the development of digital film technology in France by designing the visual effects for numerous feature films and blockbusters, as well as for auteur film. All in all, Christian Guillon has worked on more than 200 film productions (including Femme Fatale, directed by Brian de Palma, Lord of War, directed by Andrew Niccol, as well as all of Jacques Perrin’s films after Microcosmos). In 2016, Guillon proved his continual commitment to innovation, as he worked to develop “Previsualization on Set”, with his visual effects company, “Les Tontons Truqueurs”. Guillon is also the Vice President of the Commission Superieure Technique de l’image et du son (CST).

French director of photography, director and producer

Pierre-William Glenn is a Director of Photography, a Director and Producer of films. His career began in 1967 following his studies in Mathematics and his diploma from IDHEC (predecessor of the Fémis, École Nationale Supérieure des Métiers de l’Image et du Son) in the Filming department. He has contributed to more than a hundred films as 2nd Operator’s Assistant, 1st Operator’s Assistant, Cameraman and Director of Photography, working with numerous directors such as Jacques Rivette, François Truffaut, Claude Miller, Maurice Pialat, Yannick Bellon, Jacques Bral, George Roy Hill, John Berry, Philippe Labro, Samuel Fuller, Bertrand Tavernier and Claude Lelouch . In 2003, he fought for the creation of a jury to present an award for Best Artist-Technician at the Cannes Film Festival; an idea that saw the light of day with the Vulcain Prize. Pierre-William Glenn is a founding member of AFC (French Association of Directors of Photography) and served from 1997 to 2000 as president of the Association. Since 2002, he has been the President of the CST (Commission supérieure et technique de l’image et du son) and co-director of the Image Department at La Fémis since 2005.

French director

Gérard Krawczyk graduated from Paris- Dauphine University (Master of Management and Economics) and IDHEC / FEMIS, in Film directing and Image. In 1986, he wrote and directed his first feature film, Je hais les acteurs, which was nominated to the Césars and to the Michel Audiard Awards, soon followed by L’Été en pente douce. In 1997, after having directed numerous commercials, Gérard Krawczyk returned to the feature film industry with a musical film Héroïnes . The same year, he started shooting the first Taxi. It was the beginning of nine years of collaboration with producer Luc Besson with films like Taxi 2; Wasabi; Taxi 3; Taxi 4; and Fanfan La Tulipe (which opened the 56th Cannes Film Festival). In 2005, he co-produced and directed La Vie est à nous! where he returned to the world of his first intimate films . His tenth film L’Auberge rouge took us into a visual and acoustic universe of fantasy tales rarely found in a comedy. Between 2000 and 2010, Gérard Krawczyk was second at the box office in French theatres behind Peter Jackson (The Lord of the Rings; King Kong, etc.) with nearly 25 million admissions. In 2013, he directed the last two episodes of the TV series Taxi Brooklyn, written by Gary Scott Thompson (Las Vegas; Fast and Furious, etc.), which was broadcasted on TF1 in France and on NBC in the United States. In 2014, he produced a 110 minute documentary about the city of Marseille.

General Manager of Génération Numérique

After a degree in the Sciences, followed by studies at Ecole Supérieure de Réalisation Audiovisuelle (Higher School of Audiovisual Directing), Stéphan Faudeux began working as a producer-director on numerous films. Parallel to this, he worked as a trainer, consultant and journalist in the field of new technologies as chief editor for Sonovision from 1997 to 2003. In 2007, he founded Dimension 3, the International 3D Image Forum. In April 2012, he developed Mediakwest, the first magazine to cover the audiovisual and technologies ecosystem. Génération Numérique was founded in 2014 and it now publishes Mediakwest and has relaunched Sonovision. That same year, Génération Numérique organised Screen4All Forum, during which a day was devoted to VR 360. The 2016 edition of Screen4All Forum was a great success with visitor numbers up by 50%.

French director of photography

Director of Photography, then specialist in mechanical and optical special effects throughout the 1980s, Christian Guillon began, in the 1990s, to emerge as one of the pioneers of image synthesis in cinema. Later, his groundbreaking work would also extend into digital effects. He contributed to the development of digital film technology in France by designing the visual effects for numerous feature films and blockbusters, as well as for auteur film. All in all, Christian Guillon has worked on more than 200 film productions (including Femme Fatale, directed by Brian de Palma, Lord of War, directed by Andrew Niccol, as well as all of Jacques Perrin’s films after Microcosmos). In 2016, Guillon proved his continual commitment to innovation, as he worked to develop “Previsualization on Set”, with his visual effects company, “Les Tontons Truqueurs”. Guillon is also the Vice President of the Commission Superieure Technique de l’image et du son (CST).

Director of ENS Louis Lumière

Francine Lévy, director of ENS Louis Lumière, is an architect and professor. Her research investigates images in relation to time, photography, cinema, animation, comics, architecture, perspective, light, framing, and the human body. She teaches special effects and digital imaging and contributes her expertise in these areas to the French film industry. Her publications also focus on the relationships between painting/cinema and time.

Scientific director of the Cinémathèque Française

Laurent Mannoni is the scientific director of the Cinémathèque Française (French Film Institute). He has written more than twenty books on cinema, including topics such as the origins of cinema, German Expressionism, Georges Méliès, Magic Lantern and Painted Film, and more. His most recent project, published in 2016, is titled La Machine cinéma. He is also the curator of numerous exhibitions, including his latest work: De Méliès à la 3D – la machine cinéma, which was in exhibition at the Cinémathèque Française until January 2017. His next exhibition will be of works by Georges Méliès and will be held at the Palais des Festivals in Cannes during the summer of 2017.

Curator at the Cinémathèque Française

Laure Parchomenko has overseen camera collections at the Cinémathèque Française since 2007. In addition to her work as a curator, she had the opportunity of performing magic lantern shows with Laurent Mannoni using the exceptional material provided by the Cinémathèque Française: in Paris, in Turin, at the Musée du Louvre, and at many other locations.

Actor-bonimenteur

Tri-lingual, Nathan Willcocks has acted in more than thirty theatrical plays, notably in the United Kingdom with directors Marianne Elliott at the Royal Exchange Theatre (Martin Yesterday) and Ken Campbell (The Warp). In France, he played in The Yellow Rose directed by Jacques Connort which was also presented at the 2014 Avignon Theatre Festival. For television, he has been in shoots both in Spain with Cesc Gay and in France for the series Versailles and Missions. For the big screen, he has collaborated closely with the director Morgan Simon for whom he starred in Essaie de mourir jeune, nominated for a César award for Best Short Film in 2016 and the feature film Compte tes blessures, which was a prize winner the same year at the San Sebastian Film Festival. In 2017, Nathan Willcocks was recently cast in the first feature film by Woody Harrelson, Lost in London, which drew attention as single-shot-sequence film screened live in 550 cinemas in the United States this past January 19th.

Harpist

A tenured professor at the Departmental Conservatory at Châteauroux, Aliénor Mancip performs for a variety of venues, regional and national orchestras such as the Opera of Tours, the National Orchestra of Lyons, the Lucerne Festival Academy when directed by the late Pierre Boulez…
With a professional background as both a pianist and harpist, Aliénor Mancip earned her music degree from the Conservatoire National Supérieur de Musique de Paris; she studied the harp under Isabelle Moretti as well as pedagogy. Passionate about chamber music, Aliénor plays regularly with different ensembles (a flute, alto and harp trio, and an English horn and harp duo…) for numerous festivals. Aliénor Mancip plays a Lyon and Healy harp.

Foley-artist

Zakaria Mahmoud, videographer specialized in music and writing is the foley-artist for the magic lantern show. He goes all out in his creation of complementary sounds to accompany the hand-painted glass slides in order to reinforce the phantasmagoria and further immerse the spectator in the spectacle.

American animation feature director

After studying Experimental Animation at the California Institute of the Arts, and working as an animator for Walt Disney Studios and, later, MTV, Henry Selick captured the attention of Tim Burton, who produced his debut film, 1993’s stop-motion The Night- mare Before Christmas, which was nominated for an Academy Award for Best Visual Effects and won the International Animated Film Soci- ety’s Annie Award for Best Creative Supervision. Following were James and the Giant Peach (1996), which received the top prize for an animated feature at the Annecy Film Festival in 1997, and Monkeybone (2001), both of which mixed stop-motion with live action. After contributing stop-motion animation to Wes Anderson’s The Life Aquatic, Selick directed his first computer-generated animation film, the award-winning short film Moongirl, the inspiration for Candlewick Press’s children’s book of the same name. Selick also became the supervising director for feature film development at the Portland, Oregon animation studio LAIKA, where his fourth film Coraline was produced. Coraline, the first stereoscopic stop-motion animated movie, was nominated for an Academy Award, a BAFTA, and a Golden Globe, all for Best Animated Feature.

French music composer

As a young symphonist in 1978, Bruno Coulais discovered film music as an additional means of expression, in a way to put the exacting nature of his writing within reach of the widest possible audience. The transition came when working with François Reichenbach, and then film auteurs like Jacques Davila, Christine Pascal, Nico Papatakis or Agnès Merlet.

“In films,” he explains, “a composer has to meet directors halfway, and enter their universe without abandoning his own. That is the difficulty — or the paradox — in writing music for pictures. Collaborating with filmmakers whose worlds varied wildly helped me progress, and explore fields that were not naturally my own”.

Those wider audiences discovered  the firepower of his writing with the great television series of Josée Dayan (La Rivière Espérance; The Count of Monte-Cristo) and the documentary Microcosmos, le peuple de l’herbe directed by Claude Nuridsany & Marie Pérennou, an initiatory voyage on the micrometer scale. Into this plunge deep inside the world of the infinitesimally small, Coulais injected a strange lyricism that lies somewhere between marvel and fantasy. On a broader scale, Microcosmos, which earned Bruno Coulais his first César (French Film Industry Award equivalent to the Oscar Award) for best music written for a film, brought him as well an avalanche of offers, from Olivier Dahan to Gabriel Aghion and from Mathieu Kassovitz to Akhenaton. They gave him the chance to build lasting loyal relationships with filmmakers such as James Huth, Jean-Paul Salomé, Frédéric Schoendoerffer, and Jacques Perrin. Bruno Coulais collaborated

on a number of films Jacques Perrin directed and/or produced: Himalaya – l’enfance d’un chef–for which he received his second César for best music written three years after obtaining the same for Microcosmos. He received his third César  for another Galatée Films production, The Chorus (Les Choristes). Other films by Jacques Perrin for which Bruno composed include the breathtaking Oceans, Winged Migration (Le Peuple migrateur) and most recently, Seasons (Les Saisons). Whether his films deal with research or develop into such French blockbusters as Dark Portals (Vidocq), Belphegor or The Crimson Rivers (Les Rivières pourpres), Coulais sees his art like a window opening onto the world, one that reveals a modern alchemist’s gifts . It is his personal manner of mingling cultures or creating a genuine fusion between, for example, in the film Himalaya, Tibetan choirs and Egyptian percussions, or Corsican polyphony with A Filetta, who have been his “mascot” vocal group since Jacques Weber’s Don Juan, not to mention a unique signature for constructing dreamlike atmospheres of disturbing softness, and climates based on distorted lullabies, music-boxes and children’s voices.

Similarly, Bruno Coulais has established himself as a link between the animated film d’auteur alongside Henry Selick, whose film Coraline brought Coulais the 2010 Annie Award, or Tomm Moore, and a director like Benoît Jacquot .

2017 offers a balance between new collaborations and reconnections. With, on one hand, La Mélodie, first feature of young comedian and director Rachid Hami; on the other, the TV version of Voyage à travers le cinémafrançais, documentary-chronicle signed by Bertrand Tavernier, ambassador of modern cinephilia. A way for Bruno Coulais to pay tribute to his grand predecessors who have shaped his vocation: Maurice Jaubert, Henri Dutilleux, Georges Delerue . . .

Today, after thirty-five years of film music, Bruno Coulais has acquired a status that is unique: that of a composer and ferryman between different worlds, and a triple-agent and dynamiter of frontiers combined. Just take a look at his filmography: it has the Marsupilami of Houba! next to Volker Schlöndorff, André Gide alongside Lucky Luke, and both Diderot and Isaac Hayes! Listening to his work, in a cinema, at a concert or on record, is like being invited to travel through the universe of a creator determined to dream forwards, an innovator whose outward calm comes as an astonishing contrast to the intensity of the inner world.

French specialist in film music

Stéphane Lerouge is specialized in film music and he is the designer of the discographic collection of original film soundtracks “Ecoutez le Cinéma!” for Universal Music France . This was established in 2000 and now includes more than 130 titles . It was inaugurated with French musicians (De- lerue, de Roubaix, Magne, Demarsan) and gradually opened up to interna- tional musicians (Goldsmith, Nino Rota, John Barry, Lalo Schifrin) . He is the author of the Film Music Alphabet (Gal- limard 2000) and Conversations with Antoine Duhamel (Textuel 2007).

Since 1998, he has compiled the com- plete collection of Michel Legrand’s discographic re-editions for Universal and co-wrote, with the composer, his two memoirs, Rien n’est grave dans les aigus (Cherche-Midi, 2013) and the second volume, J’ai le regret de vous dire oui that will be published in 2017 .

In 2016-17, he took part in Bertrand Tavernier’s Voyage à travers le cinéma français and published two antholo- gies with Universal, devoted to Lalo Schifrin and Quincy Jones.

French music composer

As a young symphonist in 1978, Bruno Coulais discovered film music as an additional means of expression, in a way to put the exacting nature of his writing within reach of the widest possible audience. The transition came when working with François Reichenbach, and then film auteurs like Jacques Davila, Christine Pascal, Nico Papatakis or Agnès Merlet.

“In films,” he explains, “a composer has to meet directors halfway, and enter their universe without abandoning his own. That is the difficulty — or the paradox — in writing music for pictures. Collaborating with filmmakers whose worlds varied wildly helped me progress, and explore fields that were not naturally my own”.

Those wider audiences discovered the firepower of his writing with the great television series of Josée Dayan (La Rivière Espérance; The Count of Monte-Cristo) and the documentary Microcosmos, le peuple de l’herbe directed by Claude Nuridsany & Marie Pérennou, an initiatory voyage on the micrometer scale. Into this plunge deep inside the world of the infinitesimally small, Coulais injected a strange lyricism that lies somewhere between marvel and fantasy. On a broader scale, Microcosmos, which earned Bruno Coulais his first César (French Film Industry Award equivalent to the Oscar Award) for best music written for a film, brought him as well an avalanche of offers, from Olivier Dahan to Gabriel Aghion and from Mathieu Kassovitz to Akhenaton. They gave him the chance to build lasting loyal relationships with filmmakers such as James Huth, Jean-Paul Salomé, Frédéric Schoendoerffer, and Jacques Perrin. Bruno Coulais collaborated

on a number of films Jacques Perrin directed and/or produced: Himalaya – l’enfance d’un chef–for which he received his second César for best music written three years after obtaining the same for Microcosmos. He received his third César for another Galatée Films production, The Chorus (Les Choristes). Other films by Jacques Perrin for which Bruno composed include the breathtaking Oceans, Winged Migration (Le Peuple migrateur) and most recently, Seasons (Les Saisons). Whether his films deal with research or develop into such French blockbusters as Dark Portals (Vidocq), Belphegor or The Crimson Rivers (Les Rivières pourpres), Coulais sees his art like a window opening onto the world, one that reveals a modern alchemist’s gifts . It is his personal manner of mingling cultures or creating a genuine fusion between, for example, in the film Himalaya, Tibetan choirs and Egyptian percussions, or Corsican polyphony with A Filetta, who have been his “mascot” vocal group since Jacques Weber’s Don Juan, not to mention a unique signature for constructing dreamlike atmospheres of disturbing softness, and climates based on distorted lullabies, music-boxes and children’s voices.

Similarly, Bruno Coulais has established himself as a link between the animated film d’auteur alongside Henry Selick, whose film Coraline brought Coulais the 2010 Annie Award, or Tomm Moore, and a director like Benoît Jacquot .

2017 offers a balance between new collaborations and reconnections. With, on one hand, La Mélodie, first feature of young comedian and director Rachid Hami; on the other, the TV version of Voyage à travers le cinémafrançais, documentary-chronicle signed by Bertrand Tavernier, ambassador of modern cinephilia. A way for Bruno Coulais to pay tribute to his grand predecessors who have shaped his vocation: Maurice Jaubert, Henri Dutilleux, Georges Delerue . . .

Today, after thirty-five years of film music, Bruno Coulais has acquired a status that is unique: that of a composer and ferryman between different worlds, and a triple-agent and dynamiter of frontiers combined. Just take a look at his filmography: it has the Marsupilami of Houba! next to Volker Schlöndorff, André Gide alongside Lucky Luke, and both Diderot and Isaac Hayes! Listening to his work, in a cinema, at a concert or on record, is like being invited to travel through the universe of a creator determined to dream forwards, an innovator whose outward calm comes as an astonishing contrast to the intensity of the inner world.

American animation feature director

After studying Experimental Animation at the California Institute of the Arts, and working as an animator for Walt Disney Studios and, later, MTV, Henry Selick captured the attention of Tim Burton, who produced his debut film, 1993’s stop-motion The Night- mare Before Christmas, which was nominated for an Academy Award for Best Visual Effects and won the International Animated Film Soci- ety’s Annie Award for Best Creative Supervision. Following were James and the Giant Peach (1996), which received the top prize for an animated feature at the Annecy Film Festival in 1997, and Monkeybone (2001), both of which mixed stop-motion with live action. After contributing stop-motion animation to Wes Anderson’s The Life Aquatic, Selick directed his first computer-generated animation film, the award-winning short film Moongirl, the inspiration for Candlewick Press’s children’s book of the same name. Selick also became the supervising director for feature film development at the Portland, Oregon animation studio LAIKA, where his fourth film Coraline was produced. Coraline, the first stereoscopic stop-motion animated movie, was nominated for an Academy Award, a BAFTA, and a Golden Globe, all for Best Animated Feature.

French director, actor and producer

As an actor, Jacques Perrin has participated in more than 80 films. He started his acting career with La Peau de l’ours (Claude Boissol, 1957) before starring in Valerio Zurlini’s film La Fille à la valise (1960). His meeting with Zurlini led to two additional collaborations: Journal intime (1962) and Le Désert des Tartares in 1976 (for which Perrin was also the co- producer). His career in Italy included also films directed by Mauro Bolognini and Vittorio De Seta. In France, his acting talent brought him the recognition of acclaimed directors and the foundation of long lasting working relationships, as with Pierre Schoendoerffer (La 317e Section, 1964), Constantin Costa-Gavras (Compartiment tueurs, 1964), Claude Chabrol (La Ligne de demarcation, 1966) and Jacques Demy (Les Demoiselles de Rochefort, 1966; Peau-d’Ane, 1970). In 1968, at the age of 27, he created his own production company, Reg- gane Films – which would become Galatée Films – and produced Constantin Costa-Gavras’ film Z (1968). This film won two Oscars, followed by two other films from the same director, State of Siege and Section Spéciale. He also produced Le Crabe tambour (1977) by Pierre Schoendoerffer. All films in which Jacques Perrin was also acting. Jacques Perrin also produced Black and White in Color by Jean-Jacques Annaud, also an Oscar winner.

In the 1980s and 1990s, while pursuing his acting cinematographic career, with notably the success of Cinema Paradiso (Giuseppe Tornatore, 1988), he devotes himself to television and also to his activities as a producer. In 1989, he discovered the natural world when he produced The Monkey Folk, directed by Gérard Vienne. He followed up by producing several films about nature and the animal kingdom including Microcosmos by Claude Nuridsany and Marie Pérenou in 1996, for which he received the César of Best Producer, and Winged Migration in collaboration with Jacques Cluzaud and Michel Debats, the following year. In 1999, he produced Himalaya by Éric Valli, and then went on to produce two films by Christophe Barratier, The Chorus and Faubourg 36. In 2003, he began producing and codirecting Oceans, for which filming lasted five years, and won a César award for Best Documentary. In 2010, he co-directed L’Empire du Milieu du Sud along with Eric Deroo, a documentary on French colonization in Vietman constituted exclusively of archival images and soldiers’ letters. His newest film, Les Saisons, is an ambitious and successful project on the long shared history that binds human- kind and nature, filmed from the point of view of nature.

French specialist in film music

Stéphane Lerouge is specialized in film music and he is the designer of the discographic collection of original film soundtracks “Ecoutez le Cinéma!” for Universal Music France . This was established in 2000 and now includes more than 130 titles . It was inaugurated with French musicians (De- lerue, de Roubaix, Magne, Demarsan) and gradually opened up to interna- tional musicians (Goldsmith, Nino Rota, John Barry, Lalo Schifrin) . He is the author of the Film Music Alphabet (Gal- limard 2000) and Conversations with Antoine Duhamel (Textuel 2007).

Since 1998, he has compiled the com- plete collection of Michel Legrand’s discographic re-editions for Universal and co-wrote, with the composer, his two memoirs, Rien n’est grave dans les aigus (Cherche-Midi, 2013) and the second volume, J’ai le regret de vous dire oui that will be published in 2017 .

In 2016-17, he took part in Bertrand Tavernier’s Voyage à travers le cinéma français and published two antholo- gies with Universal, devoted to Lalo Schifrin and Quincy Jones.

French music journalist

After studying literature and obtaining an advanced degree in jazz and in 1950s and 1960s social movements in the United States, Elsa Boublil followed her passion for the radio by working for France Inter and France Culture, all while continuing to practice the clarinet and singing in various groups.

After collaborations with Frédéric Lodéon, Laure Adler, Michel Polac, Patrice Gelinet, Ivan Levaï, and Stéphane Bern, Elsa Boublil became producer of her show on France Inter. She first began with a two-hour coverage of jazz followed by “Summertime” which was on air every Sunday and summer evenings, and later, she worked on her show “Vous avez dit classique?” (Did You Say Classic?) which aired every day from 4pm to 5pm .

She wrote and published Body Blues with L’Iconoclaste Publishing Company last year.

Since September 2016, she has been producing and hosting “Musique émoi”, on Sundays from 9am to 11am on France Musique, where she receives a guest each week from a cultural, political, scientific, or economic background for an interview where they comment on the influence music has had on their lives. With a note of playfulness and a touch of humor, the program is the materia prima of a life story and of the intimate emotions aroused by music.

French director

Bertrand Tavernier has directed over 50 feature-length films and has won many awards, including five César Awards, four Berlin Film Festival awards, a Best Director Award (Cannes Film Festival), a Los Angeles Film Critics Association Award, and a Prix Louis Delluc.

He has explored different genres, from dramatic comedy with A Sunday in the Country, to war films with Capitaine Conan and police films with L.627. His other successes include The Judge and the Assassin (1976), Coup de Torchon (1981), Mississippi Blues (1982), Round Midnight (1986), Life and Nothing But (1991), The Undeclared War (1991), It All Starts Today (1999), Safe Conduct (2000), In The Electric Mist (2007), The Princess of Montpensier (2010) and Quai d’Orsay (2013) .

Throughout his rich career, he collaborated with main French Cinema figures such as cinematographer Pierre- William Glenn, actors Philippe Noiret, Philippe Torreton and Thierry Lhermitte. His newest film, released in 2016, A Journey Through French Cinema, is a personal retrospective of 50 years of French Cinema compiling newly remastered excerpts of nearly 100 films .