Paris en Couleurs, an Étude in Composing and Filmmaking

When you learn how to play piano, whether it’s classical, jazz, or any other genre, you learn by playing other music. In a way, I felt it was time to get back to basics and not only score music with familiarity, but also scrap my filmmaking rig down to its basics: a single lens, a camera, and no tripod. I guess I could have taken this furthur with a prime.

As luck would have it, my wife and I found ourselves in Paris with a simple blue satchel, some decent walking shoes, and a metro/museum pass. I had five days to film.

I sort of had this idea on what the film should look like: I really love the yellowish tint you sometimes see with Luc Besson films, and I also love fast cuts that are syncronized with the music. Though at first I was contemplating filming textures only, but Paris as a whole is amazing.

I’m a big Yann Tiersen fan, and I also have Philip Glass records on the shelf. There’s just something whimsical about repetition, in a way that makes your brain fill in the rest of the parts. This would also be the first time I wrote something in 3/4 come to think of it, but definately not the first time that I’ve played music in this time signature.

A couple of weeks later, I had finished the first cut and track. I miss Paris, but I look forward to working on some new film and music for The Curators with some skills that I picked up overseas.

About Pilot Bay Films

Welcome to the workspace of Pilot Bay Films. Born from long summer months fishing from a rock on the East Shore, to the long hikes in the Kootenay wilderness in search of lost and forgotten mines, these adventures have served as the inspiration for these films.

Equal part film, with equal part scoring, these films are here to tell a story and make you a part of this adventure.

What do we do? Planning / filming / editing / scoring... what ever it takes.