Pour elle
| # | 跟踪 | 持续时间 | |
|---|---|---|---|
| 1. | Lisa & Oscar | 3:13 | |
| 2. | Monsieur Tout-Le-Monde | 10:33 | |
| 3. | Innocent | 5:05 | |
| 4. | La Clé (The Key) | 5:34 | |
| 5. | Evasion (Escape) | 5:47 | |
| 6. | Trop Tard (Too Late) | 3:33 | |
| 7. | Générique Fin (End Credits) | 5:13 | |
| 38:58 |
Lisa and Julien are married and lead a happy and uneventful life with their son Oscar. Their lives are turned upside down one morning when the police arrive to arrest Lisa for murder. She is sentenced to 20 years in prison. Convinced of her innocence and faced with the failure of legal means, Julien decides to help her to escape.
Just how far is he prepared to go “For Her” (“Pour Elle”)?
Director Fred Cavayé about his work with Klaus Badelt:
“It is a fantastic opportunity to be able to work with such a big name for the first time. Klaus is a man who has worked with Terrence Malick and Michael Mann, and this is the first time that he has composed music for a French film. He liked the screenplay as soon as he read it and he accepted task of composing the soundtrack. On a personal level, it is a joy to work with him. His music is part of the intensity and the emotion of the action and takes it to a higher level. His music embodies and conveys all the implicit details which were at the fringes of the action. Suddenly, it was as if the stage directions were recreated on screen. The fact that we had so little time made us look at the heart of the matter. Klaus is a person who works without involving his ego, he dedicates himself to the film and gives everything to benefit the story. We made the recording at Abbey Road with key musicians and I confess that I felt a shiver go down my spine when I found myself confronted by forty violins playing the theme tune, there, right in front of me.”
Just how far is he prepared to go “For Her” (“Pour Elle”)?
Director Fred Cavayé about his work with Klaus Badelt:
“It is a fantastic opportunity to be able to work with such a big name for the first time. Klaus is a man who has worked with Terrence Malick and Michael Mann, and this is the first time that he has composed music for a French film. He liked the screenplay as soon as he read it and he accepted task of composing the soundtrack. On a personal level, it is a joy to work with him. His music is part of the intensity and the emotion of the action and takes it to a higher level. His music embodies and conveys all the implicit details which were at the fringes of the action. Suddenly, it was as if the stage directions were recreated on screen. The fact that we had so little time made us look at the heart of the matter. Klaus is a person who works without involving his ego, he dedicates himself to the film and gives everything to benefit the story. We made the recording at Abbey Road with key musicians and I confess that I felt a shiver go down my spine when I found myself confronted by forty violins playing the theme tune, there, right in front of me.”