Bruno Coulais discovered film music as a young symphonist, in 1978. He worked with François Reichenbach, and film auteurs like Jacques Davila, Christine Pascal, Nico Papatakis or Agnès Merlet. Wider audiences discovered his writing with the television series of Josée Dayan (La Rivière Espérance, The Count of Monte-Cristo) and the documentary Microcosmos directed by Claude Nuridsany and Marie Pérennou, an initiatory voyage on the micrometer scale. Microcosmos earned Bruno Coulais an avalanche of offers, from Olivier Dahan to Gabriel Aghion and from Mathieu Kassovitz to Akhenaton. It gave him the chance to work with filmmakers such as James Huth, Jean-Paul Salomé and Frédéric Schoendoerffer.
Music is his personal manner of mingling cultures or creating a genuine fusion between, for example, Tibetan choirs and Egyptian percussion or Corsican polyphony with A Filetta – his “mascot” vocal group since Jacques Weber’s Don Juan. In 2004, his work was divided between the tidal wave of Christophe Barratier’s film The Chorus and Genesis, a documentary on the very meaning of life. Bruno Coulais has established himself as a link between the animated film d’auteur (Henry Selick, Tomm Moore) and directors like Benoît Jacquot, even though Jacquot is known for his suspicions regarding film music, all the more so when that music is original. Since 2008 Coulais has written the music for all of Jacquot’s feature films, from Farewell, My Queen to Diary of a Chambermaid, Three Hearts or Deep in the Woods, for which he composed a Concerto for violin.