The choristers _Les choristes_ film production notes - Cinematic

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The choristers _Les choristes_ film production notes - Cinematic Powered By Docstoc
					                                   MIRAMAX FILMS and JACQUES PERRIN

                    Les Choristes
                                               (The Choir)
                                        A CHRISTOPHE BARRATIER film

                                             A Franco-Swiss co production
                                                    Galatée Films
                                             Vega Film AG (Switzerland)
                                               Pathé Renn Production
                                                  France 2 Cinéma
                                                 Novo Arturo Films

                                                   in association with
                                             Banque Populaire Images 4
                                                    And CP Medien
                                            With the participation of Canal+
                            with the assistance of the Conseil Général du Puy-de-Dôme

                                                   Associate Producers
                                                   Romain Le Grand
                                                   Ruth Waldburger
                                                     Gérard Jugnot

                                                    Produced by
                                            Jacques Perrin - Arthur Cohn
                                                Nicolas Mauvernay

                                              Running time: 97 minutes
                                             In cinemas: 20 January 2005
                                            Rating: M 15+ (Mature themes)

                    Images associated with childhood, with our founding emotions, are dear to us.

Later, through the memory of events experienced during this apprenticeship to life, their full importance takes shape -
                                           nothing was benign after all.

                        Fleeting joys and inconsolable tears - it all passes but it is never erased.

   And if one note of music, one song, one chorus happens to be connected to these distant echoes, their stamp is
                                                definitely stronger.

            That is probably what I found so moving about Christophe Barratier's script "Les Choristes."

 A strict boarding school, rebellious children, a chorus that brings them together - all making for what is an excellent
                                         representation of childhood as symbol.

                                              - JACQUES PERRIN
In 1949, Clément Mathieu, an unemployed music teacher, is hired as supervisor in
a boarding school for troubled children. The particularly repressive Rachin, the
school's director, has trouble keeping these difficult pupils in line.

By introducing them to the magic of singing, Mathieu changes their lives forever…
Christophe Barratier

Christophe Barratier, a classical guitarist, is a graduate of the Ecole Normale de Musique in Paris
and winner of several international guitar competitions.

In 1991, he joined Jacques Perrin's Galatée Films. Where he acted as associate producer on
Children of Lumiere (Les Enfants de Lumière), Microcosmos, Himalaya and Winged Migration.

In 2001, he directed his first film, a short subject starring Lambert Wilson and Carole Weiss,
based on Maupassant's novella Les Tombales Broadcast on Canal+ and FR3, it was in selection
at the Clermont-Ferrand Festival.

Produced by Galatée Films and co-written with Philippe Lopes-Curval, Les Choristes is
Christophe Barratier's first feature film.

Why did you decide to base your first film on Jean Dréville's 1945 film La Cage aux
rossignols (A Cage of Nightingales)?
After Les Tombales, my short film, I was looking for a good story for my first feature film. I
realized that the notes I was taking were sort of linked to my early childhood, to the emotions I
felt between the ages of four and eight. Also, given my musical education, I really wanted to do a
story that had to do with music. So naturally, the combination of music and childhood led me to
La Cage aux rossignols. I saw that film when I was about seven or eight, in 1970 or 1971, on one
of the two only TV stations. As a child, I was deeply moved. The film is now almost forgotten
but its charm subsists. And it hasn't been sanctified as a "masterpiece" of French cinema either,
which made less dangerous to adapt.

Two of the most vivid memories which stayed with me were the emotion produced by the
children's voices and the character of the failed musician who tries, in spite of everything, to
transform the world of the people around him. That's what I like in movies. In fact, the films
which have influenced me the most all have this in common - how one individual can help make
the world more liveable. I know a film won't change things, but it can make you want to try. I
like coming out of the theatre feeling like I want to identify with the main character. Clément
Mathieu's teaching isn't limited to music lessons; there's a life lesson as well. The movie has
three themes - early childhood, music, and the passing of the torch.

Were you tempted to transpose the story to the present day?
Never. For a very simple reason. Making a story about a man who teaches singing to children
today would mean first of all addressing who those children are. You'd have to get into issues
like housing projects, chronic unemployment, assimilation, juvenile delinquency, and that wasn't
what I wanted to do… There's also the status of the main character. Clément Mathieu, as a
teacher today, would have other priorities. He would be nothing like the music teacher of the

Why put the accent on childhood?
Because it's a universal theme - everybody remembers the feeling of injustice and abandonment
that a child feels when his parents are absent or deceased, the rebellion and inhibitions that can
stem from it.

Whatever the social background of the children cast in the film, they needed only to put on the
period costume to become children who shared the same fears, the same desires and the same

Why set the film in 1949?
Setting the film in that precise year was intentional. Indeed, reintegration centres, commonly
called "correctional houses" were set up right after the war. The Youth Protection Service (PJJ,
or Protection Judiciare de la Jeunesse) was created during the same period, giving children a
different legal status than adults. It was the very beginning of a sort of official child psychology,
with all the wanderings goes with it. It was also the start of psychological profiling, in what was
a well-intentioned desire to "oversee" them. These methods hinted at in the film seem of course,
very problematic to us today,. The late forties, finally, was a period of trauma. We were just
coming out of the war and, as in all periods of crisis, parents had other things to deal with than
bringing up their children.

Did you immediately think of Gérard Jugnot for the role of Clément Mathieu?
Yes. He's also co-producer of the film. I have a lot of confidence in his judgment - he's an
excellent reader.
He read all three drafts of the script and each time gave me some very savvy advice. He has
uncanny instincts about script problems and he knows how to anticipate the audience's
expectations, in the best sense of that term - that is, giving them films they might like, not the
ones they like already. His contributions were always right to the point. He introduced me to
Philippe Lopes-Curval, with whom he had just written Monsieur Batignole. Philippe had some
very good ideas, especially in developing the characters' psychology - whether it was the
schoolmaster played by François Berléand, for whom the children are the symbol of a failed
career, or Chabert, played by Kad Merad.

How did you find the children?
First of all, I really wanted the role of the little soloist to be played by a real singer. I knew that
wasn't easy to find, but I got incredibly lucky. As we toured France, listening to major children's
choruses to pick the one for the film soundtrack, we discovered the young Jean-Baptiste
Maunier, the soloist of "Petits chanteurs de Saint-Marc" in Lyons. He has an exceptional and
very moving voice. When he nailed his acting auditions, I had made up my mind

For the rest of the chorus, I didn't want "professional" child actors because I didn't want to fall
into the trap of the "trained seal" syndrome. We went looking for kids around the area where we
were shooting, in the region of Auvergne. Sylvie Brocheré and her assistant culled children from
elementary and junior high schools around Clermont-Ferrand. After auditioning over 2000 kids, I
found enough "natural actors" among them to complete the cast. Only the Parisians, Théodule
Carré Cassaigne and Thomas Blumenthal, had any acting experience and they blended in with
the "neophytes" very smoothly. As for Maxence Perrin (Pépinot), Jacques' son, this was of
course his first experience. At first, they all sang along to play-back recordings we had made
with the chorus in Lyons, but very quickly that was no longer necessary. Although they were all
complete novices, they learned all the pieces by heart and sang them with unbelievable energy.

Besides the casting, what were the most vital elements of the production?
The sets. I wanted to visually re-create an austere and practically threatening place - giving the
emotion preference over realism. In actual fact, when you look at pictures from the period, the
buildings were classic public school type buildings, familiar and reassuring. But I wanted an
oversized building, something imposing and inhospitable, really off the scale, so I could
communicate the sensations of a child, for whom everything is bigger and more impressive than

What choices did you make as a director using those sets?
First, I wanted to film it in scope so I could signify the crushing isolation of these tiny children at
the centre of the frame. We had to have a fairly large frame to film the whole of the main set, the
classroom. We were ready to depart a little from reality in order to convey the feeling that we're
not in a mere classroom but in a world peopled with some special characters.

I'm also very fond of a style which, in musical terms, is called legato, that is, "connected" or
"flowing." I prefer that to a frantic and shaky style. Fewer shots, but more travellings, pans,
dissolves and fade to black. I also wanted elegant transitions from scene to scene, especially in
the sung parts, which had to work with some quick cuts following a certain musical rhythm. At
the sound mix, we worked on the evolution of the voices in the chorus, using the sound quality
and even the musical quality to our advantage. We had to give the audience the sense of time
passing by, just as the voices from the chorus were also evolving.

What about the music?
Bruno Coulais and I started working in September 2002, nine months before the shoot. I wanted
to avoid the "children's chorus" feel with your typical Christmas carols and fireplace songs. The
music had to be really strong, almost completely original and not from an existing repertory. The
music we hear in the story is that of Clément Mathieu, so we varied the genres and the musical
climates according to the character's evolution. Making this film was often like making a

Now that the film is completed, what do you take away from it?
The feeling that I had been unconsciously walking around with this story inside me for a long
time. Telling it probably allowed me to exorcise certain events of my own life, since I was a
child musician. It was good therapy, allowing some closure about my childhood, which wasn't an
unhappy one at all but was at times difficult and which, like many other people, made me fragile.
I also got the chance to talk about music, which remains one of my life's passions. Like Clément
Mathieu, I never had my musical career. One day I just gave it all up. I knew I would have to talk
about it one day, if only to decide whether that move was courageous or cowardly. I think you
can pretty much guess who I am through each of the characters in Les Choristes… and that
includes the schoolmaster!
Gérard Jugnot
How did you come to be Clément Mathieu?
I've known Christophe Barratier for a pretty long time. We share a taste for vintage French
cinema, all those films which starred old French actors they called the "eccentrics". The most
iconic for me would be Noël Noël, whom I admire no end. So one day Christophe told me about
his desire to direct his version of La Cage aux Rossignols (A Cage of Nightingales). I first told
him that was great but that it could also turn out to be a "corny" idea: a guy getting kids to sing,
saving them from solitude through a chorus…You had to make a modern movie set in the
not-too-distant past, because if it took place today, you'd have to transform my character into a
teacher who teaches kids to rap in the inner city! It could have wound up playing to the cheap
seats. In the end, Christophe was very smart - setting the action in the very dramatic post-war
period but also giving us a very moving scene which takes place in the present where a character
thinks about his past and realizes that he owes his success to someone he has forgotten, who he's
let on the wayside of his life. It's very nostalgic, extremely sincere and atypical, very much in
keeping with what Jacques Perrin produces.

Did you read the various drafts of the script?
Yes. The first draft was perhaps a little too mellow. We talked about it with Christophe and that's
when we brought Philippe Lopes-Curval in. I know him well, and their collaboration
strengthened the story, giving the characters some rough edges and therefore little more depth.

What was your decision to act in the film based on in the end?
Different things. What I like about this movie is that it doesn't seem like a "first-time director's"
work. Also the musical aspect is surprising, really great. The music brings a true dynamic to the
story, especially with the children singing. You can feel Christophe has as much passion for film
as he does for music. In fact, he composed two of the pieces sung in the film, along with Bruno
Coulais. The result is a film without sappiness, with all the earmarks of great emotion and
evocative powers. It has the charm of writing on a blackboard, the charm of those musty
childhoods we all had.

Your childhood?
Yes, it reminds me of my childhood in the sixties - which wasn't that harsh, but the feeling of
boredom and abandon was there. It's something that's pretty universal.

How would you define your character?
He's a Chaplinesque character. More of a loser than Noël Noël in La Cage aux Rossignols who
got married, wrote a book about his experience and winds up a sparkling success. In Christophe's
film, Clément Mathieu is a man who didn't succeed as a musician but who acts so that others can
succeed. This passer-of-the-flame side to the character moves me. People like him have drawn
the curtain on their own personal lives. A lot of teachers have that kind of altruism. Of course,
that begs the question of what really is success in life.

What helped you to play this character?
I paid a lot of attention to details in his physical appearance - wearing old shoes, never changing
his suit, with the same threadbare jacket. For the chorus scenes, the conductor guided me, helped
me keep the measure and showed me the right gestures to keep it credible when I was conducting
the children.

How is acting with children special?
I've made many movies with children. They guide you. The characters work themselves out
through what's there in front of you. Here, I was in a classroom during a heat wave with forty
kids who were very nice but who could wear you out with their energy. To get them out of the
classroom took fifteen minutes but getting them back in took two hours. The set was a mixture of
"goofing around" and strictness. It was very emotional and it's wonderful when you love kids. As
it happens, a few of my films were on TV during the shoot. That made them both like me and
respect me more. As soon as work was over, they came to tell me about their family stuff, their
heartbreaks, or just things that had made them laugh. The last day was very emotional. All the
kids were in tears. I really felt like a teacher who was leaving his pupils at the end of the school
year. I knew them all and all their quirks. The ones you notice right away, the ones who lay low,
the ones you think have a bright future, others where you feel like they've got a rougher road to
walk. And all the time you have to be careful not to favour anyone. And of course I had to help
them act, to stay natural and at the same time forcing them to listen to me. That's where my
experiences in shooting Scout toujours or Monsieur Batignole came in very handy.

Why did you choose to be associate producer on Les Choristes?
It's a way of showing that I believe in this film, of getting involved. But the one who took most
of the risks was Jacques Perrin. He had no qualms about re-shooting scenes, about providing the
means to make it work. He knows that's what money is for - to make movies.

Did you know your fellow actors, François Berléand, Kad Merad?
I knew them, but I had never worked with them. I never managed to do a movie with François
Berléand and he does two hundred a year! He's fabulous and we got along really well. I could
say as much about Kad, who showed that he's really an actor, not just a comedian.

What were the scenes you were most afraid to shoot?
The chorus scenes. But in fact they turned out to be absolutely magic because the kids, who were
singing to a recording at the beginning of the shoot, most of them very badly, wound up singing
very well by the end of the film, just like in the story. I discovered the strength of the singing
voice. You know, a lot of people sing in choruses. Singing is very liberating.

What do you take away from this film?
The film begins in clouds and ends in the sunshine. I don't know if it's because I often feel like an
aging child, but this shoot with all those kids, that nostalgia for childhood, all those emotions
have something in common with a fantastic time at a summer camp.
Gérard Jugnot
Clément Mathieu
Since 1990
2004     (Les Choristes) - C Barratier
2002     Monsieur Batignole - Director
2001     Oui, mais… - Y Lavandier
         The Race (Le Raid) - D Bensalah
2000     Most Promising Young Actress (Meilleur espoir féminin) - Director
1999     Influence Peddling (Trafic d'influence) - D Farrugia
1997     Marthe - J-L Hubert
1996     Fallait pas…! - Director
1995     Fantôme avec chauffeur - G Oury
1994     The Imposters (Les Faussaires) - F Blum
1993     Dead Tired (Grosse fatigue) - M Blanc
         Blue Helmet (Casque Bleu) - Director
1992     Voyage à Rome - M Lengliney
1991     The Keys to Paradise (Les Clefs du paradis) - P de Broca
         Wonderful Times (Une Epoque formidable) - Director
1990     Docteur Apfelgluck - T Lhermitte

François Berléand
Since 2000
2004 Narco - Tristan and Gilles
       Le Grand rôle - S Suissa
       Pour le plaisir - D Derrudere
       Une Vie à t'attendre - T Klifa
       Je suis votre homme - D Dubroux
       Le Convoyeur - N Boukhrief
       Les Choristes - C Barratier
       Les Amateurs - M Valente
2003 Model Employee (Une Employée modèle) - J Otmezguine
       En territoire indien - L Epp
2002 The Transporter - C Yuen and L Leterrier
       Whatever You Say (Mon Idole) - G Canet
               (César nomination: Best Actor)
       Filles uniques - P Jolivet
2001 Alive (Vivante) - S Ray
       Warrior's Brother (Le Frère du guerrier) - P Jolivet
       The Adversary (L'Adversaire) - N Garcia
       Ferocious (Féroce) - G de Maistre
2000 One 4 All (Une pour toutes) - C Lelouch
       Tender Souls (Les Ames câlines) - T Bardinet
        HS, Hors Service - JP Lilienfeld
        The Prince of the Pacific (Le Prince du Pacifique) - A Corneau
        La Fille de son père - J Deschamps

Kad Mérad
2004 The Daltons (La Vraie vie des Dalton) - P Haïm
     Les Choristes - C Barratier
2003 Don't Worry, Be Happy (Rien que du bonheur) - D Parent
     Mais qui a tué Pamela Rose? - E Lartigau
     La Beuze - F Desagnat, T Sorriaux
     Bloody Christmas - M Leray
     The Pharmacist (Le Pharmacien de garde) - J Veber
2001 Faute de grive - P Bosso
     The High Life (La Grande vie) - P Dajoux
     Les Tombales - C Barratier (short)
1999 Jeu de vilain - H Eparvier
     Dialogue au sommet - X Giannoli

Marie Bunel
Violette Morhange
2004 Arsène Lupin - J P Salomé
       Les Choristes - C Barratier
2002 Seventeen Times Cécile Cassard (17 fois Cécile Cassard) - C Honoré
2000 Family Pack (Que faisaient les femmes pendant que l'homme marchait sur la lune?) -
       C Vander Stappen
1997 My Life in Pink (Ma Vie en rose) - A Berliner and C Vander Stappen
1994 Au Petit Marguery - L Bénégui
       Lou Didn't Say No (Lou n'a pas dit non) - AM Miéville
       Couples et amants - J Lvoff
1993 The Marriage Boat (Le Bateau de mariage) - JP Améris
1992 La Femme à abattre - G Pinon
1990 The Discreet (La Discrète) - C Vincent
1989 The French Revolution (La Révolution Française) - R Enrico, R Heffron
1988 Story of Women (Une Affaire de femmes) - C Chabrol
1983 The Blood of Others (Le Sang des autres) - C Chabrol

Bruno Coulais
March 2003
Along with Christophe Barratier, I travel through France looking for the children's chorus to sing
the music in the film. Although he has little hope, Christophe is also looking for a little singer
who could appear in the film as Pierre Morhange, the main role, rather than using a child actor
and dubbing him afterward. One day, we're in Lyons, near the Cathédrale de Fourvière, visiting
the Saint-Marc school's Petits Chanteurs group. As we walk up the school steps, we hear the
faint echo of a Purcell melody, led by an incredible soprano voice. We will soon recognize it as
that of a 12-year-old boy with all the charm and good looks it takes to play a leading role. His
name is Jean-Baptiste Maunier. Christophe immediately auditions him. He's got it. The chorus
also, is excellent - they are chosen. The choruses heard in the film are supposed to be composed
by the main character, Clément Mathieu, a good musician but one who is certainly not in the
avant-garde of musical currents… So I had to respect a tonal style while avoiding the clichés
which go along with that repertoire. With the support of Nicolas Porte, the chorus' conductor,
and thanks to the children's talent, we were able to work well before the shoot, looking for styles
and colours… Trying, starting over… The singing was recorded prior to the shoot, partially
re-recorded afterward and, finally, bolstered by additional orchestration. Music was the film's
subject. The progress of the chorus had to be evident throughout the film and simple,
unpretentious music, which drew more on the emotion than on stylistic considerations, had to be

François Chauvaud
When I walk into a place for the first time, I'm overcome by its history and by that of the men
and women who lived there - a charge of time and time forgotten. The birth of a new history.
Visually restore the emotional charge of a story.

Observing the play of light, the ambiance, load up on the atmosphere.



Have certainties, then forget them.

Recreate the primary emotion… And then get to work, letting the story take me, soaking it up,
living it and being its witness.

The moment of transcription begins.

Then the children come, the actors, and it's their turn to take possession of the set.

Watching them create an emotion in this place…

Françoise Guégan
May 2003
We are about to set out on an adventure with 65 apprentice actors aged 8 to 13.
After detailed documentation about the period, we found it was hard to find costume rentals for
our little society. But with the help of Costume et Costumes and Eurocostumes, we finally put
together a coherent stock.

June 2003
With my staff, I set out to meet the young actors and to see for the first time the Ravel Château,
which will be our daily setting for the next few weeks. The second part of my work then begins -
stressing the personality of each of these children by his costume, recreating the wear-and-tear of
time and its story.

July 2003
Now we've got it. The sneakers and jeans are hung up in the closets.

At first, the children were intimidated, embarrassed about wearing these get-ups and making fun
of one another. After a trip to the hairdresser, here we are in 1949.

In the midst of a terrible heat wave and after a few days of shooting and improvised recreation,
the children are wearing winter clothing when they come in for evening undressing. Blisters on
their feet and shoes destroyed, soles coming unstuck, holes in their pants and tears in all their

Each day, all the talents of my ingenious crew are tested. The children can't see why, during a
heat wave, they have to wear such heavy clothing in the scenes which are supposed to take place
in winter. Inside the tent where we prepared them, a very lively atmosphere pervaded. My
memory of this shoot, and the children who won us over so quickly, will stay with me a long

Carlo Varini
Director of Photography
For Les Choristes, I tried to get an image with austere lighting where the colours would evoke
the period and the context. The chill of winter light had to make the whole establishment even
more uncomfortable. In the classroom, the lights are left off because it's daytime. In the dining
hall, the windows only allow a wan halo to filter in, forcing the use of electric lights. The
dungeon is black by definition, the dormitory with its yellow nightlights to keep you from
dreaming… Fortunately, spring arrives with warmer colours, music, life and love.

The shoot was a very special adventure, especially for the actors and children, all bundled up and
pretending it was winter during a heat wave.
Jacques Perrin Productions
Main productions
2004       Les Choristes - Christophe Barratier
           La Vie comme elle va - Jean-Henri Meunier
           Voyageurs du ciel et de la mer - Jacques Cluzaud and Jacques Perrin
             Filmed in IMAX for the Poitiers Futuroscope
2002       11/09/01 - Collaborative film - Samira Makhmalbaf, Claude Lelouch, Youssef
           Chahine, Danis Tanovic, Idrissa Ouedraogo, Ken Loach, Alejandro Gonzalez
           Iñárritu, Amos Gitaï, Mira Nair, Sean Penn, Shohei Imamura
1998/2001 Winged Migration (Le Peuple migrateur) - Jacques Perrin, Michel Debats, Jacques
             Best Editing César 2002
             Oscar nomination 2003
1999       Himalaya (Himalaya, l'enfance d'un chef) - Eric Valli
             Best photography César
             Best music César
             Oscar nomination 2000
1994       The Children of Lumiere (Les Enfants de lumière) - Pierre Philippe, André Asséo,
           Pierre Billard
             Montage film for Cinema Centennial
           Microcosmos (Micocosmos, le peuple de l'herbe) - Claude Nuridsany and Marie
             Grand prize - Superior Technique Commission, Cannes 1995
             Best photography, music, editing, sound and best production Césars
1990       Out of Life (Hors la vie) - Maroun Bagdadi
             Prix du Jury at the Cannes Festival 1991
1988       The Monkey Folk (Le Peuple singe) - Gérard Vienne
             Cannes Festival Official Selection 1989
1987-88    Médecins des hommes - Maroun Bagdadi, Yves Boisset, Alain Corneau, Laurent
           Heynemann, Jacques Perrin, Florestano Vancini
             TV mini-series, six episodes
1977       The Desert of the Tartars (Le désert des Tartares) - Valério Zurlini
1976       Black and White in Colour (La Victoire en chantant) - Jean-Jacques Annaud
             Best foreign film Oscar
1975       Special Section (Section spéciale) - Costa Gavras
1973       State of Siege - Costa Gavras
1968       Z - Costa Gavras
             Best foreign film, best editing Oscars

Clément Mathieu                     Gérard Jugnot
Rachin                              François Berléand
Chabert                             Kad Merad
Father Maxence                      Jean-Paul Bonnaire
Violette Morhange           Marie Bunel
Régent                      Paul Chariéras
The Countess                Carole Weiss
Monsieur Langlois           Philippe Du Janerand
Doctor Dervaux              Erick Desmarestz
Pierre Morhange             Jean-Baptiste Maunier
Pépinot                     Maxence Perrin
Mondain                     Grégory Gatignol
Corbin                      Thomas Blumenthal
Le Querrec                  Cyril Bernicot
Boniface                    Simon Fargeot
Leclerc                     Théodule Carré-Cassaigne
The Doctor                  Armen Godel
The Mother                  Monique Ditisheim
Assistant Pierre Morhange   Steve Gadler
Carpentier                  Fabrice Dubusset
Madame Rachin               Marielle Coubaillon
Fille Rachin 1              Violette Barratier
Fille Rachin 2              Léna Chalvon
The Cook                    Colette Dupanloup
With the participation of   Jacques Perrin and Didier Flamand

Director                    Christophe Barratier
Screenplay                  Christophe Barratier
Adaptation and dialogue     Christophe Barratier, Philippe Lopes Curval
Directors of Photography    Carlo Varini (AFC), Dominique Gentil (AFC)
Sound                       Daniel Sobrino, Nicolas Cantin, Nicolas Naegelen
Editing                     Yves Deschamps
Sets                        François Chauvaud
Costumes                    Françoise Guégan
Assistant director          Marc Baraduc
Script Supervision          Françoise Thouvenot
Casting                     Sylvie Brocheré
Production Manager          Bernard Lorain
Unit Manager                Christophe Anzoli
Make-up                     Sylvie Duval
Hairdresser                 Sylvie Leray
Property Manager            Jean-Pierre Gaillot
Props                       Bernard Ducrocq
First Assistant Camera      Piotr Stadnicki
Head Gaffer                 Simon Bérard
Best Boy                    Nil Henchoz
Production Secretary        Magali Herbinger
Administrators              Stéphanie Auger, Claude Morice
Assistant Director          Valentine Perrin
Making-of                            Daniel Deleforges
Set Photographer                     Philippe Quaisse, Jean-Michel Grad
Photographer                         Yves Prince
Music composer and conductor         Bruno Coulais
Chorus conductor                     Nicolas Porte
Chorus                               Les Petits Chanteurs de Saint-Marc
Les Choristes, Journal de Clément Mathieu by Yves Prince and Christophe Barratier
(Éditions du Seuil)
Based on the screenplay of La Cage aux Rossignols (A Cage of Nightingales)
Director                             Jean Dréville
Dialog                               Noël Noël
Adaptator                            René Wheeler, Noël Noël
Screenwriter                         Georges Chaperot, René Wheeler
Producer                             Gaumont

Original music composer and conductor                Bruno Coulais
Cerf-volant and Nous sommes de Fond-de-l'Etang composer       Christophe Barratier
With the participation of the chorus                 Les Petits Chanteurs de Saint-Marc
                                                     Jean-Baptiste Aubourg
                                                     Timothée Bernard
                                                     Charlotte Bourgeay
                                                     Cyprien Bureau
                                                     Stan Chabert d'Hières
                                                     Alexis Charfe
                                                     Camille Chavent
                                                     Hugo Dalmas
                                                     Alizée Dayde Cholière
                                                     Clémence Denis
                                                     Mélanie Dore
                                                     Camille Farcot
                                                     Marie-Alizée Favreul
                                                     Arnaud Fendler
                                                     Baptiste Fompeyrine
                                                     Pauline Fressenon
                                                     Lucile Hartmann
                                                     Pierre-Yves Heckert
                                                     Elsa Journet
                                                     Camille Juven
                                                     Mathieu Lefebvre
                                                     Juliette Liotard
                                                     Emmanuel Lize
                                                     Clara Notter
                                                     Marina Pangos
                                                     Cyrille Paufique
                                                     Kévin Soury
                                                      Pierre-Henri Tallet
                                                      Claire Valette
                                                      Jacinthe Vannier
                                                      Alexis Vercoustre
                                                      Laurie Vercoustre
                                                      Didier Accard
                                                      Nicolas Bottazzi
                                                      Romain Cornier
                                                      Hervé Crehalet
                                                      Florent Gamblin
                                                      Matthieu Montagne
                                                      Benoît Reymond
                                                      Cyril Rigogne
Conductor                                             Nicolas Porte
Soloist                                               Jean-Baptiste Maunier
Recorded at Studios Hacienda in Tarare (Rhône)
Symphonic orchestration                                 Bulgarian Symphony Orchestra-SIF
Conductor                                               Deyan Pavlov
Recorded at Studio 1 Bulgarian National Radio. Sofia (Bulgaria)
Piano                                                   Raoul Duflot Verez, Dominic
Mix                                                     Studio Guillaume Tell (Suresnes)
Sound Engineer                                          Didier Lizé
Musical Supervisor                                      Slim Pezin
Artistic Directors                                      Bruno Coulais, Didier Lizé, Slim
                                                        Pezin, Christophe Barratier
Executive Producers - Music                             Paul Lavergne for Madoro Music
Jacques Perrin's conducting coach                       Jean-Michel Ferran
Gérard Jugnot's music coach                             Nicolas Porte

The Songs
Nous sommes de Fond-de-l'Etang (Lyrics: Christophe Barratier/Philippe Lopes-Curval; Music:
Christophe Barratier)
Vois sur ton chemin (Lyrics : Christophe Barratier; Music: Bruno Coulais)
Caresse sur l'océan (Lyrics: Christophe Barratier/Bruno Coulais; Music: Bruno Coulais)
Lueur d'été (Lyrics: Christophe Barratier/Bruno Coulais; Music: Bruno Coulais)
Kyrie (Bruno Coulais)
Cerf-volant (Lyrics: Christophe Barratier; Music: Christophe Barratier/Bruno Coulais; Music
Publisher: Galatée Films)
La Nuit (J.P. Rameau)

Original soundtrack available on CD Warner Music France

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