Interview with Guy-Roger Duvert
French composer Guy-Roger Duvert currently works for the trailer music company Pusher Music. He also composes film music. His credits include trailers for movies such as Prometheus, Transformers: Dark of the Moon, Sarah’s Key, and Green Lantern.
Trailer Music News: When did you start to compose and how did you get into trailer music?
Guy-Roger Duvert: I started composing very early, when I was a kid. I guess my first composition was done when I was 8 or something (I’m not saying it was very elaborate, though… I’m not Mozart…) . I always was a fan of film scores (my father was listening to Ennio Morricone all the time), but I scored my first short movie later, when I was 20. I started a very different life (the kind of life that makes you go to the office everyday with a suit and a tie), but at 27, I dropped everything, and I started working as a full time job as a composer.
I came for the first time in Los Angeles in 2010. I’m fan of trailer music, and I really thought I could be good in that kind of work, so I contacted all the trailer music companies in LA. That’s how I met Pusher Music. At that time, they were looking to expand their roster. So I started working with them, and I never stopped since then.
TMN: You have worked with Pusher Music in particular. Was it an interesting experience?
GRD: It is a great experience! Professionally, they definitely know what they’re doing, and it is a pleasure working with them. The first months were wonderful for me, cause I guess my sound was interesting but not yet fully at Hollywood’s level, and thanks to them, I quickly learnt what was missing in my cues. Plus, they’re always interested in getting new sounds, original ideas, so that allows me to try many different things and to be creative.
TMN: Have you worked for other compagnies as well?
GRD: For trailers, none. I have an exclusive deal with Pusher Music. But I have many clients in other areas. I have already scored several long feature films, among which one was nominated at the Cannes Festival, at the Directors’ Fortnight. I also work for video games, for instance. Recently, I worked for Beeline UK (a part of Capcom) for a video game called Explorers of the Lost World. I also provided music last year for a big TV show in France. So, at the end, I’m working for quite a lot of people, I guess…
TMN: What is your favorite placement so far?
GRD: Hmmm… I’m hesitating between Sarah’s Key and Prometheus. Sarah’s Key was the first trailer I got, and there’s almost only my music in all the trailer (while, if you’ve noticed, more and more trailers actually now use several cues at a time). As for Prometheus, well, I am a fan of Ridley Scott, and I am a sci-fi geek. Plus, the music used (« Ultima Necat ») might be my favorite one. From the moment I composed it, I just knew it would end up being chosen. I am actually releasing a trailer music album this month, and the fact that the album is entitled Ultima Necat isn’t fortuitous.
TMN: In addition to trailer music, you also compose film music. How is the writing process different?
GRD: Well, when you compose for fictions, most of the time you have to synchronize on the images, while for trailers, I happen to have the images only 20% of the time. Synchronizing is a very specific task, as you need not only to compose a great music, but also to be sure that you serve the story and the action, by following exactly what’s happening on the screen. Plus, the music will serve different functions. Sometimes, it will follow a physical action, sometimes a more psychological one. So, at the end, it is quite a different process, but I actually love both and I really want to keep on doing both !
TMN: Do you think that your experience in film scoring gives you a better approach to trailer music?
GRD: I do, but mostly because I work for Pusher Music. Most trailer music libraries are libraries. So the clients will just pick up what they want and use it the way they want. While Pusher works differently : they have a roster of composers, and they often work on specifications. They also have a catalogue, but the client can actually require modifications on the cues without problem. So, I think that the fact that I’m used to adapt to a client’s demands actually helps me much in composing trailer music when it’s on a specific project. But when I am just submitting a cue I composed without indications, to add it to Pusher’s catalogue, then I guess it doesn’t make a real difference.
TMN: You are about to release a new album, entitled Ultima Necat, which means “the last one kills” in Latin. What is the concept of this album? What kind of music can we expect?
GRD: This album is a compilation of some of the best trailer cues I have composed these past three years. Some of them were used in trailer movies like Transformers 3, Sarahs’ Key, Prometheus… So all 17 tracks are emotionally strong, some being epic, some others more dramatic. Most have an orchestral basis, but I often add many industrial sounds and I love using vocal performances. At the end, it is an album which respects all the codes of trailer music while still being very personal. “Ultima Necat” is actually a part only of a full latin expression which says “Vulnerant Omnes, Ultima Necat”, which means “every hour wounds, the last one kills”. Which explains why the cover of the album is a mythological clock.
Here’s a preview track from Ultima Necat: “Back from Oblivion”.
TMN: Any particular plans for the future?
GRD: First releasing my new album. Then, keep on working on many projects. While I definitely want to keep on scoring trailers (I just love this kind of music!), I’m also trying to get to score ambitious films. I live in Los Angeles, and I am in touch with several studios. We’ll see where this will lead me.
TMN: Anything else you would like to share with us?
GRD: I’d just would like to thank all the trailer music fans ! It is thanks to you that this specific genre is finally getting some recognition. And I’d like to thank Trailer Music News for giving a visibility to this very specific kind of music.
TMN: Thank you Guy-Roger! Good luck with your projects!
Ultima Necat is available to the public for purchase in digital format through iTunes, CDBaby and Amazon. Physical CDs will follow soon. For licensing information, contact Guy-Roger Duvert. You can find him on Facebook.
