Coulais began his musical education on the violin and piano, aiming to become a composer of contemporary classical music. However, a series of acquaintances gradually re-oriented him towards film music. Coulais was particularly influenced by director François Reichenbach, who asked him in 1977 to write the soundtrack to his new documentary Mexico Magico. The first full-length production he composed the score for was the 1986 film La femme secrète by Sébastien Grall. Until the end of the 1990s, he remained low-profile, composing mainly for television. His name can often be found from TV films by Gérard Marx and Laurent Heynemann. He also composed the soundtracks for Christine Pascal's 1992 film Le petit prince a dit, and Agnès Merlet's Le fils du requin in 1993.
In 1994, he met the television producer Josée Dayan, who let him write a theme for the TV series La rivière Esperance, aired on the France 2 network in autumn 1995. He worked with Dayan again with other major productions such as Le comte de Monte-Cristo, Balzac, and Les nuiteux.
The largest turning point of his career came in 1996, when he worked with directors Claude Nuridsany and Marie Pérennou of the documentary Microcosmos. This single film, which gave a great significance to the music in it, was a great success and made Coulais one of the most wanted composers of French film music. In 1997, he won the César award for the best musical score in a film, as well as a Victoire de la Musique. His reputation was confirmed by the soundtracks to Himalaya (1999) and Les rivières pourpres (2000), and after that Bruno Coulais's name was to be found on most new French blockbusters, such as Belphégor and Vidocq.
After producing the soundtrack to Winged Migration in 2001, Coulais announced that he wanted to significantly reduce his contributions to film music, and instead concentrate on other projects, such as the creation of an opera for children, and collaborations with Akhenaton, Akhenaton's group IAM and the Corsican group A Filetta, with whom he had worked since he had made the soundtrack for Jacques Weber's film Don Juan in 1998.
In 2002, his name was found on the ending credits of the animation L'enfant qui voulait être un ours, and in 2004, on Frédéric Schoendoerffer's Agents secrets. The same year, he wrote the soundtrack to the film Les choristes by Christophe Baratier, which subsequently became an international hit. The music for this film received as great praise as the film itself, and it won Coulais his third César award. Since then, Coulais's collaborations in cinema seem to be limited to works by directors with whom he already shares some history, in particular Jacques Perrin, Frédéric Schoendoerffer, and James Huth.
Bruno Coulais's musical style may vary significantly between different projects, but there are some constant factors visible: his taste for opera and for human voice (in particular that of children), for a search for original sonority, for world music and mixing different musical cultures, and finally, a certain tendency to give preference to the ambience created by lighting rather than the film's narration.
Nous Sommes de Fond de L
Bruno Coulais Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Le Leclerc n'est pas très clair
L' Boniface n'est pas loquace
Carpentier sait pas compter
Nous sommes de fond de l'étang
C'est pour le moins déconcertant
Nous sommes de fond de l'étang
Nous sommes de fond de l'étang
C'est pour le moins déconcertant
Nous sommes de fond de l'étang
Et c'est bien ça qu'est embêtant
The lyrics of Bruno Coulais's song Nous sommes de fond de l'étang are quite simple, yet intriguing. The song tells the story of a group of people from the bottom of the pond, with each verse describing a different character. The first line talks about Le Querrec, who is struggling to make ends meet and is left with only dry bread to eat. Next, we hear about Leclerc, who is not very clear or transparent in his actions, followed by Boniface, who is not very talkative. And finally, Carpentier, who is not good with numbers, indicating his lack of education.
The chorus repeats the phrase "Nous sommes de fond de l'étang" (We are from the bottom of the pond), emphasizing the lowly status of these characters. The repetition of "C'est pour le moins déconcertant" (It's at least unsettling) adds to the eerie ambiance of the song. The lyrics are a possible metaphor for a caste system where the lower class is resigned to their situation, but also resentful of it.
The song was composed as part of the soundtrack for the 2004 animated film "Les Choristes", which tells the story of a music teacher who transforms the lives of troubled children through the power of music. Overall, the song seems to highlight the struggles and difficulties experienced by characters outside of the main narrative, bringing to light the plight of often-overlooked members of society.
Line by Line Meaning
Le Querrec est au pain sec
Le Querrec is experiencing hardship or scarcity, possibly referring to his financial situation.
Le Leclerc n'est pas très clair
Le Leclerc is not transparent or clear in his actions or intentions.
L' Boniface n'est pas loquace
L' Boniface is not talkative or communicative.
Carpentier sait pas compter
Carpentier cannot or does not know how to count, possibly suggesting incompetence.
Nous sommes de fond de l'étang
We are at the bottom of the pond, possibly referring to a feeling of being stuck or trapped in a difficult situation.
C'est pour le moins déconcertant
It is at least unsettling, suggesting a sense of discomfort or uncertainty.
Et c'est bien ça qu'est embêtant
And that is precisely what is bothering or troubling, suggesting a frustration or annoyance with the current situation.
Lyrics © Sony/ATV Music Publishing LLC
Written by: CHRISTOPHE BARRATIER, PHILIPPE LOPES CURVAL
Lyrics Licensed & Provided by LyricFind