{"id":16452,"date":"2024-03-29T08:00:00","date_gmt":"2024-03-29T07:00:00","guid":{"rendered":"https:\/\/numero.insinio.fr\/who-is-the-ex-trader-turned-composer-behind-the-credits-of-succession\/"},"modified":"2024-05-31T11:00:09","modified_gmt":"2024-05-31T09:00:09","slug":"who-is-the-ex-trader-turned-composer-behind-the-credits-of-succession","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/culture-en\/who-is-the-ex-trader-turned-composer-behind-the-credits-of-succession\/","title":{"rendered":"Who is the ex-trader turned composer behind the credits of Succession?"},"content":{"rendered":"
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A post shared by Nicholas Britell (@nicholasbritell)<\/a><\/p>\n<\/div>\n<\/blockquote>\n

Nicholas Britell, the man behind the cult credits of the series Succession<\/h2>\n

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What if, behind every great film, there was always a great soundtrack? Nicholas Britell’s<\/strong> name is almost unknown to the general public, but the music he has composed for many feature films and series makes him a highly prized figure in the shadows. It is even rumored that he could soon overshadow the sacred monster of the genre, Hans Zimmer. We owe this 42-year-old New Yorker the brilliant orchestrated theme, dark and epic, of the series Succession<\/a> <\/i>(2018), but also pieces noticed for
\n Twelve Years a Slave<\/i>
\n<\/a> by Steve McQueen (2013), The King <\/i>(2019) with Timoth\u00e9e Chalamet<\/a> or the Oscar-winning Moonlight<\/i>(<\/em> 2016) by Barry Jenkins<\/a>. The artist can also boast of being adored by his former university friend Natalie Portman<\/a> – he will soon sign the soundtrack of the first film of the actress’ partner, Benjamin Millepied, entitled
\n Carmen<\/em>
\n<\/a> – and the filmmaker Adam McKay who called on him for The Big Short<\/i> (2015), Vice<\/i> (2018) and the highly anticipated Don’t Look Up<\/i> (2021). And each time, his scores play as important a role as the actors in the works.<\/p>\n

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The greatest strength of this virtuoso composer? Knowing exactly what cadence should punctuate a scene. Is it an F major or a B minor that would better correspond to this intense gaze shown on the screen? Does it take a playful clarinet, a lyrical violin or a heartbreaking piano for the spectator to understand, even without a word,  the hero’s feelings and the stakes of the action? A fine psychologist, the artist plunges us into an emotional roller coaster through a maze of arpeggios often imbued with a certain violence and great poetry. Legend has it that in his New York studio, where there is a poster of
\n Chariots of Fire<\/i>
\n<\/strong> (his first musical crush at the age of 5) as well as a giant screen, the musician most often imagines his sound cavalcades with the lights off. As if the film was played out above all in his head… <\/p>\n\n

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