On the occasion of the release of the soundtrack of “Here everything begins”, Emilie Gassin, Ben Violet, and Matthieu Gonet, also composers of “Tomorrow belongs to us”, confide in the success of the series and on the creation of his musical universe.
Nothing stops Here everything begins. Broadcast since November 2, TF1’s new daily soap opera continues to attract an average of 3.9 million viewers every night of the week, also with very good performances in replay and on targets. A huge success which, without much surprise, slowly but surely takes the series worn by Clément Rémiens and Vanessa Demouy towards its 100th episode, which will be offered on March 19 on the front page, but also towards a season 2, which was confirmed a few days ago by the channel. And ensures, in theory, to find the adventures of the students and teachers of the Auguste Armand Institute on the air at least until the summer of 2022.
But that’s not all since the first soundtrack from Here It All Begins, which includes 22 songs heard in the series since its debut, has been available on all streaming and legal download platforms since February 15. With, of course, the credits signed by Gims, “Up to now everything is fine”. But also and above all all the songs and all the original pieces composed by Emilie Gassin, Matthieu Gonet (the former musical director, coach, and conductor of the Star Academy), and Ben Violet, the trio of musicians also at the he origin of the music of Tomorrow belongs to us for several seasons now. Fans of the culinary soap opera can now listen to “Wide Open”, “Biggest Mistake”, “Tomber”, or “Easy”, which quickly became the flagship titles of Here everything begins for a good part of the public.
It was therefore on the occasion of the release of this eagerly awaited playlist that AlloCiné was able to meet with these three composers who oversee the musical universe of the two daily TF1 series. In order to learn a little more about their way of working, on the differences between the musical tones of Here everything begins and of Tomorrow belongs to us, and on the possibility, or not, of seeing other soundtracks out at the future.
AlloCiné: The release of “Here Everything Begins: First Year”, the soundtrack of the series, must be a nice accomplishment for the three of you.
Emilie Gassin: Yes, we are very honored to be able to release this soundtrack. Finally, it is quite rare today. Even more so when a team of composers takes care of all the music in a series. We are very proud to have received so many requests from fans of the series. There was a real craze for songs from Here It All Begins. So, obviously, we are happy that our work is so popular.
Matthieu Gonet: It is true that in general the series, American in particular, use what is called synchros, that is to say existing songs, “trade”, the rights of which are purchased. And it’s true that the peculiarity on Demain belongs to us and on Here everything begins is that all the songs are original. We are given the means to do this, because we have the possibility of recording with a real orchestra when we need it. There is a real desire to produce music that we hope will be of quality. The success was very quickly there, there was a real enthusiasm of the public. And the usefulness of the songs on Here Everything Begins was quite marked because the particularity of the series is that it takes place almost in camera, with very marked characters. Very little comes from the Auguste Armand Institute. So the songs are there to mark the characters, but we also hope that they will mark the people who watch the series. And that they will become attached, we hope, more and more to the songs.
If we go back a bit, how did you get into the Tomorrow belongs to us adventure?
Matthieu Gonet: We responded to what we could call a call for tenders. It’s quite common in series, or even sometimes in movies. Several teams of composers have proposed tracks, ideas for Tomorrow belongs to us. And the three of us had the pleasure of being selected. And we will soon be working on the series for three and a half years. And the work on Here everything begins started about a year ago. In collaboration with the artistic director of the series, Benjamin Minet, whom it is important to name because we work very closely with him. And the idea very quickly was to focus the music of Here it all started on the more marked presence of songs during the episodes.
To go in the direction of a younger soap opera, more modern in its codes?
Emilie Gassin: Yes, I think it has to do with the young side of the series. But there was also a desire to differentiate the two series. So that each soap opera has its identity. We find the codes of a little younger series, with the synchros. I am thinking for example of the series which are very watched on Netflix and which have great soundtracks, with songs by very different artists. That’s why we want to work with different performers. Because on Tomorrow belongs to us there are songs too, but they are all sung by me. Which obviously enchants me (laughs). But it’s great to be able to work with other artists too.
You surrounded yourself with several singers, including former candidates of The Voice, to interpret these titles. Are these artists that you knew or did you do a voice casting?
Ben Violet: There are a few artists that we knew, yes, who are old friends. But there are also artists that we have discovered, who have been suggested to us by TF1. They suggested singular voices to us.
How do you three work to create the musical universe of the two series? How do you divide the tasks?
Emilie Gassin: In order to know in advance what will happen, we receive the arches and the scenarios. It’s a bit the same on both series. And we will decide, with our artistic director, the needs of the series. Rather, they are genres. “We need romantic music, tense music, thriller music”. Or “We need a theme for such and such a character”. And then Mathieu, Ben, and I decide who is going to take care of this or that song. We have a music schedule to deliver every month. There are always new songs, new music. And then we each work on our own to compose the music.
Ben Violet: We each have our own work studio. However, it happens that the three of us interact from time to time, that we have a real collaborative process. For example, a start of a song can be composed by one of us, before another interacts over it. It really is a mixture of individual work and teamwork. And if the three of us compose, it should be noted that it is Emilie who writes the lyrics for all the songs. She’s Australian but she also wrote all the lyrics in French, it’s important to say that.
Certain songs or musics have almost become the musical themes of this or that character. Are there any characters that particularly inspire you or for which it is more interesting to create scores?
Emilie Gassin: We don’t want to make people jealous (laughs).
Matthieu Gonet: On Demain belongs to us, the approach of the characters is different. The three of us strive to create themes that we hope will be strong on families or characters. And there, on Here it all begins, working on characters really is complicated. Especially since one of the central characters is the institute. But there are strong currents that are emerging, with characters a little stronger in character obviously. Whether they are nice, mean, or calculating. In these cases, it’s true, the music quickly becomes thematic in relation to them. But if there are a lot of songs, we must not forget that we also deliver a lot of scores, original instrumental music, which dot the series throughout the episodes.
The soundtrack released on February 15th is titled “First Year”. Does this mean that it is likely that a new playlist will be released each year, to reflect the songs from the current season?
Emilie Gassin: We can’t say 100% that this will be the case, but the idea is to keep releasing the original tapes, yes. It could be great. We have already seen this on Grey’s Anatomy for example, which came out at the start of the soundtracks each season, and each time it was a huge hit. We can only hope that it is the same for Here everything begins. We will in any case continue to provide songs every month. Perhaps with other performers as well, whom we will try to find.
Matthieu Gonet: Anyway, on Demain belongs to us and now on Here everything begins, we deliver a lot of original music every month. This includes songs and score. Of course, these are professions where nothing can ever be taken for granted, but we hope that the incredible success of the series will continue and that our musks will continue to please.
Can we hope to see the release soon of an original soundtrack of Tomorrow belongs to us, on which would appear in particular the song “I Don’t Know How”, which served as the credits for the premium released in 2019 and which created a real craze among fans? ?
Emilie Gassin: It’s true that this song really liked. There is a very strong demand for a Tomorrow Belongs to Us soundtrack. So we hope to be able to release it one day and make people happy. But nothing is certain, it’s just something that we would like very much. But, in any case, we follow very closely the desires and wishes of the public.
Interview by telephone on February 19, 2021.