Biographie // Biography
Born in Paris September 3, 1967 to a British nurse and a radio producer at France Inter, Alexandre Azaria has been immersed in music since his early childhood. Thanks to his dual French-British nationality, he has benefited from his exposure to the two cultures to further his art. From the exploration of his father’s records collection to that of Radio 7, which he was in charge of after leaving school, he has made music his constant companion before turning his attention to movies, fast becoming a pivotal player as a movie score composer. These young years saw him record, between 1988 and 1992, two albums with Le Cri de la mouche, a quintet of rock musicians in which he was the lead guitar and with whom he performed over 500 concerts, before joining the Niagara duet on a tour.
In 1996, he co-produced and co-composed the album Wax for the band Indochine, and went on to form the Anakine band. He then participated, in 1998, under the name of Replicant in the compilation One Trip One Noise, with an excerpt of his adaptation Oublier by the band Noir Désir, his first success in a series of remixes and compositions for artists as diverse as Axel Bauer, Clarika, Zazie, Alain Chamfort, Aston Villa, Jacques Dutronc, Louis, Barton, or more recently, Christophe Willem.
As to motion pictures, Alexandre Azaria created his first original soundtrack for the feature film Comme un poisson hors de l’eau (Like A Fish Out Of Water), a police comedy directed by Hervé Hadmar staring Tchéky Kario and Monica Bellucci. Fascinated by Hollywood movies soundtracks, he took the time to study and decode the works of his mentors. In 2002, he composed the score of the Vincent Perez film, Peau d’Ange (Once upon an Angel), produced by Europa Corp, Luc Besson’s producing company which at the time was wrapping up the production of Transporter, directed by Louis Leterrier, who entrusted him with the music of the last scene of the movie, an infernal 15-minute car chase that American composer Stanley Clark could not finish because of time constraints. The following year, directors Thomas Sorriaux and Vincent Desagnat, for whom Azaria had already composed, in 2000, the score of the feature La malediction de la mamie, asked him to write the seventies flavored music of music of La Beuze, an explosive comedy with Michaël Youn, which seen by two million movie goers. Still in 2003, director Gérard Krawczyk called upon his talents for the movie Fanfan La Tulipe, a costumed period piece with an orchestral score cut to measure for a grand swashbuckling adventure. In 2004, Azaria scored the Aruna Villiers film A Ton Image, which scenario inspired him a more synthetic, climactic and anxiety-laden music. Same year, different movie: the new Eric and Ramzy comedy, Les Dalton, which gave him the opportunity to move in a new direction. The UGC produced film, directed by Phillippe Haïm, gave him the opportunity to deliver an authentic Western score with a humoristic twist for a film that would draw an audience of more than two million to the theaters.
After collaborating to the composition of the original soundtrack of the Guillaume Pixie movie Le Souffleur, Azaria wrote, in 2005, the music of a more intimate, personal “cinéma d’auteur” film, La vie est à nous!, sharing a new experience with Gérard Krawczyk.Still in 2005, he meets Louis Letterier, once again, for Transporter 2. Produced by Fox, this second installment of the American blockbuster, with a musical theme worthy of the best action features, was at the top of the box-office for 2 weeks upon its release in the US. In 2006, Azaria composed the original soundtrack of the animated feature Astérix et les Vikings, produced by A Film and M6 Studios, a movie based on the works of Goscinny and Uderzo, coping with the demands of animation by translating the idea of “live action” rather than simply that of “cartoon”. The same year, Alek Keshishian, director of In Bed With Madonna, called upon him for the score of Love And Over Disasters, a romantic comedy with Brittany Murphy, co-produced by David Fincher and Europa Corp. In the same comedic vein, Azaria composed, the following year, the original soundtrack of L’Auberge Rouge, starring Christian Clavier, Josiane Balasko and Gérard Jugnot. In 2008, the score of Sans Armes, Sans Haine, Ni Violence, from and with Jean-Paul Rouve, confronted him with the story Albert Spaggiari, who committed the “robbery of the century”. The same year, he meets again François Desagnat and Thomas Sorriaux for the comedy 15 ans et demi, interpreted, notably, by Daniel Auteuil. Thanks to his ability to deliver strong musical productions, Azaria composed, in 2008, three action movie scores with the successive releases of Go Fast of Olivier Van Hoofstadt starring Roschdy Zem; Secret Defense of Phillipe Haïm with Gérard Lanvin; and Transporter 3, produced and written by Luc Besson, directed by Olivier Megaton and starring Jason Statham and François Berléand.
Since 2004, in parallel to his film career, Alexandre Azaria also composed for the stage, with music for a play by writer Claire Castillon and for a show of stand-up comedian Elie Semoun, as well as for television. He has renewed the musical identity of the MCM television channel, created the opening score of Les feux de la rampe, the show of Paris Première television, before working for Editions Dargaud on the Valérian project, an adaptation of the comic’s books by Mézières and Christin. As well as composing the music for the episodes of the animation series based on Le Petit Nicholas, the character of French cartoonist Sempé, broadcast by M6 television, Alexandre Azaria has composed the music of the feature film Le Missionaire, written by Jean-Marie Bigard and directed by Roger Delattre, which will be released in 2009 while he works for UGC on the original soundtrack of Imogène, a film with a script penned by Franck Magnier and Alexander Charlot, the co-script writers, with Dany Boon, of Bienvenue Chez les Ch’tis.