This is the second and concluding part of an interview with Jayne Amara Ross and Frédéric D. Oberland of the Parisian band FareWell Poetry. Read the first part here.
Jayne, are there any moments in the album where the shape the music has taken added something to your sense of the poetry you had written?
Yes definitely, we try to create pieces where each individual element (the poetry, the music, the films) stand alone but work as a whole also. When we have done a good, thorough job every element should enrich the other. It is only when all the mediums align behind the same very precise objective that you get that feeling of something whole, and enveloping. I wouldn’t, however, rely on the music to give meaning to the poetry or the films. Music is able to sublimate and carry meaning but not to impose it. At its best, it can be the wondrous, intoxicating glue that holds everything together. In all my films, including those that I have made outside FareWell Poetry, music is a really important part and I have always shared a privileged dialogue with the musicians that I have worked with. You can also go really wrong when you add music to film, you can easily trip yourself up by making the wrong choices. Having a close relationship with the composer, and learning to communicate in their ‘language’ can help prevent this.