Continuing the series in which contributors to EOS films choose their favourite clip, composer Stephen Baysted selects this from I, Claude Monet.
“This scene for me is one of the most memorable of the film and indeed any of those that I have worked on. The way in which director Phil Grabsky has managed to make the paintings dissolve into the real panorama is spectacular and really does underline just how well Monet was able to capture nature, light and landscape, and especially the sea. The scene also reveals a stark truth: how we view his work today bears no relation to how his work was received by the Paris public at the time; the letters in this scene, read so movingly by Henry Goodman, speak of a general public distrust, dislike and even of vilification. Looking back I’m also very happy with the musical choice we made here: we adapted the piano accompaniment of a song by Du Parc. I think it adds another signifying layer which is full of turbulence, torment and perplexity.”
From ‘I, Claude Monet’.
