Can you tell us about your early beginnings in music and what inspired you to start playing the piano at the age of six?
I started music at the Conservatory of Perpignan in France. It was my mother who enrolled me in classical piano classes. I continued on this path, and about five years later, at 10, I began participating in my first regional and international competitions. I won in France and across Europe, earning many awards, first prize, third prize, etc. That’s when I realized I should keep my future on this path.
At what point did you decide to pursue a career in film music composition, and what motivated that decision?
Until I was 16, I focused on classical piano, as I mentioned earlier, participating in international competitions. But around the age of 13, I started developing an interest in film music, particularly after discovering Brian Tyler’s Iron Man 3 score, which truly immersed me in the world of film music.
At 16, it was Hans Zimmer’s Dunkirk score that made me realize I wanted to compose film music for a living. I set my sights on becoming a film composer in Hollywood. What motivated me in this decision was my love for both classical music and modern music.
Film music blended the two epic orchestral compositions with powerful emotion which deeply resonated with me. That’s why I decided to pursue a career as a composer for film, sports, trailers, and beyond.
Can you discuss your involvement with FOX SPORTS and the type of projects you’ve worked on with them?
So, I’ve been making music for Fox Sports for a year and a half now, with placements in NBA and NFL games, as well as many placements for NCAA events (National Collegiate Athletic Association).
I have placements in college basketball, college football, college volleyball, and more. Essentially, my music is used on Fox Sports and Big Ten Network. It plays in the background while TV presenters talk about the game, enhancing the action on screen. When used for highlights, the music adds more power, creating an epic effect to elevate the best moments of the matches.
Can you share a memorable moment or achievement in your career that stands out to you?
I believe my recent placements for the NBA and NFL are memorable achievements in my career. But as well in 2022, when I composed the music for the National French Day fireworks show for my city in Perpignan, it was a major milestone as well. My music was played in front of 15,000 spectators alongside a massive pyrotechnic display, which was a moment of great pride for me.
What was the inspiration behind your single “Neon Symphonic,” and how does it reflect your musical evolution?
My inspiration behind Neon Symphonic came from a commission by a company that produces laser shows in France. They asked me to create a track for about 5:30 minutes that blends symphonic music with electronic elements.
I think this project is also an important milestone in my career because it’s the longest piece I’ve ever written and one of my best in terms of orchestration, production, and melodic ideas, both electronic and orchestral. I’m especially proud of this work, knowing that thousands of people in France will experience my music alongside these laser shows.
Can you describe the creative process you underwent while composing “Neon Symphonic”?
To be honest, I had no idea how to start my piece at first. I began with an electronic instrument a kind of talk box, somewhat in the style of Daft Punk. That initial motif sparked a brainstorming session, and that’s how I found my way into the composition.
As for the structure, I divided the piece into multiple sections. It’s a 5:30-minute track with smooth transitions between them. Every 30 seconds or so, there’s a new melody, a different instrumentation, or a shift in orchestration. Sometimes it’s calm and soft, other times it’s more action-driven or epic. I really composed it based on my feeling.
How does “Neon Symphonic” differ from your previous works, such as “Action is Coming” and “La Marseillaise Epic Version”?
Neon Symphonic stands out from my previous works like Action Is Coming or my epic version of La Marseillaise because, once again, it’s the longest piece I’ve ever composed in a continuous flow. In terms of production, orchestration, and original ideas, I believe it’s one of the best I’ve ever created.
Additionally, Neon Symphonic was a commissioned piece for a laser show company, whereas my previous works were more for my catalog to showcase what I’m capable of.
How do you stay inspired and continue to evolve as a composer and producer?
Listening to music nonstop, across different styles and genres. Learning, staying curious about everything around us artistically in painting, dance, sports, the Olympics, all these inspires me to create new music.
Being surrounded by composers and producers from different backgrounds, like electronic music, also opens up new creative horizons for me. It brings fresh ideas and can contribute to the development of new pieces.
How do you handle creative blocks or challenges during the composition process?
I deal with creative blocks by taking breaks, stepping away from the piece for a few days before coming back to it, and simply not worrying about it, cause everyone experiences this. The key is to let the music or melody stay in your mind for few days, without forcing it. When you set the problem aside, new ideas naturally emerge whether in the shower, while walking, or at unexpected moments.
Can you share any upcoming projects or collaborations you’re excited about?
At the moment, I will might be working with a major company that makes huge live events and shows. They produced the laser and fountain shows in Dubai at the Burj Khalifa for 2023-2024 new years. Hopefully, I’ll get a contract and a chance to work with them.
In the meantime, I’m staying focused on my sport and trailer music until a new opportunity comes up ideally, landing a placement in a big Marvel trailer.
What are your long-term goals as a composer and producer?
My long-term goals as a composer are to be able to make a comfortable living from my music, to have as much as trailer, sports, and ads placements. Earning a steady income from royalties, and to have my music be used in major live events and shows.
I want to create the kind of music that leaves an impact just like when I was 16, watching trailers or shows and being blown away by how epic the music was and how perfectly it matched the visuals. Through all these years of experience and projects, I want to pass on that same feeling, inspiring others the way I was inspired. And maybe, in the future, I can spark a passion in young composers, just like the music I admired did for me.
How do you see the future of film music evolving, and where do you see yourself within that landscape?
The future of film music or even music in general might seem daunting to many, given the incredible capabilities of artificial intelligence. But I believe in trusting humanity and what we, as humans, are capable of. I don’t think AI will ever fully replace human creativity in music, though it will undoubtedly take up a significant space in the industry.
Rather than opposing AI, I think we should learn to work with it. For example, I use ChatGPT for structural ideas, album or track name suggestions, troubleshooting issues with my music software, marketing strategies, and even networking ideas. It’s a powerful tool that previous generations didn’t have the chance to use it. Now, it’s up to us to use it wisely.
Stay connected with Jean Tariech on social media for updates on future releases: Instagram – Spotify – YouTube – Website.
