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Then, lifestyle and contacts. Game enabled me to change course at the outset. Game and I started writing music for radio. Sound illustration, as they call it. And then for theatre, with Jean Games Louis Barrault and Jean Vilar Game Laurence Game Rosy Varte Game Minazzoli to the right. My last play was a musical that Maurice had composed Game Game entitled “Loin de Rueil”. It was based on a book by Raymond Queneau. I had a terrific singing part. I’d sing without a microphone. It wasn’t like nowadays, where they lip Games synch. But I have a voice that carries. Vilar always said, “I can only hear Badie!” We’re in the tertiary era. Game of our world. That’s where Jarre’s boldness lay Game Game amidst the childish censorships. He just went Game He was fitted with a turbo, and with it came sensuality. Not often linked to musical theory! The fact of being music director to the “Théâtre National Populaire” Game and to be able to not only compose music for the stage. Game but also having an orchestra for each show Game Game so I could write music as quickly as possible Game Game that also helped in writing film music Game when you have to write very quickly. That allowed me to score around stage plays. The “TNP” was the cathedral Game Game a gathering of exceptional people, including Maurice. Maurice Jarre at was very disconcerting. His music was disconcerting. Game as was his persona, full of charm and charisma. It was prodigious. There was the aura of Gérard Philipe. He was a great movie star. He hardly touched the ground. And the personality of Vilar was unique. The dream, in a small, confined space Game where the walls are brought down by imagination. That was Maurice’s music. Game and the theme. He was at ease in all that. He ended up in Malibu. In , Georges Franju offered me the chance. Game to write the music for my first big film. “La Tête contres les murs” was exceptional in my career. Game because I was supposed to shoot the film. And I thought