This is goung straight into FNaF Curse Of Dreadbear

It's Creepy, I love the movie and the book. 

This scene both made me envious and creeped out.

this song a nd the book makes me happy and im never happy

“here comes the gravy train. choo choo!”

I was always angry that she didn't eat the whole food nor a piece of the cake

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Mice Circus- Coraline Soundtrack

Mechanical Lullaby- Coraline

-Other Fathers Song- Coraline 2009

-Sirens Of The Sea- Coraline 2009

Bruno Coulais is a French composer, born in Paris on 13 January 1954. He has a father from Vendée and his mother is an Iraqi Jew. He is most widely known for his music on film soundtracks.

Coulais began his musical education on the violin and piano, aiming to become a composer of contemporary classical music. However, a series of acquaintances gradually re-oriented him towards film music. Coulais was particularly influenced by director François Reichenbach, who asked him in 1977 to write the soundtrack to his new documentary Mexico Magico. The first full-length production he composed the score for was the 1986 film La femme secrète by Sébastien Grall. Until the end of the 1990s, he remained low-profile, composing mainly for television. His name can often be found from TV films by Gérard Marx and Laurent Heynemann. He also composed the soundtracks for Christine Pascal’s 1992 film Le petit prince a dit, and Agnès Merlet’s Le fils du requin in 1993.

In 1994, he met the television producer Josée Dayan, who let him write a theme for the TV series La rivière Esperance, aired on the France 2 network in autumn 1995. He worked with Dayan again with other major productions such as Le comte de Monte-Cristo, Balzac, and Les nuiteux.

The largest turning point of his career came in 1996, when he worked with directors Claude Nuridsany and Marie Pérennou of the documentary Microcosmos. This single film, which gave a great significance to the music in it, was a great success and made Coulais one of the most wanted composers of French film music. In 1997, he won the César award for the best musical score in a film, as well as a Victoire de la Musique. His reputation was confirmed by the soundtracks to Himalaya (1999) and Les rivières pourpres (2000), and after that Bruno Coulais’s name was to be found on most new French blockbusters, such as Belphégor and Vidocq.

After producing the soundtrack to Winged Migration in 2001, Coulais announced that he wanted to significantly reduce his contributions to film music, and instead concentrate on other projects, such as the creation of an opera for children, and collaborations with Akhenaton, Akhenaton’s group IAM and the Corsican group A Filetta, with whom he had worked since he had made the soundtrack for Jacques Weber’s film Don Juan in 1998.

In 2002, his name was found on the ending credits of the animation L’enfant qui voulait être un ours, and in 2004, on Frédéric Schoendoerffer’s Agents secrets. The same year, he wrote the soundtrack to the film Les choristes by Christophe Baratier, which subsequently became an international hit. The music for this film received as great praise as the film itself, and it won Coulais his third César award. Since then, Coulais’s collaborations in cinema seem to be limited to works by directors with whom he already shares some history, in particular Jacques Perrin, Frédéric Schoendoerffer, and James Huth.

Bruno Coulais’s musical style may vary significantly between different projects, but there are some constant factors visible: his taste for opera and for human voice (in particular that of children), for a search for original sonority, for world music and mixing different musical cultures, and finally, a certain tendency to give preference to the ambience created by lighting rather than the film’s narration.

Coraline Soundtrack Song  Exploration

In the Bed - Coraline

Installation - Coraline

The Supper- Coraline Soundtrack

Dreaming - Coraline Soundtrack

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

Context:

It is midnight in Delver. The king’s armies assemble within the Golden Castle. The summer night breathes its stifling heat, while the moon stands on watch—unaware of the horror about to unfold. Clad in the armor of the state and wielding the sword of madness, the command is given.

At first it resembles a parade of grandeur, but in secret, the famed Belliants—the kingdom’s sworn protectors—begin a blood hunt against all mages. What seemed like a battle against a deadly invader is nothing but a pestilent wrath, spreading through them and driving them mad like rabid hounds.

Suddenly, without giving their victims any chance to defend themselves, they storm into the mages’ homes and slaughter them. Few will live through this death march.

In the Name of the King is a song that depicts the beginning of the inquisition against the mages. The Golden City, once the stage and seat of wisdom so revered by the nobles, was delivered to a wave of madness caused by the folly of the King of Berania. Although the monarch was under the effects of magic and the influence of a power-hungry mage, all the other kings were not. In the Name of the King is the epic of the march of insanity, parading and crushing reason and common sense — all in the name of a king: hatred."

Lyrics: Katrialco, an ancient language of Fulgor

The Supper- Coraline Soundtrack

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