During the 78th Cannes film festival, we had the honour to conduct an exclusive interview with Nicolas Errèra, a French composer who has regularly collaborated with Chinese directors such as Jiang Wen and Fang Li. We hope this interview will inspire UK based composers for more collaborative projects in the future.
Errèra has been a guiding force in film music worldwide, weaving together classical traditions and modern innovation to shape the heartbeat of cinematic storytelling, with notable films including The Butterfly (France, 2002), Nocturna (France, 2007), Hidden Man (China, 2018), Serpent’s Path (France/Japan, 2024). His work spans diverse genres, from psychological thrillers to historical dramas, each score a tapestry of emotion woven with masterful precision. His music does more than accompany a story—it breathes life into it, carrying unspoken emotions through every note.
Most recently, Errèra composed the score for The Sinking of Lisbon Maru (2024), a poignant documentary illuminating a forgotten chapter of World War II—the tragic sinking of a British prisoner-of-war ship off the coast of China. He revives lost voices through evocative melodies and honours memories long submerged in history’s tide.
In this exclusive interview, Errèra digs into his creative process, the unique challenges of scoring for documentary films, and the intricate balance between historical authenticity and emotional resonance in film music.
Scoring for Documentary: The Emotional Journey
Unlike narrative fiction, where a composer enriches a carefully structured story, documentaries demand a more delicate, intuitive approach. “For me, the emotional journey is the same,” Errèra explains. “We follow the storytelling, but because it’s real, the impact is different.” His work on The Sinking of Lisbon Maru required not only a deep understanding of historical events but also an intimate emotional engagement with the personal narratives at the heart of the film, ensuring that every note carried the weight of truth and memory.
Errèra first became involved with the project two years before its release, a hard time, though production was already underway, post-production had to come to an abrupt halt due to the COVID-19 pandemic. Director Fang Li invited Errèra with great passion to join this huge project. Having previously collaborated on Tiger Robbers, where Fang served as a producer, a creative rapport had built between them. This time, Fang, deeply invested in unearthing the hidden history of Lisbon Maru, made an offer Errèra could not refuse. “He told me, ‘You have to say yes,’ Errèra face lit up with a bright smile when recalled.” The director’s deep dedication to uncovering the hidden history of Lisbon Maru was so infectious that Errèra found himself suddenly drawn to the project, not only as a composer, but more as a storyteller. “It is like a baby for him (Fang Li), you know, it’s something very important, a commitment […] And it was extremely big motivation for Nicolas.” Joséphine Winocour, Errèra’s music manager, witness of the immense positivity in this collaboration.
However, one of the greatest challenges was navigating the unfamiliar historical landscape. “In France, we learn a lot about World War II, but mostly from a European perspective. The knowledge of Hong Kong-Japan conflict during that time was a gap for me.” Errèra admits. The project, therefore, became more than a professional endeavor—it was an educational journey, revealing a lesser-known chapter of history. He believes that for many, the film will serve as a gateway to discovering this forgotten story for the first time, just as it did for him.
The Role of Music in Historical Storytelling
For a film dealing with war, tragedy, and remembrance, the tone of the score is critical. In discussing the ways in which he navigates through different parts of the film, Errèra describes his compositional process as more holistic rather than fragmented. He proposes a binary concept to describe his holistic ways of composing—horizontal versus vertical, “It’s like geometry, you know.” The horizontal perspective flows throughout the film, while the other emerges from specific moments. As he perceives, even though emotions are different through sequences, it is still possible for multiple emotions to collapse, which requires a holistic perspective to serve the narrative as a whole as well as punctuate individual scenes effectively.
Errèra offered a more nuanced perspective when responding to the question: “Do you have a specific motif in mind, like a thread that connects all your inspirations?” Rather than the conventional notion of a “motif,” he prefers the term “texture” to describe how a cohesive soundscape conveys the emotional depth of a film. “It’s more about texture—what kind of texture, what kind of instrumentation suits the movie […] Each sequence is different, so there isn’t an overarching motif, but there is a consistent texture, a unified orchestration,” he explains.
Errèra likens himself to a painter, shaping sound with the same intentionality as an artist blends colours on a canvas. This philosophy has become even more pronounced as his studio increasingly incorporates electronic elements, expanding the realm of sonic possibilities. The result is a seamless fusion between traditional instruments and synthesizers, where organic and digital soundscapes intertwine to create something both immersive and evocative.
One of the most distinctive aspects of Errèra’s methodology is his use of close-mic recordings, capturing the raw, intimate quality of the instrument. This technique, combined with a carefully curated blend of orchestral and electronic elements, allows the score to feel immersive yet unobtrusive—serving as a seamless companion to the visuals rather than a dominating presence. To illustrate his concept of “texture,” Errèra cites the work of Scandinavian composer Jóhann Jóhannsson as a prime example. He also shares his admiration for two of his greatest influences—Ennio Morricone and Georges Delerue.
Collaboration with Directors
One key challenge of film composition is aligning the music with the director’s vision. Errèra acknowledges that directors often use temporary (temp) tracks during editing, which can sometimes create preconceived musical expectations. However, for The Sinking of Lisbon Maru, the director was open to exploring new sonic landscapes. “There were reference tracks, but they weren’t meant to be copied,” he explains. “The director encouraged me to find my own voice within the film, rather than simply recreating a temp score.” This creative freedom allowed Errèra to craft a soundtrack that felt authentic to the film’s themes and emotions rather than dictated by external influences. However, such artistic freedom is not always the case. Some directors become so attached to their temp tracks that they struggle to embrace a new musical direction. “As a composer and music producer, I always advise directors to be cautious with temp music—especially if it’s too well-known or emotionally powerful. […] Once a piece becomes ingrained in their minds, it’s incredibly difficult to replace.” he contemplates. “Part of my job is to help them towards a sound, which is unique to their film while still capturing the essence of what they initially envisioned.”
Having composed for both European and Chinese cinema, Errèra has developed expertise in shifting between Western and Eastern musical styles. His previous work on many well-known Chinese films, including Shaolin (2012), Mountain Cry (2015) and Hidden Man (2018), saw him incorporate pentatonic scales and traditional Chinese instruments with adapting them into Western cinematic scoring techniques. However, Errèra insists that “music has no frontiers or boarders”—he does not aim to impose an overtly ‘Eastern’ or ‘Western’ sound but instead prioritises serving the narrative.
For The Sinking of Lisbon Maru, Errèra describes the musical style as having “mostly a European feeling,” given the film’s historical context, which intertwines British memories and perspectives. While this serves as the overall foundation, he subtly weaves in a fusion of styles where appropriate. For instance, he incorporates the traditional Japanese instrument, Shakuhachi, in scenes set in Japan while maintaining a predominantly European orchestral arrangement to reflect the British soldiers’ perspective—ensuring a cohesive and immersive sonic texture throughout the film.
Errèra’ Notes as A Composer
Looking ahead, he believes that film music will continue evolving towards more hybrid compositions, where acoustic and electronic elements merge seamlessly. From his perspective, technology allows us to push boundaries, but ultimately, music is about emotion. No matter how advanced our tools become, creating something that resonates with the audience is the most important thing.
As the conversation draws to a close, Errèra reflects on the power of music in storytelling. “Film music isn’t about showcasing the composer—it’s about serving the film,” he says. “It’s a collaboration, a way to translate emotions into sound, and to connect people across cultures and histories.” With The Sinking of Lisbon Maru preparing for its UK/Ireland release, audiences will soon experience the depth of Errèra’s compositions—an auditory bridge between past and present, memory and melody.
Nicolas Errèra is also excited to share news about two upcoming films he has scored. Ma Mère, Dieu et Sylvie Vartan (My Mother, God, and Sylvie Vartan), just premiered in French cinemas on 19 March 2025, and After Typhoon, directed by Li Yu, will be released in China in the near future. If you’re in France or China, be sure to catch these releases!
Interview conducted and transcribed by Yuzhuo Wang and Yuqi Zhou.
(The interviewers would love to express sincere gratitude to Ms. Joséphine Winocour for her generous support of this interview. Yuzhuo Wang would like to extend a personal thank you to Yuqi Zhou, a Chinese composer and a DMA student in composition at the University of Sydney, for assisting with this interview.)
