Nyman's bond with cinema is a double-edged one, demonstrated by over thirty years of activity, successes and awards and by a long list of films for which he has conceived and created the sound part: from those with Peter Greenaway to The Piano by Jane Campion, from Wonderland and Tristram Shandy by Winterbottom to Neil Jordan's The End of the Affair by Hollywood Gattaca and Antonia Bird's Insatiable, four-handed with his friend Damon Albarn.
The beloved and innovative composer, musician, conductor, pianist, author, musicologist, and now also photographer and director, talks about his way of understanding music for cinema, retracing his artistic path that began thanks to the collaboration with the English director guest at this edition of Futuro Presente. An artistic bond, the one with Greenaway, that has marked a dozen films, has been characterized by great creative freedom and has projected him among the most famous neoclassical composers. Today Nyman can be considered a “Renaissance man”, an artist capable of confronting ever new challenges and languages alongside other directors, musicians and creatives.
