Eric Valli's beautiful Tibetan western evokes the end of a world, that of the salt caravans. What sort of musical approach should this sort of film take? Should you try to compose music with a Tibetan feel, running the risk of being picturesque? Or, like a translator distancing himself from a text's literal meaning in order to let its feeling surface, should you extract impressions from that music and mix them with more familiar sounds, in this way creating a fusion of styles at the expense of being musically correct? I opted for the second solution, an improbable mixture of Corsican and Tibetan voices, which, by dint of reworking, ended up melting, merging even. For me, this was the greatest joy of the whole adventure.

Bruno Coulais – Composer