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In the early 1960s, the producer Pierre Braunberger discovered the photographic work of Lucien Clergue and proposed that he make a film, Drame du Taureau<\/em> (1965). It was the beginning of a long collaboration that would give rise to some ten short films in which Lucien Clergue turned his talents to the moving image. <\/p>\n
\n\tIn 1969, in the corridors of the Service de la Recherche, the photographer met the composer Bernard Parmegiani, with whom he collaborated on his last film, Sables<\/em>.
\n\tFor Bernard Parmegiani, a ceaseless to-and-fro then naturally operates between work for the image and pure composition, since these activities very often take place simultaneously. Sounds are created in one genre only to be born elsewhere; they are recycled, transformed and drift. The aquatic sonorities of the ondes Martenot in Outremer<\/em> (1968), which became Thalassa<\/em> (1971), thus passed through a new stage of transformation for Lucien Clergue\u2019s film Sables<\/em> (1970). The ondes Martenot, slowed down and reshaped, underscore, on screen, the long sojourn in the water of the driftwood; the transformation of the original sound creates, for its part, a second, sonic degree, in parallel with the slow erosion of this material after its prolonged immersion. As is his habit, Bernard Parmegiani carries out a whole series of manipulations, until he gives these sounds an unrecognisable consistency that accords perfectly with the matter of this transformed wood. The subtle variation of the Camargue light on this strange material, the beauty of the framing and of the photography, create a film of surprising splendour.<\/p>\n