Mohamed Oussama: “The majority of directors do not have the culture of film music to writing”

Interview with Mohamed Oussama, film music composer and conductor He is the originator of several Moroccan film scores. And yet, it is not cited enough. We have tried to bring him out of his discretion to learn the secrets of his versatility. In this interview, Mohamed Oussama also talks about his approach to convince directors of the importance of making international films through music. The artist, who reveals his projects, also tells about his career as a professional conductor. ALM: You play several instruments at the same time in addition to your skills as an arranger and conductor. How did you end up composing music for films? Mohamed Oussama: I already started music at the age of six in the Marrakech conservatory. Over time, I understood that in art, it is very easy to stand out. For me, art has no piston. Especially since it is the conductors who choose their musicians. Moreover, I rubbed shoulders with real ones. At the age of 16, I had finished all my music training. After which, I studied economics. Subsequently, I worked in several hotels as a jazz musician. Then, I joined the Royal Gendarmerie Symphony Orchestra in 1998. I even taught the lute (oud) at the Royal Gendarmerie Conservatory and then as a classical pianist with the Royal Symphony Orchestra and also as a conductor. of the Big Band. From then on, I continued teaching other instruments such as the piano and the guitar. This is how I later started to design film scores. My first composition, in this sense, was for the film “Kherboucha” by its director Hamid Zoughi. Since then, my works have been linked. And how come directors don’t quote you when promoting their films even though your name is on the posters? This is because the majority of Moroccan directors do not have the culture to design film music at the time of writing. In other words, a music is conceived before the film. She even has a relationship with her story. For example, director Saïd Khallaf is an artist at heart. When writing his award-winning film, he thought of me. Also, the director Azlarabe Alaoui listened to me for the music for his film “Androman”. Moreover, we spoke to each other as artists and not as businessmen. In turn, he had rewards even abroad. This is what I recommend to directors. I always tell myself that we have to convince them that we can make an international film. This is what I also did with Hassan Benjelloun, Rachid El Ouali and Mohamed Abderrahmane Tazi who is very young at heart. Especially since there is no nationality for a film production. Also, the music touches the whole audience. In all, there are directors who are truly artists. What would be the difference between your film music and that made by others who do the same job as you? To each his own originality. Everyone finds their way and their audience. If we impose rules on ourselves, we will be copiers. I find that we should not have comparisons in art. What about your skills as a conductor? Why don’t we call on you when we complain about the non-existence of conductors? Rather with the Big Band, I became a conductor. But I took my early retirement. In addition, I worked with the Royal Orchestra as a conductor for the purposes of the film “Al Massira” (The Green March) by Youssef Britel. It is the fact of being a conductor that made it easier for me to design film scores since this job allows me to know the value of each instrument. Right now, I have a post-production company that I need to take care of. And frankly, I’m not interested in being known. I rather like to see the result of my work. Do you have any plans? We are preparing in postproduction of the first film by a new director. In addition to the music for this work, we are also working on the sound effects. I’ll even do the calibration for him. Occasionally, I love anything multimedia to do complete projects with a good artistic montage. I also have a work program with Mohamed Abderrahmane Tazi for his film dedicated to the late Fatima Mernissi. And recently, I was contacted by Asmae El Moudir for the music for her new documentary. The film music designed by artist Mohamed Oussama has a grandiose filmography to his credit. Thus, he designed the music for the films “Casa ma belle” by its director Leila Msefer, “The way to paradise” by its director Wahid Sanouji, “For the cause” by Hassan Benjelloun, “Attaehoun” (Lost, Les Egarés) and “Masafat Mail” (A mile in my shoes) by Saïd Khallaf, “Al Bayra” (The old maiden), “Hniya, M’Barek et Messaoud” and “Eddar Lmechrouka” (The house shared) by Mohamed Abderrahmane Tazi, “Dakkat Lkadar” (The blows of fate) by Mohamed Lyounsi, “Toren” by Nawzad Shekhany, “L’orage africaine” by Sylvestre Amoussou, “Nouhe la yaârifou lâawm” (Nouhe cannot swim ), “Al Massira” (The Green March), “Chaïbia, the peasant woman of the arts”, “Mohammed VI, the dynamics of Morocco with its Men and for its Men” and “Lkhawa” (The brothers) by Youssef Britel, ” The slave of the male (e) “by Mouhcine Nadifi,” Androman “,” Mashouk Achaytan “and” Bayt min zoujaj “(Glass house) by Azlarabe Alaoui,,” Cleopatra ya lalla “(Cleopatra’s challenge) by Hicham Hajji, “Boulanoir” and “Kherboucha” by Hamid Zoughi, “Finek Alyam” (Crossed destinies), “Water and blood” by Abdelilah Eljaouhary, “Mémoire d’argile” by Majid R’Chiche, and “Meu Passado Me Condena” by Júlia Rezende.