After the Cliffhanger final in Part I, fans of Lupin Netflix have been waiting for Prime Part II, now that Diop Assane has been the most sought after man in France. This Friday, waiting finally ended, because Netflix will release the next five episodes. In front of Part II Premiere, we talked to Mathieu exclusively about his work on the show. Read the full interview below.

If you are not familiar with this series, Lupin follows the Thief Professional Assane, the only son of an immigrant from Senegal who came to France to find a better life for his child. Ashane’s father was framed because of the theft of expensive diamond necklaces by his employer, Hubert Pellegrini who was rich and strong, and hung himself in prison cells in shame, leaving Ashane teenagers an orphaned.

Twenty-five years later, inspired by a book about Thieves Arsène Lupine, his father had given him on his birthday, Ashane took revenge on the Pellegrini family, using charisma and mastery of theft, and disguise to expose Hubert’s crime. Adding tension and emotional performances was the score by French composer Mathieu Lamboley. Mathieu built a music landscape that was very unique for this series, creating hybrid sounds that mixed classical writing with Hip Hop Beats.

Win: Can you tell us about how you were initially involved with Lupine? What interests you to the script?

French agents I heard about projects and manufacturers set tones. There was a competition with several composers working on several scenes and he managed to get me in the field. I immediately proposed a theme that eventually became the theme of Arsene, Lupine’s main theme. What I like in the script is the fact that this series is not the construction of Maurice Leblanc books, but it is more a way to continue the heritage of books in the present., With the character of Ansane who lives in Paris in the 21st century.

Win: How do you describe your score for the series?

If I describe it in one word, I will call it “hybrid”. When I started working in Lupine, I spent time thinking about what the show was actually fighting for. For me, Lupine is about inheritance, a father who passes the literary inheritance to his son, and the latter continues his inheritance in the present. The question then becomes, how do you translate this in music? I decided to do hybrid music: Mix my classic heritage with a more modern voice, like myself trying to make my music heritage stay in the present. And this is what you can hear on the soundtrack: classic writing melts with hip-hop knock.

Won: Part II of this series directed by Ludovic Bernard and Hugo Gélin. What kind of input is each of them having a score for their episode?

Each director has their own way to talk about music. But in performances like Lupine there is also a problem uniting the season throughout the episode, and it is part of my work as a composer to create this union. Ludovic’s episode was really easy to treat because their aesthetics really fits what I made for the first episode. Hugo is responsible for the last episode, especially episode 10 which has a photo shoot at the Music Sequence in the Du Chatelet Theater. Hugo really wants to make this last episode big, like finale grande so I have to create something very new! A fantastic challenge for me when I finally compiled a symphonic work.

Win: How are your scores for my part differently from Part II?

In Part I, I introduced the main theme and truly explore the style of Hybrid Lupine’s music.

Part II is a great opportunity to enter deeper in my writing. This is what I like with the series format. For composers it is a fantastic opportunity because you have time to develop your ideas. When the episode continues, you can go far more in terms of creativity, because the audience has been familiar with the collective ceiling of the sound and theme for the show. For the last episode, I wrote rich