Creating an original score is the result of a unique combination of talents and disciplines. After an outstanding education at the Paris Conservatoire (CNSMDP), Ronan Maillard first made his mark as an orchestrator, putting his expertise to work for artists such as Sinclair, Martin Rappeneau, and many others. Over time, his passion for composition grew stronger, and following several acclaimed projects, Xavier Giannoli entrusted him with the score for Marguerite, a feature film loosely inspired by the extraordinary life of Florence Foster Jenkins. Since then, Ronan has composed original music for more than twenty films and television series. His notable credits include Ève Deboise's A Little Lesson in Love (Petite leçon d’amour), Mother’s Day (La Fête des mères), A Good Man, Marie-Castille Mention-Schaar’s For Better (Pour le meilleur), Dominique Farrugia’s Family Investigation (Enquête en famille), Arnaud Mercadier’s Marie-Line Incognito, and Philippe Lefebvre’s The Enchanter (L’Enchanteur).

Always seeking the right balance and the perfect tone, Ronan has developed a profound understanding of the challenges of composing for the screen: bringing creative ideas while remaining fully in service of a film and its artistic vision. Although he remains deeply attached to melody—a legacy of his classical training and his admiration for composers such as John Williams and Ennio Morricone—he enjoys moving beyond strict technical conventions and exploring more instinctive territories, guided by the simple emotion of a scene or the resonance of a line of dialogue.

Drawing on his extensive experience, Ronan Maillard brings a remarkable mastery of the orchestra to each project, constantly exploring different styles and colours while enriching his compositions with his natural curiosity. His ongoing investigations, both methodological and instrumental, allow him to navigate vast musical landscapes with confidence. At times, the explosive energy and wit of Henry Mancini; elsewhere, the sweeping symphonic language of Max Steiner.

“I also enjoy being approached for less conventional projects: writing for different worlds, bringing several flavours into a single score, introducing pop influences into an orchestral composition, or adapting the scale of the ensemble according to the artistic needs and resources of each project.”

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