Pierre Brien entered the Conservatoire régional in Poitiers when he was 7 years old. There, and for the following ten years, he studied the piano, the drums, chorus singing, orchestra music, and music theory. By the end of his secondary school years, he had already graduated in music theory, earning his CFEM (Certificat de Fin d’Études Musicales) in this discipline.

In college, Pierre turned towards the sciences, before earning a Master’s degree in Sound Engineering.

Upon finishing his university studies, he immediately joined the Studios Guillaume Tell as a sound engineer.

There, he developed a keen interest — actually a passion — for movie soundtrack projects, which gave him the opportunity to work alongside notable figures such as Vladimir Cosma, Alexandre Desplat, Bruno Coulais, Michel Legrand, Jean-Claude Petit, or Marco Beltrami.

At the same time, Pierre resumed his musical studies, joining the Conservatoire municipal in the city of Saint-Ouen, just North of Paris, where he still lives today. He focused on musical composition and improvisation, as well as on the piano, earning another CEFM in this instrument.

This led him, after six long and exciting years, to quit his position at the Studios Guillaume Tell. Pierre does remain involved in a number of demanding sound engineering projects: he now specializes in the digitalization of analogue recordings; he has a durable collaboration with Vladimir Cosma; and works on movie soundtracks — such for instance as those of Joan Sfar’s “Gainsbourg, Vie Héroïque” (music by Olivier Daviaud), of Jacques Perrin and Jacques Cluzaud’s “Océans”  (music by Bruno Coulais), and a number of soundtracks by David Reyes, which he recorded and mixed.

But Pierre is now also a piano teacher, and writes his own musics — with, consistently, a strong focus on soundtracks, playing on the interrelations between sound and image.