A film is like a plane on the runway and with music it is taking flight. These words by film director Gore Verbinski were impressing me as a young musician when I got more and more into the world of film music. Music is a language which can describe a feeling or a mood in one or a few tunes what 1000 words can not tell. In my opinion, it is the strongest emotional connection between the naked screen and the audience sitting in a dark room. Fascinated by the power of music and my increasing interest in films and games my goal became clear very early: I want to become a film composer!
During my musical education and development I was accompanied and inspired by soundtracks by John Williams, Howard Shore, James Horner, James Newton Horner, Danny Elfmann, Jerry Goldsmith, John Barry, Max Richter, Hans Zimmer and many others. But as a composer it was very important for me to get a profound and academic education to improve my skills and to expand my horizon: Not only in the “classical craft” to analyse a scene and to create a score for live musicians, orchestras or other ensembles, but also in different genres, technical equipment, synthesisers and all other influences and demands in music production of the 21st century. And this is what composition is all about: Diving into new worlds, challenging yourself but also creating your own world of sounds, images and stories. Especially in films, music is another actor who want to tell a story.
I grow up in a society where I often got in contact with the idea to separate music in “serious” concert music and commercial-/ popular- / film music. I definitely disagree with the idea of thinking that one music has more value or substance than another because each music has a subjective influence on you. Some pieces will influence you more than maybe other pieces will do - and some pieces are technical more ambitious and challenging than others. But in the end each music has it´s justification to coexist and to enhance our creative horizon of possibilities and inspiration.
The most exciting part in film music is that there is much freedom to be creative with music although the movie determines a strict plan how the structure shall be. Maybe this is the very special combination what constitutes film music.
You can write a classical score, compose Jazz music, create new sounds on the synthesiser, write a popsong, record live-footage or maybe combine all these elements to something new.
There is no limitation! All genres, the most extraordinary sound combinations can be part of a conceptional idea.
In my music, I often try to involve live-instruments or live-recorded materials.
Samples are never as good as live instruments and a reason why a music doesn’t affect people so much can be the choice between live elements and sample elements or the right balance between both (besides the composition itself).
This does not mean that I am not doing electronic or experimental music. Most of the time I like to combine both elements to find the right color - maybe also for your movie, game or audio project.