How long have you been writing soundtracks? How did you decide to start writing soundtracks?

I have been composing music for films for about two years now. It all started with a friend of mine that studied film. For her graduation short film, she needed some music. Over some drinks she asked me if I was interesed to write her something. That same day I wrote the piece that ended up being the main theme for that film. It is a simple little solo guitar piece that for some reason struck some chords with other directors and producers, because shortly after the scoring opportunities came in. 

 

Why did you do this project?

The very first reason why I scored the music for Burn the Time is because of Johan Leysen (The American). He is such a a great actor that I grew up watching, so when the opportunity passed by I simply had to have the gig. It is not everyday that you get the chance to work together with someone of such amazing talent. The second reason was the script. Rasim sent it to me way before he ever shot a scene and it simply blew me away. I was literally crying while reading it. It was so heartwrenching and beautiful at the same time. 

 

I basically begged Rasim Asan (director and writer of Burn the Time) to let me write music for his film. At first he told me he did not want any music for his film but he was willing to give me a chance to change his mind. I remember our first conversation very well. We spent hours talking about Tarkovsky and his use of sound and music in his films. With that in mind I wrote him a little piano piece (The Old Man and the Ladybug) that became the main theme and the music for the ending of the film. He loved that piano piece so much that he hired me.

In the mean time we have become good friends and, although I cannot say much about it, we are working together again on another film.

 

Rarely do we have the opportunity to interview a composer. Tell us a little about the process you had to make the soundtrack.

I actually feel like a fraud when I saw I am a film composer, as I rarely write music to a scene. I write the music long before I ever seen a single scene. The music I write is always based on the script. I read the script over and over and over until I know the story inside and out. The director and I go over the script and I listen carefully while he explains the emotions, lighting, setting, etc of the scenes. That information is of extreme value to my writing process. I keep a book filled with notes I get from directors. 

 

These notes and the script are the fundation of the score. At a very early stage it became clear that the music had to be as minimal as possible. The soundtrack had to reflect the loneliness of the main character, so I decided to write music that could be played by one person. This also turned out to be very economical for the director. 

I isolated myself in my studio and wrote piece after piece. I believe this is the reason why the soundtrack sounds the way it does. It is a score that consists of both acoustic instruments and synthesizers. Upon reviewing the score and re-reading the script it became clear to me that the driving force of story is the main character’s wife. The reason for his actions is her. So I decided to include the human voice to the soundtrack. I had the pleasure of recording a wonderful singer that sung this haunting little melody line. I instructed her to sing it as if a mother would sing a sweet little lullaby to her babe. If you listen closely to the soundtrack you will hear the human voice throughout the entire score. Guiding the Johan Leysen’s character throughout his journey. 

 

One of the problems that many composers find is that the project is edited without thinking about the soundtrack tempos. Then the composer finds the montage already finished and has to look for a thousand solutions so that everything fits. How was your experience with this project?

This is why I base myself on the script. For some reason I have never had any problems with the tempo of the editing. I also do not aim to hit every single cut. Au contraire, I deliberatley avoid cuts. My main aim is to focuse on writing music that shows the emotions of the characters. My music is there to tell the audience what they cannot see. 

 

I also had the luck that the director used my music on set while shooting the film. He sent the piano piece (The Old Man and the Ladybug) to Johan Leysen very early on. Apparently he used that piece of music to get into his role. Which is still mind-blowing to me. Knowing that an actor of such talent inspired his entire role on that single piano piece I wrote for him. 

 

Did you work with initial references? How has your work been with the director?

The director basically told me to write whatever I wanted as he did not want music in his film at first. He usually does not work with composers as they can manipulate the audience with their music. I had to be very careful with what I came up with because I did not want to manipulate his story with my music. 

 

The only reference pieces he gave me was for the bar scene. He sent me some Berlin underground techno. That bar scene piece (Thank You for the Joint) was inspired by those reference pieces. 

 

How has your experience been with the festivals so far? Where do you think they should improve?

So far it has been quite wonderful. I am honoured to have been granted multiple best soundtrack and best music composer awards for my work. 

If there is a thing I would want to change is that more film festivals should have a category for soundtracks. I have the feeling that sometimes the composer is underappreciated in the whole filmmaking proces. It is not our film but we help create it as much as an editor or script writer does. 

 

Normally filmmakers use many references, favorite directors, favorite movies, music, etc. Were you inspired by any director, film or composer? If so, tell us your references.

I think the main reference for Burn the Time was Tarkovksy. The director and I share a mutual love for his work. It was also the only director we discussed while we were talking about the film. 

 

In general my inspirations are composers like Jonny Greenwood, Bernard Herrmann, Trent Reznor and Atticus Ross, Ryuichi Sakamoto, Johann Johannsson and Hildur Guðnadóttir.

 

Your favourite movie?

Psycho by Alfred Hitchcock. Bernard Herrmann’s soundtrack for it is one of the reasons I am in this business. 

 

Favourite series?

Favourite series? That is a no-brainer. Stranger Things. The story, the setting, the characters the music, everything about it is perfect! I cannot wait for season 4 to get released!

 

Favourite composer?

This is such a difficult question. Are we talking film composers or composers in general? Because the answer differs accordingly. My favourite film composer is hands down Jonny Greenwood. I will be honest, it took me some time to get used to his soundtracks. They are so unique and different from all the other conventional scores I am used to hearing. I honestly did not know you could be that free. 

 

My favourite composer is George Frideric Handel. The man lived from 1685 to 1759 and he was such a revolutionary composer. If you listen to his work closely you realise that a lot of his work was quite minimal. He could write these imposing pieces with the minimal amount of musical information. His music blows my mind.  

 

Do you recommend a soundtrack?

Go listen to The Power of the Dog by Jonny Greenwood. What a masterpiece!

 

Do you see yourself writing soundtracks in 5 years? Where do you see yourself?

I do! I love writing music for films and TV. Although I do not plan on just writing music for this medium. There is more I want to tell with my work. I have my sights set on also composing for theatre, fashion shows and even creating art installations. 

 

Do you have any other project in mind?

Right now, I am still working on a couple of films but as soon as I have finished the soundtracks for all of them I will turn my attention to an art installation that I have had in mind for years now. I finally believe the time is right for it to be created. Of course, I will still be open to writing music for films. I am always interested in scoring an interesting story. Besides the art installation, I will also be working closely with other artists who work in theatre and fashion. 

 

What do you ask of 2022 cinematographically speaking?

Original stories. Especially in Hollywood. I am so sick and tired of franchise films with umpteen sequels. They are such blatant cash grabs. That being said, it is the only thing I have a problem with. Luckily independent films are getting more recognisition and love. 

 

Your best experience in a movie theatre?

I rarely go to film theatres to be honest. Not that I do not like being in one but because I rarely have the time to go due to work. The last film I have seen in cinema is C’mon C’mon starring Joaquin Phoenix. I loved it. I went to see it with my partner in this cosy little cinema called Cinema Cartoon’s. It only has place for about 50 people which made the film even more intimate than it already is.