A House of Dynamite | Sound & Screen Film 2025 - video Dailymotion

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00:00.

00:03.

00:07.

00:10.

00:23.

01:26How did this project with Catherine Bigelow come about?

01:32Well, she called me and I was actually in Los Angeles and my agent asked me if I want

01:41to fly to New York.

01:44You know, obviously I'm living in Germany so I'm flying a lot to Los Angeles and the flights

01:52are not getting shorter but I really love to be here because just by staying outside at

01:59the reception I'm so glad that I came this time because I really love the atmosphere.

02:06I love the wonderful musicians.

02:07I think they do a great job.

02:11Thank you so much.

02:16Yeah, and so she called me and obviously the first thing is, oh, I have to fly again.

02:21But I said to Patty, I would do that for Catherine Bigelow.

02:28I think I fly everywhere.

02:30And I heard the same from the actors, by the way, when they were getting asked.

02:35I think there was everyone quite saying yes directly.

02:38I bet.

02:39This film is split into three sections.

02:42Did you approach them differently in terms of music?

02:46Well, it's a little different to other films because the film is very documentary in a way

02:54and there's a lot of language and so when I saw the, when I read the script, I, you know,

03:00you never know how it is placed in the film then and when I saw the first chapter, I felt

03:06it is nice to connect the three chapters because they are in a way describing the same thing

03:12but at the same time they have to somehow escalate.

03:15They have to get, you know, more bold over the time of the film and at the same time

03:23I had the feeling I need very small, like, motives because you somehow have to squeeze

03:31them in between the sentences.

03:34So if you use two long melody lines and I know I'm all quite at three notes, this one

03:40has four, so I hope for Christmas I get the fifth one and I can, I can write longer themes

03:47but, no, it's, it's actually very interesting to use small motives to repeat them and they

03:56are quite memorable.

03:57It's not always the long lines that are memorable.

04:01You use a lot of woodwinds and brass instruments as we heard there, sort of creates this tension

04:06almost, you know, we're waiting for this bomb to go off.

04:09Yeah, I was experimenting with low woodwinds in London at Air Studios because I had with

04:18them quite a couple of experiences where they had very extraordinary, seldom, like low flutes

04:25and which I, I'm a big fan of these bass, very bassy instruments so I asked them to sing

04:31in the instrument and to hum while they are playing and to get this kind of moaning into

04:38the, I had the feeling that there are creatures somehow under the earth.

04:43Animalistic almost.

04:44Yes, they are, who are moaning and in a way like crying silently about, you know, what's

04:50happening on earth in a way.

04:52So I was, I was trying to figure out how I can achieve that with woodwinds and at the

04:58same time I doubled a lot of the string instruments with, with the baritone saxophone.

05:03So they, who was like being very ecstatic trying to create these staccatos on top of the strings.

05:10You mentioned Air Studios, Sir George Martin's studio.

05:13How was that process?

05:15How did you enjoy recording there?

05:17I mean, you know, for me London is one hour flight, 50 minutes.

05:23I'm sensing a theme here.

05:25So sometimes when I arrive in London, they say, oh, we took longer to our studio from

05:30outside of London than you took with a plane from Düsseldorf.

05:35And at the same time, I have a smaller city.

05:38Everything in my city in Düsseldorf is reachable in 10 minutes by bike.

05:42And so, you know, I'm, you know, I'm not wasting time in traffic.

05:48So I can, I can write in that time, I can write music.

05:52So I'm really appreciating that.

05:55And in London, it starts, you know, getting, you know, quite busy.

06:00And so, but when I'm, once I'm in the studio at Air, I really appreciate their knowledge

06:07about microphones and, you know, I, I nearly bought everything that they have for my own

06:13studio because I just felt they have so, such a knowledge about old microphones.

06:17And then I, I wanted to have the same, to record the strings in the same way.

06:23And yeah, I bet.

06:24Well, look, let's give it up for Volker Bertelman.

06:26Thank you very much.

A House of Dynamite | Sound & Screen Film 2025

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