Synths, textural effects, and reverb for Das Boot throughoutĭifferent scenes within each episode. The metallic sounds seem to fit well in thisīeyond the title theme, you’ve made use of a lot of heavy
The distorted synth (continuum) and the metallic ‘sound designy’ elements are part of the Prochaska/Weber At one point, I tried to add strings to the brass on the melody,īut I took them out, as it took away from the macho toughness of the U Boat I did not use brass anywhere else in the show.īy the way, was no other than Bob McChesney, one of the best trombone players So I dedicated this sound to the U Boat and to the original Thinking of war, U Boats, the all-maleĬrew, heroism – whether real or self-proclaimed – the sound of brass is usuallyĪssociated with that. In the back of my head, I always knew that I wanted to haveīrass play for the theme in the main title. What was theĭecisions on an intuitive and improvisational level. In favor of brass and distorted resonant synths. On the genre, the particular project’s requirements, the director’s taste [andĪway from the original string instrumentation of the title theme It is just as dangerous to be too ‘droney’Īnd non-melodic for too long, though. They are very important and helpful, if used in the right situation. More melodic we get, the more we define the emotion the more manipulative weĪll love melodies they are very precious. There is room for everybody’s own thoughts. They make the audience feel something, but they usually don’t tell them High, low, small, big, the more unique the better.Ī vibe. Sustaining sounds, drones, non-melodic elements. Process, slow down, play backwards, pitch up or down, etc. Recordings of organic instruments (including the orchestra) that we manipulate, Interesting new sounds – sometimes electronically, sometimes based on With Andreas, I do use orchestra, but our playground, so to speak, is creating Orchestra and electronic elements, with the early synths of the time.
Tell us more about these broad thematic influences from theīring together the musical world of the 1981 movie with the musical approach thatĪndreas and I have developed over the years. Theme appears orchestrated for string orchestra and Continuum, underscoring the Space that the ocean is – similar to outer space. Like this, it conveys a sense of loneliness. My main instrument and I also wanted to introduce this main theme – played For one, I wanted to introduce the Continuum,
On this overhead shot of the water, I play this simple melody Piano theme is juxtaposed with fragments of Klaus Doldinger’s original theme.īeing introduced in the opening scene of the first episode – the very first Whenever I tried to develop it and change it, it lost something, so I only did
Looking at early footage, that melancholic piano theme was Musical theme that expresses that sense of missing someone, of yearning,
Story, not knowing if the other one is still alive. Important story elements was the relationship between Simone and her brotherįrank. Before they started shooting, I had the scripts and once they beganįilming, he sent me rough cuts of scenes that were really important to him. How did you get involved in scoring Das Boot, and what influences did you draw from in creating this score?ĭirector Andreas Prochaska for many years, and he involves me in our projectsĮarly on. This composer tells us about the sound of war in his new miniseries - and how it’s portrayed through the fascinating Haken Continuum. He’s since received prestigious awards for his scoring - some film and television credits include Baywatch, The Sopranos, Pearl Harbor, and League of Extraordinary Gentleman (not to mention, of course, Das Boot). Matthias studied film scoring at the Berklee College of Music on a Fulbright Scholarship, as well as music and composition at USC Thorton School of Music and the University of Chichester. Los Angeles-based German composer Matthias Weber has scored the show, and his music pays homage to Doldinger while also incorporating synths to build his own unique and contemporary sonic environment. Now, Sky has released the binge-watchable miniseries Das Boot, which is a 2018 television sequel to the original film. The 1981 film shared a narrative of World War II, accompanied by a soundtrack from composer Klaus Doldinger. It’s been close to four decades since Oscar-nominated film Das Boot was released to the world.
BY CHRISTOPHER LEON, GLOBAL SERIES EDITOR