After having recently worked with director Adolfo Kolmerer on Oderbruch, this project brought us together once again. It was our first time composing for a film produced by a major streaming platform —Prime Video—which made it an exciting new challenge.

One advantage was that Adolfo, my colleague Tim, and I already had a well-oiled workflow. The main challenge, however, layed in the scale of the production and the number of approval layers each stage of post-production had to go through. This meant a higher level of precision and preparation was required.

Even before filming began, we had already composed a significant amount of music. The editorial team, led by Laura Wachauf, received our work as mixes and stems—a workflow we were familiar with. Some of this music made it into the final edit, while other pieces were temporarily set aside and we were required to compose a large part of the score for the movie while it was being cut.