Ramin Djawadi may be best known for his Grammy-nominated, guitar-driven score for «Iron Man», but his repertoire covers a wide variety of film genres. After graduating summa cum laude from Berklee School of Music in 1998, the German-born film composer garnered the attention of Hans Zimmer, who recruited him to Remote Control Productions. After moving to Los Angeles, Djawadi wrote additional music on «The Time Machine», «Basic», «The Recruit» and the blockbuster «Pirates of the Caribbean: The Curse of the Black Pearl». He then collaborated with Zimmer, co-composing and producing the score for «Thunderbirds» and collaborating on «Something’s Gotta Give» and «Batman Begins».
Djawadi then went out on his own with «Blade: Trinity», collaborating with The RZA for director David Goyer. This was the beginning of his relationship with Goyer for both film and television. Djawadi wrote the score for Goyer’s horror thriller «The Unborn», which was produced by Michael Bay.
Another collaboration with Goyer is the hit television show «Flash Forward», which showcases Djawadi’s signature sound. The composer has also had success in television with his Emmy-nominated main title theme music for «Prison Break», which aired for four seasons.
Demonstrating his diversity, Djawadi also created an ethereal score for the film «Mr. Brooks», starring Kevin Costner and William Hurt. The score earned him a World Soundtrack Awards «Discovery of the Year» nomination. Other sonically diverse scores include «Deception», starring Hugh Jackman and Ewan McGregor, and Academy Award® winner Robert Towne’s «Ask the Dust».
Animation has been another facet of Djawadi’s career; he scored the first Sony Animation project, «Open Season», followed by the sequel, «Open Season 2». Additional animation scores include «The Chubbchubbs Save Xmas». Djawadi’s work in these films attracted the filmmakers of the Belgium-based NWave, who created one of the first animated movies in 3D, «Fly Me to the Moon». Djawadi recently completed Warner Brothers' «Clash of the Titans».
Mister Djawadi, please could you tell us something about your first steps in the business of composing, soundtracks and scores? Who discovered you and gives you the chances to compose a first «big thing»? Was it Hans Zimmer? How does it begin or what did you do, that Hans found you after your graduation at Berklee College of Music?
I ended up what’s now called Remote Control by pure coincidence. A friend of mine in Germany had a connection to RC and made the introduction. I was living in Boston at the time working as a composer for a video game company and also still played in a band. I started working for Klaus Badelt and worked on several of his movies with him. My first feature film was “Beat the Drum”. It was the first “Pirates” movie that made me start working closer with Hans. Then came “Thunderbirds” and after that I started getting more and more of my own work.
You worked together with Academy Award Winner Hans Zimmer, Klaus Badelt and Harry Gregson-Williams on different movies like «Thunderbirds», «Batman Begins», «Pirates of the Caribbean», «The Time Machine», «Basic» and «The Recruit». How is it to work together with those fantastic composers? How is your relationship to Hans Zimmer and the others?
Hans has founded a wonderful creative environment where composers can collaborate or simply find support or inspiration from others. I have learned so much from each person I have worked with. I’m good friends with all of them and a fan of their music.
Later you worked with director David S. Goyer and composed «Blade: Trinity», Michael Bay’s «The Unborn» and last but not least the TV serie «Flash Forward». Could you tell us something about your work and relationship with David?
I met David on “Blade: Trinity” and ever since have enjoyed a great working relationship with him. He is into Comics and dark sci-fi stuff a lot, which I love, too. It’s a real pleasure to work with him. He always has a great vision of what he wants and gives me time to experiment. We always talk about the film and its characters before even getting into music.
Are there some differences between Remote Control Productions and the RZA for David S. Goyer?
I think the exciting thing is to pair up a film composer with a record artist. RZA had a completely different approach of writing and working on a cue. That turned into an interesting collaboration. We would just tweak sounds or work on a track before going up to picture.
How do you describe your music style for «Flash Forward» and «Clash of the Titans»? Could you tell us something about those projects?
“Clash” was an opportunity to write big epic lush themes in a grand orchestral setting.
Even though I wouldn’t call the score traditional, it is still mainly written with a traditional orchestral palette.
“FlashForward” is more modern and has a lot more electronic elements to it. It was also scored only with a small string section. Most of the time the score had to stay small to work with some of the complex storylines and dialogue. However, the show also had that grand movie feel, so there were plenty of opportunities to go big with the music, especially in the season finale.
Which information, requirements or advices do you received before you start with «Flash Forward» or «Clash of the Titans»? Did you work with story board, scenario pictures and the movie script?
It really depends on when you start to get involved. “Clash” was already in post production when I came on and so I had a full, even though not locked, cut of the film to work to.
David had me start really early on the pilot of “FlashForward”. The post production schedule in tv is always very tight. We wanted to make sure that we had enough time to experiment with the music. So I started writing based on the script and David would listen to cues while being on the set.
Where do you find your creative imagination and any ideas for composing those movies or TV projects? How do you prepare you?
I usually like to watch the film and then sleep over it before I start writing. Inspiration happens through the most unusual events , which normally have nothing to do with music. It’s thinks like going on walks or exercise.
Did you use some electronic music and synthesizer or just some real instruments, orchestra and choirs for «Flash Forward» and «Clash of the Titans»? Or always both of them, a kind of hybrid music?
I always try to use real instruments as much as the projects allows. But I also like to use synthesizers a lot. I think it’s the combination that can make it really interesting.
The “Clash” score is pretty much all live instruments. On FlashFoward I work with a 20 piece string section. The rest is done with synth and samplers.
Clash of the Titans is a peplum. Did you score it like an old peplum? How did you approach this kind of movie? Did you use special instruments, sonorities?
Louis Leterrier wanted a more modern approach, so I didn’t listen to the original Clash score. He wanted almost rock sound but without guitars. We ended up using solo celli and distorting them.
What kind of movie is more difficult/interesting to compose: comedy, animation, action, horror or science-fiction? Are there some differences on the working process? Which kind of genre do you most liked?
I think they all have their challenges. A comedy might have much less music than action movie, but that doesn’t make it easier to write for. I approach them all the same. The music always needs to serve the movie, so that could make it large epic orchestral or a minimalist synth score. Not sure if I have a favorite. Dramas probably.
I think the key is to keep the variety. If I always wrote for the same genre, I would get bored.
What do you think about composing Video Game music? Did you already score a Video Game? Would you like to try that or are you focussing just on television projects, mini-series and movies?
It definitely interests me as games have become so complex now. They are like long movies now. I have also been a fan of playing video games.
Let me just admit that something might be in the works….
When do you know, which instrument is the right instrument for the current movie scene (for example an action or love scene)? What gives you this assurance that it’s placed at the right time? Do you learned that in the school of Berklee College of Music or is it just experience?
You never know. But that’s the beauty about writing music to picture. Our job is to connect the viewer to the scene. If the emotion and drama is supported with my score then I have made the right decisions. When I write I always try to put myself into the seat of the viewer.
Could you please tell us something about yourself? When did you start playing an instrument, and which one? At what age did you decide for his career?
I started playing piano at age 4, but I never really practiced. I switched to guitar when I was around 13 years old and got really serious about music a couple of years later.
It was then that I realized that I wanted to become professional musician and started practicing hours and hours of guitar a day. My idea was always to play in a band first and then eventually switch to film composing.
Have you got some favourite composers, maybe an idol, mentor or master? Is it Hans Zimmer and others from Remote Control? How about instruments? Any favourite? Are you playing those favourite instruments also during recordings?
Hans Zimmer, of course. He has been a great mentor and friend.
Funny enough my favourite instrument is the cello, but I don’t know how to play.
I also love voice, but I can’t sing.
What are you doing in your free time? What kind of music are you listening to, if it isn’t a soundtrack or score?
I like to exercise a lot. I enjoy surfing and swimming.
I don’t really listen to film scores. I either listen to contemporary music like pop and rock or just classical music.
Please may you tell us something about your next projects. What kind of composing are you doing right now? What would you ever like to compose or be a part of it? What is your dream project?
I can’t talk about my current project just yet.
I hope to get the chance to compose for many different types of projects. The exciting thing is to always get challenged with different styles, so I don’t know if I really have a dream project I’m aiming for.
We are coming to the end of this interview and now a slightly different question. Did you already see one of the biggest fansite of you, visible at www.ramin-djawadi.com? How do you find it? There are again and again some comments of glad listeners and fans. Are you sometimes checking it out to have a look what’s going on?
Yes, I have heard about it. It’s exciting to see that such a site exists. I would like to thank everyone for their efforts to gather all the information and updating this site.
Last but not least have you got a last unpublished note or a nice info for us and our readers, to finish this interview?
I would like to thank you and every reader for having interest in my music.
Christine Blanc Fabrice Steurer
www.inter-activities.com www.ramin-djawadi.com
28th April 2010 Questions by Christine Blanc and Fabrice Steurer
Intro by Fabrice Steurer
