Composer Klaus Badelt started his musical career writing and producing music for dozens of highly successful movies and commercials in his native Germany. In 1998, Oscar-winning composer Hans Zimmer  invited him to move his musical home to Media Ventures in Santa Monica, CA. Since then, Klaus has composed scores on his own film and television projects as well as collaborating with Zimmer and other composers.
Employing his background in producing records and collaborating with a wide variety of recording artists, Badelt's approach generates original scores with an authentic production value while maintaining the integrity of a film score. By joining forces with the filmmakers, Badelt provides a musical voice that compliments the director's vision, and befits the film. His devoted team spirit in combination with his personal drive to explore new ideas and push the creative envelope, make Klaus Badelt a filmmaker whose distinctive music and intimate style are unique in the industry.

Inter-activities invites you to discover Klaus' work for Dragon Hunters. Enjoy!

 

 

Klaus, thank you so much for this interview. It’s again a great honor for me !

 

Please may you tell us  when were you asked to do the music of DRAGON HUNTERS?

I was introduced to the project in the Fall of last year.

What is your technique when you’re writing music?

I don't really have one technique, there are many ways and inspirations I draw from. I love having a chance to look at the film for a while before I actually have to start writing, so I can internalize the characters and story and from there can start the themes evolve naturally.

 

Do you compose on paper, or work into a computer for DRAGON HUNTERS?

Yes, I do work with Apple Logic software, but always keep the connection to the actual instrument. For this film, for example we recorded Chinese instruments, such as the Erhu.

How did you work on it? What did you draw your inspiration from? Concepts? Animation? Miniatures? Temp track?

The film itself inspired me very much. They aregreat characters, beautifully brought to life by the animation and voices. With each new rendered FVX version of the film, it became a more exciting and bigger adventure. For this film I actually moved to Paris to be right next to the cutting room and was able to work very closely together with the directors. It is this direct collaboration with the filmmakers that I bring back with me in my studio to write.

 

How did you collaborate with the filmmakers? What request did you have from the crew?

I work closely with the directors, editors and sound designers as they are all bringing the story to life. I look at different cuts and work how my themes support the story and play it back to the directors. I love the discussion that arises when you are working with temp tracks as it is very hard to actually talk about music from scratch. Even as a composer myself it is hard, and so it is great to be able to either listen to preselected tracks that have been chosen for example by the editor or the directors or music I have began to write and take that as a starting point to find the right emotion, accentuation, as well as moments of quietness.

 

What do you think about working with French team? Is it different? Why?

It is a fantastic experience to work on European, especially French, films. There's a great spirit that can be felt through to post-production. Many technical aspects of the music production itself are similar to the U.S., but the bustling life in Paris does seem to influence the entire experience for me. I would do it any time again, in fact, I just finished another French film.

 

How much time did you get to compose the score?

We had about 6 weeks.

How did you approach musically the universe of DRAGON HUNTERS? From the thematic point of view? From the point of view of the musical colors (orchestrations, specific instruments, electronic music)?

I always try to approach films through a process of thematic development. The initial task for me is usually to take the time to absorb the film - it's characters and environment, and try to establish the primary themes for these important elements that will carry consistently through the film and (hopefully) help to draw the viewer deeper into the story. This of course also involves selecting a sound palette which begins to help define the fantastic world in which the story unfolds. For this film we needed both the depth and breadth that a live orchestra provides, but also it was important to have some synth elements and sounds that were more unusual in order to enhance the beautiful landscape of this very foreign environment. Some of the solo ethnic instruments help to keep the natural 'human' warmth while lending their unfamiliarity to the sounds of this other world.

 

There are musical codes in animation (mickeymousing). How did you approach that? Were you familiar with these techniques? Did you compose a score for a film, or for children’s animation?

It was important, as it is in so many contemporary animated films today, not to engage this as a cartoon. First and foremost this is a film, and the approach was the same as it would have been for any story involving this type of action and drama. The animated picture of course means that we will have a larger base of viewers that are younger, but I think music that tells a story doesn't necessarily rely on a level of sophistication from its listener. The music should be experienced as part of the film and primarily seeks to aid in enhancing the story. Of course I always like the score to be able to stand on its own, but my primary role is that of a storyteller.

Will DRAGON HUNTERS be release on CD or any other (un)material? When? Why?

This is always up to the studios that make the films as well as the details of national and international distribution. As for DH, it's still up in the air...

 

What did this experience bring to you, personally and professionally speaking?

It is always a pleasure working with outstanding people and working with the creative team on Dragon Hunters was an absolute joy. As I had the opportunity to work in Paris I was able to develop a wonderful rapport with the directors and producers and this always makes for a very enjoyable experience. Every project is a learning experience and this one was no exception. The promise of a new challenge that each type of project brings is what keeps me professionally fulfilled and looking ahead.