What was your greatest challenge on Mein Führer – Die Wirklich Wahrste Wahrheit über Adolf Hitler?
The musical style for Mein Führer was a mix of march music, Kurt Weill, Wagner and a kind of bizarre circus music that was sometimes mixed Into one piece. The challenge was not to create happy comedy music, but to find music that slips from comedy into tragedy and fear, without getting too serious. Just like a theremin effect, that Is an old fashion spooky effect, I used whistling and tuned it 1 octave down to get this trembling atmosphere of comic horror. I had the complete WDR Symphony Orchestra (for free) to work with, so I could use their full strength when needed. MT: The music you wrote for Liebesleben is my number one favourites. Is there a reason why you wrote almost no Arabian sounding music for the film? I composed the music for Liebesleben at the same time I did Mein Führer, which was the complete opposite of it; very few instruments, no mixture of styles. The music was always concentrated on Jara, the female lead, and the reason why we didn’t use Arabian style in the music
