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Interviews: An Interview with Patrick Kirst - By Herbert M. Brindl
Posted on Friday, May 01, 2009 @ 16:34:39 Mountain Daylight Time by Duane
I’m sitting here in front of a window, watching our cat Ashes chewing on my wife’s all so precious “New York Cowboy Statue” and thinking how can I start the introduction for an Interview which I did a couple of days ago with German composer Patrick Kirst..…
Not that there is nothing to write about him, don’t get me wrong, but how to find the right words to do this talented young man justice?
And while I think, the opening theme of the movie “Love Story” appears in my head, composed by academy award winner Francis Lai. Almost immediately the famous words Ryan O’Neal used to say in the opening of “Love Story” come to my mind. And there it is, why not introduce Mr. Kirst with one of the greatest movie themes ever written?!
So where do I begin? Or what can you say about an up and coming film composer? That he loves Mozart and Bach? That he is blessed with a classical deepness of Maurice Jaree, the unique lightness of an Ennio Morricone, compared with the powerful craft of a John Williams? (Talking about Morricone, how could the almighty Academy manage it to overlook a man who has been one of the defining influences on film music for the past 40 years?)
Anyway, maybe I should start with Patrick there, where everything began. Let’s jump back to February, the day before the annual Academy awards. Location is the beautiful Villa Aurora, an historic landmark building located in the former home of exiled German-Jewish writer Lion Feuchtwanger and his wife Marta with view of the Pacific Ocean (the Germans do know how to spend their tax money right!). The Event is the German pre Oscar Party. What an event, what a location and what people you could meet there. Bernd Eichinger, Germany’s No. 1 producer, (The Never Ending Story, Resident Evil, The Downfall, The name of the Rose, etc…). Actor Moritz Bleibtreu (Run Lola Run, Munich, Baader Meinhof Complex), David Kross (The Reader), academy award winner Jochen Alexander Freydank ( “Toyland”) just to name a few. And then between all these talented and successful people I meet, while grabbing a Red Bull Vodka, outstanding composer Patrick Kirst, a native of Germany absolvent of the Classical Music Conservatory in Karlsruhe, the Berklee College of Music in Boston, followed by New York University, and then the University of Southern California (USC), Los Angeles where he studied under distinguished composers such as Academy Award nominee David Raksin, Golden Globe nominee Christopher Young, Jack Smalley and Grammy Award winner Joe Harnell. Last but not least he also joined the adjunct faculty at USC in 2007.
From here we have to jump forward, to the month of April, because generous Mr. Kirst invited me for this interview in his beautiful garden at his current “Residence” between Santa Monica and Venice beach where, surrounded by lemon and white peach trees, Patrick Kirst talked with me about his award’s, and Disney’s “Earth”, Claudia Puig, of the USA TODAY wrote in her review of “Earth”: “Further interfering with the majestic visuals is the overbearing and bombastic score. Only in one endearing scene of an odd-looking bird of paradise in New Guinea does the music actually enhance the visuals, playing off the bird's antics and exotic plumage.” Yes you guess right, this scene mentioned was scored by Mr. Kirst! Patrick will also score a major upcoming German/Swiss Co-Production called “Der große Kater” (The great Cat) produced by Benito Mueller with a European all star cast, lead by Swiss actor Bruno Ganz who gave award winning performances in the “Downfall” and “The Reader”. Mr. Kirst also worked with Aaron Zigman on Mr. Magorium's Wonder Emporium, starring Dustin Hoffmann and Natalie Portman, and Sex and the City: the Movie. Last but not least I have to mention that Patrick is also a great supporter of independent film makers, the most recent of many he scored is the feature “Sweet Thing” which was accepted by the Seattle film festival in 2008.
Patrick Kirst has composed more than 50 film scores and themes. Not bad for a man who left his comfort zone in Germany, immigrated to America and started from the beginning again!
I think that Patrick is a perfect example that three simple ingredients are enough to be successful: Compare your natural talent with hard work and a strong focus on the essential things and sooner or later it will pay off! And let me just finish saying that I’m very sure that Patrick Kirt’s name and themes will very soon turn into common household names , as John, Ennio and Maurice are now!
* * *
 HMB: Mr. Kirst, tell us a little bit about your background. Where did you grow up in Germany and what was the reason that made you decide to go into film composing?
PK: I grew up in a small little town close to the French border near Strasbourg. At high school I was writing music for our theater ensemble. I soon realized that I loved music written for another media (as opposed to music that serves just its own purpose). My compositions were mostly derived from improvisations at the piano. I discovered music in a very exciting and creative way. It was the first time I collaborated with a director, discussed concepts for the theater plays, feel the drama, feel the characters and the story. The jump from theater to film was a rather small and logical step from then on. I all of a sudden paid more attention to the scores when going to the movies and then decided to pursue it.
HMB: So you started playing the piano at age seven. Did your parents have to force you to take lessons, or was it your own decision and free will at this young age? Did you study other instruments too?
PK: When I was six or so I wanted to play the piano. My parents asked if I really wanted to learn the piano and I kept insisting. Learning an instrument was definitely something new in our family. No one in our family has anything to do with music. But they finally gave in and I started my first lessons. Before I had my own piano I practiced on my neighbors’ pianos. Quite a funny thing, going from door to door like a sales person and asking our neighbors to practice on their pianos. Later on I also studied some saxophone just for fun.
HMB: What were your first composer/scoring jobs in Germany?
PK: As I mentioned earlier, my first compositions were written for the theater ensemble at my high school. Years later I was asked to write the music for my first short film. I totally forgot how that came about…
HMB: MR. Kirst you studied at the very prestigious Classical Music Conservatory in Karlsruhe where you were awarded a national grant to do research on the perception of film music. In 2000, later on you got a generous scholarship from Rotary International. You attended the Berklee College of Music in Boston, followed by New York University, and then the University of Southern California (USC), Los Angeles where you studied under distinguished composers such as Academy Award nominee David Raksin, Golden Globe nominee Christopher Young, Jack Smalley and Grammy Award winner Joe Harnell. Why the move to the States? Was it always a dream of yours to work in the USA, especially scoring films in Hollywood?
PK: Yes, I became addicted to film music and knew that I had to pursue it where the films were actually made. I had to at least try my luck and see if I could succeed in this highly competitive market.
HMB: Studying music in Germany vs. studying music in the states, and do Americans compose different than Europeans?
PK: That’s a good question. I studied quite a bit in Germany and then another three years in the States. I really enjoyed the different approaches both countries have. I feel that in Germany music has a lot of intellectual weight. And I think that studying composition there means one has to naturally follow our European musical heritage from Bach to the late 20th century. In America you have a more liberal approach. If you want to write a piece in C major go ahead. No one will ever judge you. And that of course has consequences. Film music to this day is mostly tonal. And I feel that writing tonal music in the US is somewhat more fun than in Germany.
HMB: How does scoring movies in Germany differ from scoring movies in the states, is there even a difference?
PK: Well, if you are talking about the differences in the creative approaches I would say they are the same in both countries. However, I do believe that there is a difference in the musical language and that comes from our differences in our upbringing and our cultural heritage. But the ultimate goal is simply to write a good score…
HMB: Are you still working on projects in Germany?
PK: Sometimes. I must admit that after being in the States for so many years I lost touch to the German market. I feel sad about it. I would love to collaborate more often with German filmmakers. But being so far away makes it harder to establish those relationships.
HMB: What composers do you admire or by whom are you most influenced?
PK: I would say Beethoven, Mahler, and Stravinsky to name a few, simply because they were way ahead of their times - true hardworking geniuses under constant struggle to reveal music’s mysteries. In the film music world I would say Bernard Hermann, Jerry Goldsmith, Thomas Newman, and Alberto Iglesias, mainly because of their unique voice and sensibilities.
HMB: What are your personal top 5 film music scores of all times?
PK: North by Northwest, Talk to Her, The Godfather, Chinatown, and Taxi Driver. There are many many more of course…
HMB: Do you have a special method when you start scoring a film, how do you get into the mood, where do you get your inspiration from?
PK: I get my inspiration usually from a very specific moment in the film. I am looking for moods and pictures that are inspiring. A key scene or a beautiful scenery, an interesting camera angle, or even a dialogue scene that resonates with my world views. Then of course there are the talks with the director who will tell me in his/her own words what the film is really about and what is important to him or her. Then I would decide on a concept, for example an instrumentation or a stylistic idea, then develop themes and try them out with the picture. It’s a puzzle game sometimes, but once you are tuned in to a project, it writes itself usually. The first couple of cues are definitely the hardest to write for me.
HMB: Is it true that a composer can fix with his theme in a scene a bad actors performance, and do you agree with George Lucas, who said that without John Williams score “Star Wars” wouldn’t have worked at all?
PK: I do believe that film music has a massive impact on how we perceive an actor’s performance. In Star Wars’ case John Williams score not only enhanced the actors’ performances, it also made the story much more believable. It sucked the audience into the drama, made us fight, laugh and cry with our heroes. I do think that a score can ruin a film as well, as much as it can bring it to life and complete the director’s vision to a masterpiece.
HMB: The credit for the next question goes to Composer Andrea Morricone (Yes Rogue Reader’s, it is the Bafta winner and son of composer legend Ennio Morricone), Andrea asked you the last time we met a very interesting question:
“What’s the difference for you between orchestrating and composing?”
Mr. Kirst, would you please answer it again for our Rogue readers in the same words you answered it to Andrea Morricone?
PK: Composing is building form, making a plan for a building like an architect. Orchestration is artfully filling the space the composer designed much like colorizing a black and white draft. Composing naturally leads itself to orchestrating and sometimes an orchestration could also lead to a composition but I still believe these are two different skill sets.
 HMB: Your scores were not only heard on HBO's trailer hit show “Big Love”, you also worked with Daytime Emmy award winner Aaron Zigman on “Mr. Magorium's Wonder Emporium”, starring Dustin Hoffmann and Natalie Portman, and “Sex and the City: the Movie”, just to name a few, how did this collaboration happen and how is working with Mr. Zigman?
PK: I met Aaron when I was doing music preparation (creating all the parts for the musicians and proofreading them) on the movie “Bridge To Terabithia”. I had to pick up his scores and needed to make corrections based on his red pencil marks. Aaron and I hit it off. I told him that I would feel comfortable orchestrating for him if he ever needed help. I showed him what I had done both as a composer and an orchestrator. I didn’t hear from him for about 4 months (LOL). But then the phone rang and he offered me to work on Mr. Magorium’s Wonder Emporium. This was a great opportunity and an eye-opening experience for me. My orchestrations for 100 piece orchestra were taken apart, dissected, and improved. I learned so much from Aaron and his team – a team of top professionals. I felt Aaron has been my mentor ever since. Three projects followed to this date: Sex & The City – The Movie, The Ugly Truth, and The Proposal.
HMB: One of your latest Big-Projects is Disney’s “Earth”, how did you got attached to this project, and what can you tell us about it?
PK: Well, as with most films, you get attached to them by knowing someone who knows someone. My contractor’s father used to work with the producer of “Earth” at Disney years ago. So they gave it a shot and I didn’t screw up. LOL. I worked closely with the producer of Earth. He wanted a very simple musical treatment of the score. I came up with a funky rhythm section consisting of a bass, multiple guitars, and a huge load of world percussion. We had so much fun. I scored two scenes of mating birds that were unsuccessful with their ladies and one scene of baboons that had to get used to their new water environment, (hint: baboons HATE water) - a hilarious scene as well.
HMB: I know you are also a great supporter of independent film makers, the most recently you scored is the feature “Sweet Thing” which was accepted at the Seattle film festival in 2008, is there something that set’s scoring indie movies apart from doing major studio projects?
PK: With a major studio feature one usually has to deal with a temp score. A temp score is taken from pre-existing movie soundtracks and fit to picture by a music editor. Producers, directors, and the studio executives get used to the temp music and expect the composer to get as close to it as possible without getting sued (because you got too close to the temp). I find that especially with studio productions of (romantic) comedies, that there are not that many creative choices and liberties the composer is left with. In the Indie world, however, you have less decision makers. You mostly deal with the director, who more often than not also wrote the script, and who is willing to take more risks. That translates into more creative choices.
HMB: A very interesting, feminine, dreamy and mysterious composition of yours is the score of the short movie “Catalina” from award winning Chilean filmmaker James Katz, you are very proud of this one, what’s so special for you about this score?
PK: The film was casted, shot, and entirely produced in Chile. The only crew member who was not Chilean on this film was myself and my team. I wanted to write a strong thematic and emotional score that is Latin-American influenced. We asked Martin Chalifour, concertmaster of the Los Angeles Philharmonic, to play the solo violin. What a treat! He brought his 1725 Stradivari violin to the recording sessions. Do I need to say more? James Katz is an exceptional filmmaker. He shot Catalina when he was just 25 years old. He is an aspiring director who will have his big break soon. Watch out for him! I hope he still remembers me then. LOL.
HMB: Talking about awards, you won FAIF International Film Festival 2006 Judges Choice Award: Best Musical Score for Zombie Prom (2006). In 2007 you won at Park City Film Music Festival, two Gold Medals for Excellence. One for Best Music Score and one more Gold Medal for Excellence Outstanding Achievement in Film Music for “The Elephant's Egg”, how did that feel?
PK: Terrible! (kidding). It is a wonderful feeling to receive recognition for your hard work. Not that many festivals have a special category for Best Score. I hope there will be more in the future.
HMB: Two other indie movies you scored are Green by a fellow German of you Director Boris Schaarschmidt, with a classic symphonic setting and “A Few Drops In Cambodia”, a documentary Directed by Marsha Kinder. In the later one you use very exotic instruments and melodies, how did you get familiar with these very unusual instruments, and where did you find the musicians to do that? Also both scores could not be more different (both are extraordinaire by the way!), do you prefer more to compose classical symphonic scores, or more “Exotic scores” with a more intimate band setting?
PK: In “A few Drops in Cambodia” I wanted to use Cambodian instruments but in my own personal way. One can easily fall into the trap of trying to write Cambodian music for a film with a Cambodian topic. Fact is, I am not Cambodian, so any attempt would fail miserably. Rather use the ethnic colors of the instruments and implement them to create a unique sound. When I told my contractor that I needed two Cambodian players he laughed and said that that would impossible to find in LA. Well, a couple days later he called me and told me that he found the players I requested. Due to miscommunications, they showed up with different instruments than what the director and I requested. At first the director was quite furious, but in the end he fell in love with the unexpected sounds they created.
I guess independent filmmaking has demanded a more creative usage of your (financial) resources. Indies are very often character driven as opposed to providing a cinematic spectacle, the latter would call more for a classical symphonic band. I do like them both since they both have specific needs that the score needs to fulfill. One tends itself more to a grander emotional scale, whereas the other is smaller and therefore more intimate and charming.
HMB: What’s important for you when you attach yourself to a project?
PK: MONEY! (ok, KIDDING!) Getting along with the director is key! If you are on the same wavelength you will most likely have similar musical tastes, which makes the whole scoring process so much easier. The project itself of course has to resonate with me. I have to feel for the characters and their stories.
HMB: In 2007 you were honored to be part of the adjunct faculty at USC where you share among other very talented people your experience as an artist in today's highly competitive film music market. How did this come about and more important are you a very strict teacher?:)
PK: Teaching at USC is a true honor for me. Following in the footsteps of legendary film music giants and former USC faculty members Buddy Baker, Elmer Bernstein, Jerry Goldsmith, Leonard Rosenman, and David Raksin is simply breathtaking. After I graduated from USC in 2003 I kept in touch with the department chair. Many changes happened after I graduated. New part-time positions were created, with the goal to diversify and teach our students all aspects of the film music market. I enjoy teaching and I was at the right place at the right time. Lucky me! And yes, I always bring my whip and apply it where necessary. LOL.
 HMB: Some advice for newcomers in the composing world or people who are interested in joining your class at the USC?
PK: Don’t stop believing in yourself. Never give up. Keep up your hard work and your dreams. Be persistent and send out good energy.
HMB: Which scores and tunes do we find in Patrick Kirst’s iPod?
PK: You mean besides my own? Hmmm… LOL…. Ok, you would find a quite eclectic mix from the Beatles, to Miles Davis, and from Bach to Ravel.
HMB: What’s next for Patrick Kirst?
PK: I just signed on to score the next Bruno Ganz film called “Der grosse Kater” (The Big Cat). I’m looking very much forward to it.
HMB: Please choose 5 film composers (dead or alive), you want to have at your dinner Table.
PK: Bernard Herrmann, Jerry Goldsmith, Elmer Bernstein, John Williams, and Thomas Newman. Hmmm, wondering if they would get along…
HMB: Any People they came along in your life, you wish to give a special thanks credit in this interview?
PK: That list could be quite long. I feel blessed to have met such incredibly talented artists from all over the globe. Some of them have mentored and supported me for decades. I will be forever grateful to them.
HMB: Thank you so much for the interview Mr. Kirst, and all the best for 2009!
PK: Thank you for having me!
Friday, May 01, 2009 @ 16:34:39 Mountain Daylight Time Interviews | |
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Average Score: 5
Votes: 2
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