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EQ's Music: Interview Remarks
Klaus Badelt Talks Equilibrium


Various interviews and comments that the film's composer has made in regard to Equilibrium...







Film Music Radio Interview
The following is the short Equilibrium/Ultraviolet section of an interview Klaus Badelt, the film's composer.


Transcription thanks to Aikido Al


Interviewer: Now early in your career you made a very fun partnership with the director/writer Kurt Wimmer in Equilibrium and most recently Ultraviolet. And in this I think we started to really hear this...a lot of fun, energetic, percussive futuristic electronic sound.

KB: Yeah, Kurt is an amazing writer and he...I remember...I was think Equlibrium was, if I remember right was the first picture, a studio picture, I ever wrote so I *laughs* sat down for weeks. He was still shooting in Rome and in Berlin, so I was sitting down for three or two or three weeks and I wrote this very long, in my terms, very long piece...about twenty minutes. Twenty minutes of music, which came to my mind not having seen anything actually of the picture. And I think we were able to--which was great luck!--were able to use about 90% of what I wrote. You can hear in the movie basically unchanged even though I never wrote it to picture.

Interviewer: And what is really cool about Equilibrium is--which is a massive cult film by the way--and Ultraviolet, again...you're not the first composer to come out of Hans's (Hans Zimmer) school to kind of write in these really fun, dense electronic passages. But yet your music in the genre stands out as belonging to you. Was that difficult, again, when so many people from Hans's school kind of writing like this to make your music stand out?

KB: Well, um, I think what happens when you grow up around a master like Hans, you, just practically speaking. You learn very much how to work for him so you know exactly how to make it sound like him. If you really, you know, if you know the craftmanship of it. And so that is what you basically come out of. And when you know when it's time to leave, the important thing is to create your own sound...which you know you had before. It's just, you know it's like Michaelangelo, or these artists hundreds of years ago, they had these guys. You cannot...experts today have a hard time telling what...Hey, for example, da Vinci *laughs* very commonly popularated, you don't know what da Vinci actually painted and what he didn't anymore really. He had these amazing guys around him. So that's what you start off with I think. And then, you know, towards the end you find back towards your roots and try to make it your own. Which comes as a relief after probably years of working for the big guy who, you know, needs a specific sound and if you're lucky you can deliver that.

*This part concludes with a selection from the Equilibrium soundtrack (I'm losing my fangirl status as I don't know the title of the track) and the Ultraviolet opening theme*






Scoring Equilibrium - Richie Nieto, Geoff Zanelli, and Klaus Badelt

Image property of hanszimmer-archiv.de 2001/Dirk Hein /(c)





Dreams to Dreams Interview

he following is the short Equilibrium section of an interview Klaus Badelt, the film's composer, did for the French site.


Translation thanks to BaleheadNutcase & FreeTranslation.com


DtD) Your current work is rather loaded. Let us start with EQUILIBRIUM by Kurt Wimmer, with Christian Bale. How would you describe this film?

KB) EQUILIBRIUM is the first movie for which I alone composed since my arrival in the United States, well before The Time Machine. I started working on it in the Summer of 2001. Because it had additional scenes, it went over 6 months. I was really inspired and liked the subject of the film a lot! It is a political thriller with a critical vision of a fictitious society set in 2080.

DtD) What did Kurt want in the movie?

KB) He wanted the music to emphasize the weight of the society and the coldness of its leaders. I started to write a rather long piece, while work was always continuing, and Kurt tested it on the print, this allowed for him to see if it worked. This was the case!

DtD) How did you translate the implicit threats that weigh on the leaders?

KB) The film is situated in the future, so I played with the combination of Wagnerian aspects and techno music. Poor Richard Wagner, he is so often quoted for movies involving Fascist systems. (laughs)

I thought back to the old films in black and white that showed us these systems! I wanted the music to include the images, so I have added a massive choir. That could evoke a nationalist hymn (anthem). Unfortunately, there wasn't a sufficient budget to hire an orchestra. So I did everything myself, with the aid of synthesizers and choir samples. There's not the least trace of a vocalist in this piece...

DtD) Do you think there will be a CD?

KB) I don't know. Maybe in Europe when the film is released? I will think " men occuper"...




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