The legendary director shares his memories of joining Tangerine Dream in their Berlin studio to craft the soundtrack to his first film 'Thief.'
I was shocked to hear about the loss of Edgar Froese. It seems as if we were working together about fifteen years ago, not thirty-five.
It was on my first picture, Thief, and Berlin was still a divided city. I had culled music ideas from Tangerine Dream's Alpha Centauri and Phaedra, that I referred to constantly during shooting. In post, after shipping a dupe of the film, many phone conversations and cues back and forth, we spent a week together on the final in their studio. Their studio was amazing. It was a gutted cinema near the Berlin Wall.
Earlier, I had been divided between choosing music regionally native to Thief, Chicago Blues, or going with a completely electronic score. The choice was intimidating because two very different motion picture experiences would result. Right then, the work of Tangerine Dream, Kraftwerk and Faust was an explosion of experimental and rich material from a young generation coming of age out of the ruins and separating itself from WWII Germany. It was the cutting edge of electronic music. And, it had content. It wasn't sonic atmospheres. There was nothing in the UK or the States like it.