Finding myself for the first time in the fascinating world of film scoring and coming into contact with a documentary that dealt with such an unusual theme and at the same time so delicate and strong, for me it represented right from the beginning a real challenge both from a personal and professional point of view.
The main point was not to create the right type of music, build a harmony, render the notes possible, the point was to manage to give voice to sensations that too often we all tend to put to one side, because they make us clash with the crude reality of things, in front of which the first reaction is to turn our face the other way.
Instead this documentary makes us look at what we don’t really want to.
It teaches us to let our emotions run free and to face them, and for me the great challenge was to put these emotions into a universal language, that is music.
That is why sounds went parallel with images, they reflected themselves in the images like in a mirror, because I couldn’t (and I didn’t want to) turn my face away.
The instrument that was the best way to obtain something pure and authentic was of course the piano.
What I hope is that whoever watches this documentary, just like in real life will face things which are often unpleasant, chooses not to look away, but be totally immersed in the intensity of watching and listening to what they have in front of them.
I would like to thank from the bottom of my heart the people who have given me the opportunity of letting me carry out this beautiful challenge, in particular the great and talented friend Lilian Nagel, who has always been there for me during this work, and her brother who is also the film director of this wonderful work, Toine Nagel.
Working with you guys has been a wonderful expierence.
Thank you from the bottom of my heart.