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Film and Television composer
Interview by Thierry ATTARD
Special thanks to
and Petra KELLER

Since 25 years, the future of the Movie and TV soundtrack industry is invariably written in Germany.

When Hermann Joha, the producer who pushed the limits of action sequences at a level never reached before, needed a totally original musical universe for the feature film adapted from the hit tv-series The Clown, he naturally asked Kay Skerra to conceive it. Encounter with one of the most promising, creative and talented german film and television composer.

D.R.Objectif Cinéma : Kay Skerra, thank you very much for accepting this interview. Long before becoming a composer for film and television, you founded a band, Anchorage. Could you please tell us a few words about your work with this group and the kind of music you were playing.

Kay Skerra : I started my musical career as a drummer in several projects. Anchorage was my first experience in working with a real band. In the very beginning it was only bass guitar (Heiko Nitsche), guitar (Kai Saffran) and me - playing drums. Later on and influenced by Olaf Parusel and his musical project Stoa, I bought my first Atari computer and several sound modules.

We worked a lot with it, especially adding orchestral elements to the music and it changed our ways of composing dramatically. It was astounding to see how easily ideas out of my head could turn into results.

D.R.Objectif Cinéma : What were your musical influences at the time ?

Kay Skerra : We were influenced by bands like Slowdive, My bloody valentine, The Swans, Dead can dance or And also the trees. Anchorage mostly played some kind of Wave music with symphonic influences. Film music very soon became a major source of inspiration.

Objectif Cinéma : You have a solid theorical and practical backround in music. What did you learn from your studies in musicology, film music and sound design that you consider most important and still have in mind today in your work for movies and tv ?

Kay Skerra : I always try to be open to new influences and experiments and I try to avoid to use the same structures everytime - even if it may seem the easiest way. So I can have a fresh look at every new project with its different needs and - hopefully - find something special that fits and supports the mood of the scene.

But nevertheless I think it is important to always remember your roots - the reason and the feeling, why one started composing music at all.