Welcome to my newest interview with Edwin Wendler, who is from Austria and is living in sunny Los Angles, living his dream as a film composer. He shares with me the joys and challenges of being a composer and his favorite failure.
One of the most memorable things he shared with me in our chat was this: “Be kind to each other. Kindness inspires more kindness, and that’s a good thing.” The world needs kindness, and I loved that!
Introducing Edwin…
What do you love about your life right now?
I love that I have found happiness in my personal life with my husband, and I love that I can work doing what I love. Even in the most stressful situations, there is still fun to be had while making music. I have a lot to be thankful for.
Was there a particular film or composer who inspired you to become a film composer?
As a kid, my introduction to film music came through animated musicals and live-action movies such as Chitty Chitty Bang Bang. When I was older, my mother introduced me to Raiders of the Lost Ark as she was singing the Indiana Jones theme to me. My biggest film music heroes are James Horner, Jerry Goldsmith, and John Williams, of course, but there are so many others whose work has become unforgettable. As a passionate collector of film music, I do my best to listen as often as I can.
You have composed music for the first-person shooter video game Call of Duty: Mobile, the nature documentary DreamScapes which is narrated by Academy Award Winner Kate Winslet, and Dead Ant, a horror comedy starring Tom Arnold. That’s at least three genres, and I saw more on your website. Do you have a favorite?
My favorite genres have always been science fiction, fantasy, and horror. They have the potential and the liberty to highlight all that is magical about music. I love watching movies that allow music to make bold statements and give it the opportunity to carry certain sequences that play without much dialogue or sound effects. It’s a big component of what we mean when we use the term “cinematic.”
On October 11, the latest film you composed music for, Mafia Wars, will premiere on digital platforms. Scott Windhauser directed the film, and it stars Tom Welling and Cam Gigandet. How did you become involved with this film?
I feel so lucky that the project happened! My manager, Peter Hackman, contacted Scott and sent him a link to my website. Peter is great at connecting like-minded people with each other,and he found someone in Scott who adores film music and has such respect for the art form.
Something happened that is extremely rare in the business: Scott hired me without even meeting with me. Sometimes, auditioning can feel like the worst reality TV show ever, with composers bending over backwards to please their potential employers, only to be “eliminated” in a split-second because they don’t have the right credits or are not “hot” enough. This situation was the total opposite of that. It just “clicked.” When Scott and I finally got to talk, we shared stories about attending concerts at the Hollywood Bowl, referencing our favorite film scores, and narrowing down which kind of music we thought would work best for his movie. The collaboration was a dream because I felt that I instinctively understood what Scott wanted. I call his notes “golden” because they are so clear and useful in making the music better.
Recently I had the chance to listen to the Mafia Wars soundtrack album. I love it, and now I’m looking forward to watching the film. I am fascinated with the process of composing music for film. What was your process in scoring Mafia Wars?
Thank you so much for listening! We first had to get the main theme right. I watched an early version of the film, and Scott described the main character and how he wanted him to be expressed through music. I sent a sketch, made some revisions, and fleshed some ideas out.
When Scott called me, he would say things like, “I’ve listened to your track a dozen times now. I can’t stop listening. It’s great. Could we make it even better if we added a ramp here or if we changed this progression over there?” And that would get me excited to try those things out. Since the movie takes place in Rome, Italy, I experimented with using an Ennio-Morricone- influenced idea. It is an homage of sorts, and I asked Scott if we could go in that direction. He loved the idea, and that became the theme for the villainous mob boss. It’s based on an upbeat dance called a “tarantella,” but in this case, I slowed the tempo down to a crawl, which made it menacing while still retaining the tarantella DNA, so to speak. Scott’s excitement for the score is something I’ll never forget. He even hummed my music during the dub mix session. The entire experience was wonderful.
How excited are you for the premiere of Mafia Wars on October 11th?
I am excited but also a bit nervous because we live in a time when most movies are being harshly criticized online. The vitriol and ridicule come with the territory, I guess, but they can still hurt in unexpected ways. This movie aims to entertain by carefully creating tension and then releasing that tension in the form of action sequences. I do hope people will sense the excitement that went into making this movie. When writing so-called “action music,” I do my best to keep it interesting, especially regarding rhythm and changing beat patterns. My idol for action music has always been Jerry Goldsmith, who consistently surprised the listener in the most creative ways while also fully supporting the on-screen action.
Is there any advice you would give to someone who wants to pursue a career in the music industry as a composer?
Never stop learning. Make the client happy with your music because the client’s happiness will make you happy. Always write your best music, and then make it better. Don’t let criticism get to you, but see it as part of a solution-finding exercise. Don’t expect your career to always be moving to the “next level.” All career paths have ups and downs.
For you, what have been the joys and challenges of being a film composer?
I think they are one and the same. My biggest joy comes from learning that my music is useful to the project I’m working on. For instance, a filmmaker is struggling with a scene or a transition to, or out of, a scene. They’ve tried everything though editing, but it’s still not working. I offer a solution through music, and the filmmaker is very happy that the music just solved the seemingly unsolvable. Arriving at that moment can sometimes be challenging, but it’s always worth the effort.
We all have experienced failure, and I believe it’s necessary for success. Do you have a favorite failure?
I worked on a movie once where the director had left the project. The person who replaced the director was unavailable for a while. Assuming that the temporary music track was what the client wanted, I wrote music that had the same vibe as the temp. When I presented my music, the client hated it. I said, “I tried to stay close to the temp,” to which they said, “But I hate the temp.” They had never communicated that to me. The experience taught me to never assume anything, but to always ask questions, even if they appear to be stupid. Too much information is better than too little, in a case like that.
Who are your biggest supporters?
My husband, on a continuing basis. On a per-project basis, the directors and producers become my biggest supporters, as they ensure all needs are met to deliver the best score for their movie, game, or whatever the project may be. Sometimes, a director can shield other creative people from some of the drama that goes on behind the scenes. I occasionally learn about stuff like that afterwards, and I am so thankful for any director who protects everyone on their team.
If you can share, are you currently working on anything? Another film?
I am working on a game, a feature documentary, and a couple of smaller projects. I’m also editing my music for the movie Glowzies for a soundtrack album release. The movie comes out on November 1st, and it is a lot of fun. If you like 80s-style horror and fantasy, you’ll love this movie. The wonderful Hank Braxtan directed it, and I think it’s his best movie to date.
Describe yourself in one word.
Explorer, in the sense that I’m always eager to discover and learn new things about music and story-telling.
If you could have a gigantic billboard anywhere with anything on it, what message would you want to convey to millions? What would it say and why?
Be kind to each other. Kindness inspires more kindness, and that’s a good thing.
Alright, Edwin, this is one of my favorite parts of the chat. Tell me three fun facts about you.
As a teenager, I really got into building model kits for a while. I have memorized Wendy Calos’s score for Tron because it’s one of the most exceptional things ever composed. My husband often pulls pranks on me, and I love it because he does it in such an endearing way.
I love ending the chat with a quote. Do you have a favorite quote or saying that has inspired and motivated you in your life that you can share with my readers?
I once attended a screening that featured composer Alan Silvestri. During the Q&A, he said something that always stuck with me: “When someone asks if you are ready, you are.” He illustrated this by telling the story of being offered to write his first feature film score for an indie movie. All he had was a pickup truck with a keyboard in the back, but he said yes and jumped at the opportunity, and he never looked back.
Thank you for reading my interview with Edwin! He’s so gifted and a talented film composer. If you want to learn more about him, follow him on social media listed below.