Alumni: Film composer David Reichelt: “I never had a Plan B!”

You studied musicology, music education, and computer science at LMU – this is quite an unusual combination.

David Reichelt: For me, this was actually the perfect fit. When I was at school, my advanced courses were music and mathematics. Musicology gave me the foundation – I wanted to learn everything about music and its history. I chose music education because it also involves a lot of theory. And I needed computer science because I do my work on a computer. I work in a digital audio workstation and produce my music there so, alongside the composing, there’s also a strong technical element involved. This really benefits me today because I can program my own tools to help me with my workflow.

You studied at both LMU and the University of Music and Theater Munich. What do you remember most about this time?

Reichelt: I absolutely loved my years as a student. Even when I was at school, I spent every free minute I had making music. My studies gave me the opportunity to spend all my time immersed in music. I was a little over-eager – I’d already completed all the credits I needed for the basic degree program in my very first semester.

You’ve been interested in music since childhood and started composing at a very young age. What fascinated you so much about music back then?

Reichelt: I’m the only musician in my family, but my parents were always very interested in culture. From an early age, they took me to concerts and the opera, and they signed me up for early music education classes. I started playing the saxophone when I was six years old. I used the piano that belonged to my grandparents to write my first melodies. I simply had an urge inside me to express myself through music.

Even while you were still in school, you were writing music for theater productions and scoring scenes. When did you realize you were moving toward film music?

Reichelt: One of my teachers heard my theater music and told me about composition competitions that were organized by the Ministry of Education and Culture. I submitted my pieces and kept winning. That really encouraged me to keep going and, by the time I reached seventh grade, I started looking into where I could study composition.

You decided early on not to pursue a “Plan B” but to focus entirely on film music. Today, many young people are more hesitant – where did your confidence come from?

Reichelt: It’s the thing I found fulfilling. I never wanted to do anything else. Of course there were difficult phases, but I never seriously questioned my dream. When I applied to music conservatories, I received 18 rejections. My 19th application was then successful. Some of the rejection letters contained some quite harsh criticism – for example, they stated that I lacked artistic talent. But honestly, that motivated me more than it discouraged me.

What does your typical day’s work look like?

Reichelt: I’m always working against the clock because post-production schedules are extremely tight. Most of the time, I’m working on several projects simultaneously and I try to work through them in blocks, otherwise you have to keep immersing yourself in a new world of sound. First, I read the script and develop the themes on the piano. Once the first footage from the shoot arrives, I move into the studio, score the scenes, and produce the music. My workspace looks a bit like a control center, with multiple monitors, controllers, and synthesizers. I do a lot of recording with studio musicians and will soon be working with an orchestra again. Directors also often visit the studio, and we go through the film together: Which perspective are we telling the story from? Where should we place emphasis? I generally work seven days a week, averaging around 12 to 15 hours a day.

How do you get your commissions?

Reichelt: While I was still studying for my degree, I started networking with students from the film school. This led to my first few projects, and many of those contacts are now established in the industry themselves. These days, productions often contact me directly, usually because they’ve heard my music in other projects and they like the way I approach the music.

As a film composer, you work closely with directors and producers. How much creative freedom do you still have?

Reichelt: It’s always a collaborative process. As a film composer, my job is to realize the director’s vision. To do that, I need to understand what the vision is and know how to turn it into music. Within that process, I actually have a great deal of freedom and the opportunity to experiment with new sound palettes. It’s always personally important to me to make each project unique and give it its own signature sound.

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For the series Call My Agent! – Berlin, you created a soundtrack with a strong orchestral character. How did that come about?

Reichelt: I think it wasn’t easy for the production team to find the right style. They organized a pitch with several composers where we each had to score two scenes. Following discussions with the director and producers, we quickly developed a shared understanding of what we wanted the music to achieve. I then had one day to make it happen. After that, I got the job and spent a week composing all the musical material for the series. Over the following weeks, I then worked through each episode one by one.

You received the German Film Music Award for both 8 Tage and König Laurin. What made these projects musically special for you?

Reichelt: The first award was naturally very special because it was my first feature film. 8 Tage is still my favorite soundscape to this day. The series was simply a perfect template to work with. I drew on classical styles and adapted them for a modern audience. My studies in musicology definitely gave me a valuable foundation on which to base this musical concept.

You also composed the score for The Three Investigators, a franchise with a huge fan base. Did that bring you a different level of attention?

Reichelt: Absolutely. The Three Investigators is simply a brand that many people are familiar with. No matter what I’m currently working on, it always comes up in conversations. I’m friends with the director and we’d already worked together before, so collaborating on that series is a lot of fun. For the third installment, we worked with a large orchestra and choir, which elevated things to a whole new level.

Many people don’t consciously notice the music in films. Does that bother you?

Reichelt: Not at all. For Hindafing, I wrote some very striking jazz music – or at least I thought it was striking. After the premiere, one of the lead actors told me he hadn’t noticed the music at all. Hearing that actually made me very happy because it meant the music had blended perfectly into the series.
In my opinion, the music shouldn’t just accompany and support a film. It should open up a new layer and add real value to the story.

You work for different types of productions – from feature films to TV series. Do you feel that music today has become smoother and is now driven more by functionality than it used to be?

Reichelt: I’m not sure it hasn’t always been this way. It always takes courage to do things differently and tell a story in a new, innovative way. As there’s so much money tied up in productions, people naturally try to minimize the risk of failure, and that often means choosing familiar approaches. Fortunately, though, I work with people who are actively looking to do something special.

Artificial intelligence can now generate music as well. Is that changing your profession?

Reichelt: AI has certainly already changed the film industry. But AI works with probabilities, and that’s not the way art – or a good film – works. The element of surprise, a new perspective, is exactly what makes the difference, including in creating a great score. So I’m optimistic about the future for film composers.

You taught as a lecturer at LMU until 2020. Why don’t you do this anymore?

Reichelt: The COVID-19 pandemic saw in-person teaching stop. I really enjoyed teaching and sharing my knowledge. An important part of that is engaging in dialogue with students, understanding their level of knowledge, and getting a sense of whether they’ve truly understood the material. I found that an online teaching format was much less enjoyable. But I still find teaching exciting and could definitely imagine doing it again at some point in the future.

What aspects of your course were particularly important to you ?

Reichelt: My courses focused on training the ear, music theory, and analysis. I wanted my students to develop a fundamental understanding of the subject instead of just studying for exams. That’s also why it was important to me that they should learn how to work scientifically and methodically.

Would you recommend a career in film music to young people today?

Reichelt: It’s a decision that you really need to think through carefully. This profession demands total dedication – there’s no room for compromise. But if you know it’s something you find fulfilling, I think it’s absolutely the right path to take. The crucial thing is to build a network early on – that’s the most important thing. If you have a strong network, even an average composer can make it. Without one, it’s difficult for even a very talented composer to succeed.