Scoring Records International has released the The Good Neighbor (Original Motion Picture Soundtrack) with music by Enis Rotthoff (Guns Akimbo, The Sunlit Night, Wetlands, Love Sarah) on all major digital platforms. The film is available now in select theaters and digital platforms.
Directed by Stephan Rick, the film unfolds during a nightmarish evening for neighbors David (Luke Kleintank) and Robert (Jonathan Rhys Meyers) when they accidentally hit a woman on her bike with their car and flee the scene. While David is increasingly plagued by feelings of guilt, Robert shows no remorse and becomes overbearing and possessive. When David meets Vanessa (Eloise Smyth), the victim’s sister, he submits to a reckless passion and underlying sense of redemption before realizing Robert will do unspeakable things to protect their secret.
Enis Rotthoff is a German composer who splits time between Los Angeles and Berlin. His passion for scoring films with his orchestral mastery and cutting-edge electronic sounds, has made him a leading voice for cinematic music in Germany and has contributed to his growing international reputation. Through his focus on close collaborations with filmmakers, he is able to build true cinematic concepts providing a unique musical language for each film he scores.
Rotthoff’s score injects retro electronic sounds with a classical string ensemble. Together with director Stephan Rick, Enis Rotthoff wanted to honor the thriller genre with exciting and lush string compositions while adding contemporary electronic and experimental elements.
The album was recorded with the Budapest Art Orchestra and showcases a 42-piece string ensemble and solo cellist Marianna Pleszkan. In order to add to the warmth of the orchestra Rotthoff opted for analogue synthesizers and partly mashed their performance up with today’s electronics and technology. On the string composition side Rotthoff tried to channel a retro thriller mindset. On the electronic side his approach was more radical and chaotic. He experimented with custom string instruments, electronic guitars and analogue synthesizers running them through effects and distorting them, adding textures, atmospheres, and impactful pulses to the music.
I recently had the opportunity to talk with composer Enis Rotthoff about his work on Love Sarah, a touching film about a daughter who works to open the bakery her mother always wanted with the help of her grandmother. Rotthoff’s composer credits include “Guns Akimbo” starring Daniel Radcliffe and Samara Weaving, “The Sunlit Night” starring Gillian Anderson, Jenny Slate, and Zach Galifianakis, as well as Sundance’s Grand Jury Prize nominee “Wetlands.” Rotthoff started his musical career working under Academy Award-winning composer Jan A.P. Kaczmarek (Finding Neverland). Rotthoff’s soundtrack album for Love Sarah will be available January 22, 2021.
First, could you tell me about how you became a film composer?
As a ten-year-old I was fascinated by the music in films. I would memorize the melodies of the film scores in order to try to play them at the piano later. It was an early love for film music in a very playful way. At some point I started improvising on the piano and began journaling my emotions into little piano pieces which turned into my first compositions.
As a teenager I was so passionate about film music that I tried to learn as much as I could about films and their scores. A scholarship for young composers during my high school years is what gave me the foundation to study the works of classical composers and film composers. After high school, I studied Film Scoring at the Film University Babelsberg and Audiovisual Communication at the University of Arts Berlin. What really added to my journey was being an assistant to Academy Award-Winning Composer Jan A.P. Kaczmarek. With all of these experiences I felt ready to start this life-long adventure of composing for films and to enjoy the beauty in that.
How did you get connected to Love Sarah and what did you think of the film’s premise? It actually took me by surprise what the film was about, I misread it first and when I realized what it was about, I was very surprised.
The director Eliza Schroeder and I had met a decade before to work on a short film together. Because of scheduling conflicts, our collaboration did not happen back then. I was amazed to hear from her so many years later and she asked me if I was interested in scoring her debut feature Love Sarah.
The first thing she shared with me was a little teaser trailer about the film with first impressions of some scenes. When I saw the tasty desserts, the beautiful dancing scenes, the deep felt emotions and the uplifting energy of the film I was immediately drawn to it.
The story is about a daughter who wants to realize her deceased mother’s dream of opening a bakery in Notting Hill (London) with the help of her grandmother and her mother’s best friend.
The film has elements of drama, comedy, romance and a sense of presence in the scenes that I found refreshingly positive.
How did the collaboration process with director Eliza Schroeder work? Was it mostly a discussion before scoring began or was it a collaboration throughout, from beginning to end?
Our collaboration was very close and at the same time I had lots of space to experiment and come up with ideas.
The film is directed in a way that every scene moves towards something. Even in moments of a feeling of emptiness the film moves forward. I was inspired by that.
In our conversations, Eliza gave me many emotional directions for the film but did not tell me how to achieve it with the music. Once I presented my musical ideas in connection with the film’s scenes, we discussed in more detail what to adjust and what to highlight. Eliza is an amazing filmmaker to work with.
How did you approach scoring a film like Love Sarah? Did you start with an over-arching theme, or a musical concept? In general, where did the score start and how did it grow as it came together?
The opening sequence connects all of our main characters, so the complexity of the beginning was high. We took a lot of time to adjust and fine-tune that sequence. Usually the Opening Titles (Album Track: Meet Sarah) would not be the first thing I´d approach on a film but we took the opportunity to create themes for all story lines and characters and incorporated them in the Opening Titles.
In a way, the first music you hear in the film is like an Overture introducing the many emotional layers of the film. All themes are related to each other and to Sarah, whose passing away is the reason for all these characters to meet. So there is an idea of hope built into the concept.
Interestingly if I think of growing a score I’d think that it might build towards the end of the film. In the case of Love Sarah the music starts very energetically and builds over the course of the film. But the very end is reflective, healing and leaves lots of space. I love that, because for me clarity and healing can happen in calm moments.
On a possibly related note, how was it decided to make the music so whimsical? It sounds like a lot of fun in so many places, something I wasn’t expecting in a film that starts like it does. What was the thought process behind that? (I really like the whimsy, it makes the music a lot of fun to listen to).
I am glad that it transpires. Eliza early on said that she wanted the film to be hopeful. I liked that a lot and could also see it in the performances of the actors. It was a fine line to find the balance between deep felt emotions and a life-affirming sense of positivity.
Since the film is also about the magic of baking and the adventure of opening up a bakery, this gave room to make the emotional journey fun and inspiring on the musical side. It is a message of the film, to stay positive in the face of painful events and experiences.
For this one scene where the music is composed to this character who is dancing (instead of the other way around), how did that come about? It’s very rare for film music to be written in that fashion, was that decided from the beginning? Or was it tried the other way (dance moves choreographed to music) and it just wasn’t working out?
This was one of the gifts of the film. The scene of the character dancing did not have any music. It was a free dance performance. Beautifully done by actress Shannon Tarbet. That scene represented a moment of reflection, self expression, healing and the feeling of being in charge of your own destiny. Something very positive.
We decided that I´d compose music to her performances which was truly inspiring. I found myself studying and channeling every move of her dance. Sometimes I was going with the body movement, sometimes with the flow, sometimes with the overarching energy of that movement. I found myself creating a choreography on top of a choreography where the music and the dancer sometimes precisely meet and sometimes divert. It was a wonderful experience for me as a composer which I hope to build on in the future.
What were the challenges of scoring a film in the midst of a global pandemic? Did this negatively impact the process or were you able to work around it fairly well?
The film was luckily finished before the pandemic. However, the release was delayed because of the pandemic.
Do you have a favorite part of the score?
My favorite parts are the dance sequence (Album track: The Final Dance), the moment where the bakery opens (Album track: Opening The Bakery) and the moment Mimi has an idea for how to create the right desserts. (Album track: A Home Away from Home)
What do you hope listeners take away with them when they hear the music to Love Sarah?
I wish that the music gives them a sense of hope. And that there is beauty both in sad and hopeful moments. That’s how I feel about the film and its music. That all feelings and experiences in the film can be enjoyed. And maybe that’s something to take with us into our lives.
One last thing, thank you so much for taking the time to talk about your work on this film! The music is gorgeous!
Thank you so very much. It was my pleasure and thank you for the great interview.
I hope you enjoyed my interview with composer Enis Rotthoff about his work on Love Sarah. Just as a reminder, the OST for Love Sarah will be coming out tomorrow January 22, 2021.