The Music of A House of Dynamite, with Composer Volker Bertelmann

I learned that when I was working a lot with prepared piano sounds, there were a lot of random sounds that just somehow did what they want. The material was just jumping somewhere and was landing somewhere and just created a noise. Which you normally would say, ‘oh sorry, that is a mistake.’ But when you leave that in there, suddenly this mistake becomes a part of the texture that is a part of the music. I recognize that this is very helpful with tension. Because once you drop something that is irregular, somehow the brain wants to have an answer to that. And also you get thrown out of your normal listening habits. And then suddenly, you are back into the film and you just say, ‘oh, what was that?’