Meeting with the director and the editor.

It was very interesting – and great fun – to sit down with director Ben Mergelsberg and meet Matt Sweetwood, editor for the documentary “Meine Oma in Schlesien”.

We met at Matt’s editing and post-production studio, in Potsdam, and a five minutes walk from the legendary Babelsberg film studios.

Matt is also a writer and director in his own right (Beerland, Hacker, etc.) and – last but not least – a musician.


Americans do it in their Garage.
In Berlin, we have Kellers (cellars).

It’s been tremendous fun practicing and rehearsing with Nir Sabag and Florian Kolditz in my Berlin Keller. We’ve been preparing ourselves for a recording session at the Goldfisch, tomorrow the 28th of May. Rehearsals are recorded and will probably become the backbone for my Berlin K’ller videos and recordings. We did record a cue down here for Ben Mergelsberg “Meine Oma in Schlesien”: it sounded just great.

All you need is a 12m2 cellar.
And some gears.
We’ll talk about that, among other things, in my Vlogs.

Don’t stare at the METERS…

Film music for german documentary “Meine Oma in Schlesien”.

I was pleased to score for Ben Mergelsberg and Clara Hahn’S documentary “Mein Oma in Schlesien“.

Ben is a cameraman and director who runs Wrangelfilm in Berlin.

It was great working with / for Ben. It only took a little while for us to tune into the same wavelength, so to say. And then it was just great fun.

Here is a first version of the main theme I proposed.

The documentary revolves around Ruth, Clara’s grandmother, as they drive back to Schlesien: Ruth’s native region.
Der Film will nicht belehren, nichts Erklären, sondern zeigen was passieren kann wenn eine Enkelin die Oma fragt: Woher kommst Du ?

Meeting Ruth.

Ruth Clara Virgil
Meeting Ruth.

I invited some of my new acquaintances and favorite musicians to participate on some parts of the soundtrack, such as Florian Kolditz and Nir Sabag, respectively on bass and drums. Daniel Weltlinger – photographed with his violin – from Australia, blessed us with some awesome violin playing. I had not heard Daniel before that studio session. I had met him once over a year ago, and I just knew. Sometimes you just know, you don’t even need to hear the cat play. The vibe, and a nice conversation are enough. And even then, I was happily surprised…


In any case, thanks to all of you musicians, and Ben and Clara for the chance to work on this lovely project.