Q: How did you match the music to the video?
The music was involved at a very early stage of the production. We started with hardly moving black & white pencil drawings that were scored with temp tracks, to give the composer an idea of the mood. Tilman then began composing midi-mock-ups of the original cues and we went back and forth refining both animation and compositions. Sometimes Tilman would only give us a simple rhythm with a fixed tempo, so we could animate the movements precisely to that beat. Later on these cues were fully worked out and orchestrated.
Q: What’s the most important ingredient in having a successful musical composition?
First of all a great composer, ideas and enough of a budget to get it realized, since we wanted it all: Large symphonic orchestra, swinging big band, rock'n roll, stadium rock.
Q: How was the music recorded and then added to the video?
Once we were happy with the mock-ups, the score was recorded in different sessions. First, the rhythm section for the night club scene that Moe Jacksch wrote and the playback for the orchestra. After the scoring session with the Film Orchestra Babelsberg, we had all the orchestral cues and the playbacks for the singers. Fil (underground standup comedian from Berlin), who performed the opening fanfare and Peter Kock who sings the kitschy German Christmas song, were recorded at another session. P. Paul Fenech of The Meteors sent its material separately.
Q: Anything else you’d like to add or I’ve left out?
We made it like intro, refrain, breaks, refrain, break, extro. So Judas & Jesus got the attitude of a rock’n’roll opera. We sneaked the disturbing message of the film into the brain of the audience, with an easy going beat and catchy tunes. Just like we did with the Disneyesque design.