Q: How did you match the music to the video?
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
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
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