You are listening to The Next Best Picture podcast, and this is Daniel Howitt's interview with the composers for Ammonite, Dustin O'Halloran and Volker Bertelman.

Dustin and Volker, thank you so much for talking with me today about Ammonite. Dustin, you've worked with Francis Lee on God's own country, but for both of you, I'd love to know how you came to this project and what those initial conversations about the film were like.

Well, to clarify, Francis used some music from another project that I did,

a Wing Victory for the Selen, and it was music that we had already written.

So this was actually the first time he had worked with composers.

Gotcha.

And so I think, and he came to us.

C-Saw is the production company that did Lion,

and I think that they wanted Fulker and I to come back together

and do this film with Francis,

and I think they thought that we

would be a good match for the kind of sensitive, nuanced film that he was making.

And so what were those initial conversations about the film like maybe, you know, if this was

Francis's first time working with a composer, what sort of direction did he give as you guys started finding the, finding the music for the film?

Well, I think, well, Francis had a very clear idea of where he wanted to position the cues.

So we were pretty, it was pretty fast that we knew already for which scenes we have to write

music for and so when dustin and me when we start working a lot of times we look at the

cues and then we the first thing is that we are deciding who is doing what and you know just

to get started and because we have two our own studios,

it's nice because you can concentrate on and dive into the scene first and concentrate on one scene, for example,

and just get a sense of what you want to get out of the all of your music

for the film and then we share that and that starts then to interact with each other and then you know

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