No Film School: What drew you to become a composer, and how did you navigate your musical journey from childhood to your current projects?
Christoph Zirngibl: Growing up in a musical family was like being part of a lively jam session. My dad, a semi-professional multi-instrumentalist, played in multiple bands, and our home was filled with instruments. I started learning to play the drums at age six and soon joined the brass band my dad conducted. Later, I took piano lessons, but I was always more interested in playing my own music rather than following sheet music.
My journey as a composer truly began when I watched Jurassic Park at the age of 13 or 14. John Williams' score left a profound impact on me, and I knew then that I wanted to write music for films that could move people the way I was moved. But growing up in a small Bavarian village in the pre-internet age wasn't the ideal starting point for such a career.
My first composing gig was writing music for a school play, which allowed me to utilize my skills with digital audio workstations and keyboards. This project not only helped me pass my A levels but also laid the groundwork for my future in film music. After completing my secondary education, I applied to join the Army Band as a drummer and was accepted. During my two-year tenure, I performed in numerous concerts and continued playing in bands in my free time.
I also prepared for the entrance exams at the University of Music and Performing Arts in Munich, which offered a program called "Composing for Film and TV." Despite the competitive nature of the program, with only seven spots available, I was fortunate to be accepted. During my time at the university, I was offered a job as an assistant to Professor Andreas Weidinger, which proved to be a pivotal moment in my career. I learned most of the skills I still use today during that period.
A year and a half later, I landed my first feature film project, and although I faced setbacks, including being fired for the first time, I soon started working regularly on TV and feature films, some of them also as a co-composer with renowned composers like Andreas Weidinger, Helmut Zerlett, and Heiko Maile.
Since then, I have had the privilege of working on over 80 scores for prime-time movies, feature and independent films, as well as TV series across various genres. Recent highlights include my elaborate orchestral score for Mia and Me: The Hero of Centopia, the electronic thriller score for the Netflix documentary Skandal Bringing Down Wirecard, and the mini-series Close to Home: Murder in the Coalfield which I co-composed with my former mentor Andreas Weidinger.
NFS: How did your collaboration with Ralf Wengenmayr impact the score for Where’s Wanda? Can you share some specific moments that highlight this partnership?
Zirngibl: My collaboration with Ralf on Where's Wanda? was truly special. He has been an idol of mine long before I started my own journey as a composer. He wrote scores for extremely successful comedy features, and his orchestral music especially impressed me early on. We've been in contact for almost twenty years, but Wanda was our first opportunity to work together.
Our partnership was enhanced by our similar backgrounds as live musicians and our shared love for orchestral music and various other genres. This made it easy for us to connect on an artistic level. However, our different musical perspectives—which may stem from generational differences and our diverse professional experiences—are what make the Wanda score rich in variety and unique.
We aimed for a universal sound that could adapt to the story's unexpected directions while maintaining a cohesive musical identity. The score evolves throughout the series, starting with a light-hearted comedy feel in the first episode, which is composed solely by Ralf. It features a percussive sound palette, including exotic woodwind instruments and unconventional percussion techniques. As the series progressed, I joined the team (from episode 2 onwards), focusing on urban beat and synth elements to give the score a modern edge.
Some highlights of our collaboration include the end credits scores I did for episodes two, three, and four, where I took elements from Ralf's cues from episode one and combined them with my own elements in a kind of remix manner, adding some string samples (in the hip hop sense) I created myself. The latter will also play a role in the final two episodes. But the definite highlight must be the last third of episode eight, where all our different motifs, sounds, and grooves come together during the big showdown.
NFS: Each episode of Where’s Wanda has its own emotional tone. Can you explain your process for developing those distinct yet cohesive musical themes?
Zirngibl: Episode one serves as a pilot, setting the general scene and providing the basis for both the dramatic and comedic elements. It establishes the overall tone of the series. Episodes 2 and 3 function as an extended exposition, where we delve deeper into Wanda's family and their plan to spy on their neighborhood. These episodes have a more straightforward musical dramaturgy: we introduced a strong family theme and a Missing Wanda motif for the dramatic parts, counterbalanced by cool pieces combining urban beats, mallets, and guitar sounds for the investigation scenes.
From episode four onwards, it's a wild, perspective-shifting ride, with each episode featuring a different narrative style. Some episodes barely have any score, while others are quite an action-packed musical journey. It was really a lot of fun composing for such diverse storytelling approaches.
Although there are some recurring motifs for different perspectives or storylines, the creators of the series wanted us to move away from "themes" in the classical sense. Instead, they encouraged us to focus more on grooves, riffs, and distinctive sounds to create the musical identity of each episode.
This approach allowed us to maintain cohesion across the series while giving each episode its unique emotional tone. We could adapt our musical palette to match the shifting narrative styles, creating a score that evolves alongside the story. Whether it was intensifying the drama, enhancing the comedy, or underlining the tension in investigation scenes, our goal was to use music to amplify the emotional journey of each episode while maintaining a consistent overall sound for the series.
NFS: Your music incorporates unusual guitar techniques, urban beats, and synthesizers. Can you elaborate on your creative process for blending these elements?
Zirngibl: Blending diverse musical styles is a natural process for me. As a drummer, I've always been interested in various beat-driven styles and combining real drums and percussion with sampled and electronic drum sounds.
For Where's Wanda?, I expanded on Ralf's initial use of unusual stringed instrument sounds and exotic wind instruments by creating percussive elements from electric guitars and banjos and soundscapes from my own flute recordings. I beat on muted strings or the instrument's corpus with mallets and manipulated sampled guitars into percussive sounds using various techniques.
One unique instrument I employed was the Seaboard by ROLI, which allows for free tone bending without the restrictions of normal piano keys. This capability brings it much closer to a guitar in terms of note transitions. You can first hear that bending sound motif in episode two when Dedo tries to open a door with a picklock.
We also made extensive use of our MOOG One and Sub37 synthesizers to create bass sounds and pads that were heard throughout the series. These analog synths added depth and texture to our score, contributing to the modern edge we were aiming for.
We also recorded various percussion and drum instruments ourselves, along with the analog synths. Additional recordings with studio musicians brought in guitars, banjo, vocals, and drums, adding further depth and texture to the score.
This eclectic mix of elements allowed us to craft a sound world that evolves throughout the series. It not only enhances the viewing experience but also mirrors the story's transformation from a light-hearted comedy to a darker, more complex narrative.
NFS: What do you hope audiences take away from the music in Where’s Wanda?
Zirngibl: I hope audiences come away from Where's Wanda? with an appreciation for how music can enhance and evolve alongside a complex narrative. Our score aimed to mirror the series' journey from light-hearted comedy to darker, more dramatic territory, while maintaining a cohesive musical identity throughout.
We wanted viewers to feel the emotional depth of the characters' experiences through our music. From the playful, percussive sounds in the early episodes to the more intense, synth-driven pieces later on, each musical choice was designed to amplify the emotional impact of the scenes.
I also hope audiences notice how the music adapts to each episode's unique narrative style. We crafted distinct sonic palettes for different story elements—the family drama, the investigative aspects, and the quirky neighborhood dynamics. This approach allowed us to create a rich, varied soundscape that evolves with the story, keeping viewers engaged and emotionally connected.
Ultimately, I want the audience to come away with a sense that the music in Where's Wanda? was more than just background noise. It was an integral part of the storytelling, working in harmony with the visuals and dialogue to create a truly immersive viewing experience. Whether it's the recurring motifs that hint at character development or the sudden shifts in tone that underscore plot twists, I hope viewers recognize how the score contributed to making Where's Wanda? a unique and memorable series.
NFS: Are there any future projects or collaborations you’re particularly excited about that you can share with us?
Zirngibl: Sure, there are two things I'm pretty excited about:
One is a unique documentary called Flight of Bryan, which gave me the chance to explore some special scoring techniques. I worked with recordings from a 3-piece band, which I then cut into pieces and remixed. This resulted in a fun combination of styles, ranging from sophisticated odd-meter jazz pieces to funky drum and bass grooves, heavy rock riffs, unusual orchestral action tracks, and even Motown-influenced vocal-driven tracks. The film has been created by Emmy-nominated director (and co-producer) James Erskine, with whom I also worked on Netflix's Skandal! Bringing down Wirecard.
The other project to be released couldn't be more different: I composed a driving and emotional piece for solo cello and orchestra as one of twelve international film composers who all contributed to the charity album Hope. The album was recorded last December with the London Symphony Orchestra at Abbey Road Studio 2 by the iconic Nick Wollage, conducted by Ben Palmer—one of my all-time favorite conductors—and will be released later this year.
Besides that, I'm trying to help up-and-coming as well as seasoned composers streamline their workflow and prepare for tighter budgets and schedules. I'm doing panels at film music conferences—like at Soundtrack Zürich recently—and also private meetings to help colleagues stay sane and on schedule while also allowing for a healthy work-life balance.
NFS: Lastly, what advice would you give to aspiring composers looking to find their unique voice in the industry?
Zirngibl: As long as you are not an artist with a very specific sound who wants to break into the film scoring business, I'd like to encourage people to simply write for every project they can find—as long as basic conditions are okay—and just try out everything. The "voice" will eventually form itself as you learn what you are specifically good at or what kind of music you enjoy writing most.
In my opinion, it's not very effective to concentrate on just one style of music or one type of film, as it makes it harder to build a sustainable career and also limits opportunities to grow. Although what I enjoy most is writing orchestral music, I also get really excited when I'm approached with projects that at first seem to be way outside my musical comfort zone (like Flight of Bryan). By saying "yes" first and thinking about how to approach a project second, one makes for a very interesting and rewarding journey.
On another note, In a film music context, a "unique voice" could not just be related to the musical style or sound but also to the way projects are approached in terms of workflow, dramaturgy, or communication.
So, in conclusion, I'd say that to find a unique voice, you'll have to embark on a journey to search for it in the first place!
