Written by Kara TalveWhen I learned I’d be writing the score for The Tattooist of Auschwitz alongside Hans Zimmer, my initial reaction was a mix of astonishment and out and out fear of the overwhelming task before me, and I remember being extremely flattered and thinking to myself: There’s no way I can do this. The subject matter is incredibly important, complex, time relevant, and I think I speak for the whole music team when I say that we took the responsibility of doing the story justice as a personal crusade especially when me, Hans and Russell Emanuel (score producer) all have family connections directly to the Holocaust.My Grandma Matty was nine years old when the Nazi’s invaded Paris. The officer’s knocked on the door of her family apartment with a list of names, intending to arrest everyone who resided there. Miraculously, my Grandma’s name was not on the list—it was a total fluke, and the officers pointed at her in question. Her mother pushed her out of the way, saying something along the lines of “She’s not on your list, so you have no business with her”. My young Grandma escaped through the fire escape, running to her piano teacher, André Levallois, who was working with the French Resistance at the time. She hid Grandma and several other Jews for the duration of the war. When the war was over, Grandma’s piano came overseas with her from Paris to Brooklyn, and when she passed away just a few years...
Published By: NoFilmSchool - Wednesday, 19 June