What inspires you the most when developing a film idea?
Inspiration for a film often comes from my desire to experiment with something new. It’s as if a video or audio reel were spinning inside me. For me, the process of creating a film is a natural extension of my real-life experiences, whether they be moments I’ve lived through or those I deeply wish to encounter. Through images and sound, I capture and express these personal experiences, allowing them to evolve into something cinematic.

How do you develop the aesthetic and visual style for your films?
For me, the foundation of visual style comes from aligning the rhythm of the subject’s world with the inner workings of my mind. Once that connection is established, the visual and auditory components evolve organically, like sculpting with clay—constantly being shaped, reimagined, and refined. Often, it begins with a single sound or an image that stays with me, patiently waiting for other elements to join. As more pieces fall into place, the process gains momentum, and the full aesthetic vision gradually unfolds.

What was the biggest challenge in working on your latest film?
In „Fish Eye“, my most significant challenge was fostering a sense of comfort and trust among the different people, who came from various countries and spoke different languages. Establishing rapport with them required a substantial investment of time and patience. I spent extended periods on the ship, working diligently to make them feel at ease with both my presence and the camera, which was crucial for capturing authentic and candid moments.
Moreover, the logistical and psychological aspects of living and filming alone for four months on a large fishing vessel were incredibly demanding. The isolation and the constant motion of the ship took a toll on my mental resilience. On top of that, the ship’s wet and harsh environment presented ongoing challenges in maintaining the equipment and ensuring the quality of the footage. Balancing these technical difficulties with the need to produce high-quality visuals was a persistent struggle throughout the project. Overall, the combination of navigating interpersonal dynamics, managing the physical and mental strain of the shoot, and maintaining technical standards made this project uniquely challenging but ultimately rewarding.

How do you approach the process of composing or designing music for a film?
I view film music as a vital extension of the overall sound design, both working together to shape the film’s auditory landscape. When I handle both sound design and music, the creative process becomes more harmonious and efficient. Integrating these elements allows for a cohesive auditory experience, where the music and sound design complement and enhance each other seamlessly. This approach helps to maintain a consistent tone and quality throughout the film.
When different individuals manage sound design and music, there’s a potential for misalignment, where one might inadvertently overshadow the other, creating an inconsistent soundscape. To prevent this, I prefer to oversee both aspects myself, ensuring that every auditory element supports the film’s narrative and emotional impact. However, collaboration is sometimes necessary. When working with other composers or sound designers, clear and effective communication is crucial. I make it a priority to align our creative visions and coordinate our efforts to ensure that the final sound design and music are perfectly integrated. This collaborative approach helps achieve a unified and polished auditory experience that enhances the film’s overall impact.

When you are working as music designer for a film, do you prefer creative freedom or detailed instructions from the director?
I definitely prefer creative freedom, as it allows me to fully realize my vision. When I am the creator of the film or video, this approach works best. However, when working with another director, the success of the collaboration hinges on finding the right match and understanding their vision and working style. If I can grasp and connect with the director’s mentality and the film’s world, the collaboration is productive. Otherwise, a lack of alignment can make the process challenging and the final result less satisfactory.

Which instruments, software or digital tools do you prefer using in your compositions?
I have no restrictions on the use of instruments. I use any instrument that can create the desired feeling. Sometimes I even use objects to produce sound and finally it is combined with the sound of one or more instruments. Because the basis of my style is the combination of sound and music, the sound elements in the film become the inspiration for the music. For this reason, the music approaches the ambient style and takes a less melodic form. Regarding software, I mostly work with “Adobe Audition” and “Cubase”. In cases where it is in a studio and in collaboration with a software assistant, it depends on the performance of that studio.

Visit Amin’s sounds collection on Soundcloud