Professional Documents
Culture Documents
We felt that presenting Nosferatu in Singapore demanded an eclectic approach: a fusion of different
musics, employing a sonic expression that echoes both the rawness of the film’s visuals and
contemporary art life in south-east Asia. We therefore chose to work with three groups: the
Yinstreichtin Quintet, Iron Egg and Samuel Wong Shengmiao. While the string quintet suggests the
expressionistic timbres of in-between wars central Europe, Iron Egg is a contemporary jazz ensemble
with a musique concrète attitude to experimental club electronica. Between these two sound worlds,
Sam Wong’s pipa, employing unorthodox extended techniques, functions both as a link and as a
renewed though recognisable Asian sonority. The musicians, in separate sessions, interpreted
composed fragments while being shown sequences from Nosferatu. The interpretations were further
developed in a process of guided improvisation.
The recording sessions allowed us to gather sufficient material for the next phase: re-composition and
studio post-production. Here, we created new sounds by digitally transforming some of the recordings,
adding layers together to form a rich canvas of sound. Numerous techniques were employed, but
importantly, the material all had to come from the original recordings - no off-the-shelf sample bank
material was allowed! A
constructive creative
constraint in itself, this
method also emphasises
the homogeneity of the
film’s sound world,
resonating with the
screenplay’s
claustrophobic narrative.
PerMagnus Lindborg
(composition, post-
production)
Kwong Jiebao
(composition, assistant
post-production)
Derek Lim (composition,
assistant post-production)