“I think what strikes me most about Harald’s music is its emotional grandeur. Maybe it’s because he grew up in Austria and its great tradition of classical music had an influence, or maybe he is just a romantic lunatic like myself.

Harald’s music never overwhelms or punishes the audience with some generic cues aiming merely for effect. His compositions, rather, enhance the scenes and have a character of their own, like somebody who watches the movie with you and helps you decode its deeper meanings. For instance, in the first meeting between Hall and Grierson in the antique shop (Track 6), or in the moment of Ashton’s final death in the mainframe room (Track 11), Harald has created a little motif which consists of just a few notes played on an out-of-tune piano and that expresses all the depth and emotional drama of my entire fil. Then I am happy and wish, while watching the picture for the thousandth time, that this little tuneshows up again and again. These few bars hold the nucleus of all the emotions and all the drama which kept me working on this movie for such a long time and made it worthwhile
”