I’m in a room with three sets of eyes. In a rare, idle hour, under the golden gaze of two BAFTA masks, film composer David Hirschfelder talks movies and music.
Settled between a digital composing suite and ”midlife crisis” Boesendorfer grand piano, the man who scored the soundtracks to Shine, Elizabeth and The Railway Man marvels over a salt-rock crystal lamp – a gift from daughter Sophie. ”I think it actually works!” he says, its glow and negative ion emissions softening the industrial surrounds. ”As an artist you have to make a date with yourself, romance yourself to come up with the ideas.”
Publication: The Age