When I came out of that I was almost immediately contacted by Klaus Badelt who asked me to start writing for him and that was the turning point in my career.”Ī myth that’s been perpetuated is that every score is done by, in Dern’s words, “one genius mastermind,” but that’s almost never the case – it’ all driven by team work. To do an internship there is kind of a rite of passage, but I only interacted with Hans rather than worked directly with him – unless you count making coffee.
Remote Control’s such a great place because you have 200 people working there and can make a lot of connections by default. “That’s when Steve Jablonsky’s assistant said he could get me into Hans Zimmer’s studio to do a free internship.
“I was waiting for my immigration paperwork to come through and there was a back-log so I couldn’t leave the country or work for money at the time,” she recounts. While Dern continued to sporadically work for other sample developers, she also assisted high-profile composers including Steve Jablonsky, William Ross, and Pinar Toprak, and interned with the legendary Hans Zimmer through his film score company Remote Control Productions. I basically handed in my two weeks’ notice and switched rooms, writing additional music for Chris and Alan.”
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“I’d done a couple of mockups as part of Hollywood Scoring for him and New York film composer Alan Menken, when they started working on a TV show for Disney and asked if I wanted to be part of the team for both seasons. “I really wanted to work in film and TV and Hollywood Scoring was located inside the studio complex of composer Christopher Lennertz,” she explains.
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