Sandrine, you started as a classical pianist from a very young age. What drew you to composing for visual media, and what were your first steps in the industry?

I started studying classical piano at the conservatory when I was just 4 years old, immersing myself in the world of classical music for nearly 20 years. However, during my early teenage years, I began to feel less inspired by classical repertoire. Around that same time, I discovered the captivating world of film music through composers like Yann Tiersen and Ennio Morricone. Their music, though seemingly simpler in structure, had an extraordinary emotional depth that deeply resonated with me. I found myself profoundly moved by their work.

This inspiration led me to start playing film scores on the piano, and eventually, I had the thought, “Why not write my own music?” From that moment, I began composing, and I haven’t looked back since. My early efforts involved writing music for any local film projects I could find. Later, I decided to leave Switzerland to pursue a graduate degree in film composition in the United States to refine my craft and take my passion to a professional level.

You’re currently composing the score for the documentary, Yogis of Ukraine – for which you’ve received the Reel Change Film Fund Grant. Can you share a bit about how this all came together, and how was the process of producing the score with the help of the fund? 

This project holds a deep meaning for me. I’ve known Bob, the director, for years as we’ve been discussing another larger project. He has an incredible appreciation for film music, which makes collaborating with him a true pleasure. When he learned about a group of women in Ukraine using yoga to heal themselves and their soldiers during the war, he immediately thought, “This is a film,” and was on a plane to Ukraine two days later. Upon his return, the very first person he called was me to ask if I’d be interested in composing the score. Within weeks, I was already sketching themes.

The documentary captures both devastating imagery and a profoundly uplifting story of resilience and healing. It highlights how these women use yoga to transcend an unbearable reality, and the score plays a key role in conveying this powerful and positive message.

The score is nearly complete, and we’re set to record in the coming weeks, thanks in large part to the Reel Change grant, which has been instrumental in bringing this music to life. Paying homage to Ukrainian culture has been a priority for me, which is why I incorporated the bandura, Ukraine’s national instrument, as a central element of the score. The bandura is a strong symbol of Ukrainian resilience. Learning about its history—how Soviet authorities tried to erase Ukrainian culture by targeting bandura players and makers a century ago—made it clear to me that it had to have a prominent place in the music.

This film is powerful and deeply moving, and I can’t wait for the world to experience it next year.

You’ve received two Hollywood Music in Media Awards and a nomination for a Jerry Goldsmith Award – so impressive!! Looking back at your journey so far, how have these accolades influenced your career trajectory, and/or are there specific milestones that stand out as defining moments for you?

Yes, I believe these accolades have made a significant difference in my career. Winning my first Hollywood Music in Media Award, in particular, was a turning point. It gave me more credibility with filmmakers and collaborators who hired me in the following years. On a personal level, it felt surreal—I was still that little girl from the Swiss Alps, but suddenly, I was in Hollywood, surrounded by composers I deeply admire. It was a powerful moment of validation, reaffirming that I’d chosen the right path and that my music resonated with others.

Can you take us through the process of recording for the TV show On the High Seas – what instruments did you record and what was it like?

Working on this project was such a unique experience. It’s the European TV show filmed on the largest cargo ship ever used for a European production, which immediately inspired ideas for the score.

The boat theme reflects its immense scale and steady, unstoppable motion, with a foghorn-like sound layered with an ostinato to symbolize its movement. Julia, whose disappearance drives the story, has a delicate theme performed on harp, piano, or cello, evolving as the plot becomes more dramatic. In contrast, the theme of Aurelie, the determined yet conflicted police inspector, captures her strength and vulnerability.

The orchestra, recorded in Budapest, brought incredible richness to the score, and we recorded exceptional soloists to bring the themes to life at the harp, violin, cello, piano, and woodwinds.

The soundtrack album will be available soon—stay tuned!

Interview by Nami Melumad

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