ABOUT THE FILM: When a living legend like Wim Wenders ("Paris, Texas"; "The Million Dollar Hotel"; "Buenavista Social Club”) decides to appear as a future version of himself in a movie, there must be something outstanding about it. The idea of the film is brilliant: We see our time through the eyes of our grandchildren, many years ahead. By the means of a fable, disguised as a documentary from the future, we understand that the era we critizise so much will actually be seen as the good old days. A true eye-opener. Rarely have the devastating effects of climate change and mass extinction been explained in a better way. The director is Marten Persiel, who won the Berlinale Perspektive 2014 with his acclaimed and controversial “This Ain't California”.

ABOUT THE MUSIC: Gary Marlowe began playing piano at four, turned into a synthesizer prodigy and much respected “synth god”, shared the stage with Iggy Pop and The Ramones, became a No.1 hit songwriter, and Gold Record winning producer. He is an official Steinway Artist, and has won numerous international awards for his film scores, which combine synthesizers, piano, electronica and orchestra to create unexpected, beautifully human sound worlds.

Marlowe came to "Everything Will Change" probably by destiny. He found a synopsis snippet online, was totally fascinated by the idea to tell a politically relevant story about our time from the perspective of the future, and managed to track down the director who wrote this. When Marten Persiel and Gary Marlowe first met, they were wearing almost identical hats, and found out both are nature-loving surfers. Big smiles.

Jump cut to Gary Marlowe ́s own Ultra Violet Recording studio, in the middle of the Alps. Far away from the madding crowds, composer and director first went snowboarding together, and then created their musical concept for the movie. What is the sound of the future? The idea was to build a sound world based on Marlowe ́s immense collection of very rare synthesizers and electric organs from the 1960ies and 70ies, to bring an analogue, strangely familiar element to the movie, shaping a world which is new, daring and futuristic, but remains warm and emotional, made by humans. This human element is part of Marlowe ́s general habit to play and record everything live. Even the director was surprised to find him playing ultra-fast sequences and arpeggios by hand, which normally would be programmed in a computer. That radical move really helped to tell the story. “I like to use my own, personal flaws and imperfections, to make the audience feel that my music is played by a human being, and no machine”, says the composer.

The choice of instruments was crucial to elevate the overall impression of the movie. Almost mythical organs, like the Farfisa Compact Duo Deluxe (as once used in early Pink Floyd) or a Philicorda, both made in 1967, were brought out as well as vintage synthesizer icons like the Minimoog, the Arp Solina or the monstrous Oberheim OB-8. To help the narrative, Gary Marlowe integrated a new sound aesthetic in the music dramaturgy of the film, with the help of the research teams of manufacturers like Arturia in France, or Bristol-based Modal Electronics, who provided brand new instruments to the artist, to create mesmerizing sounds which no audience has ever heard before.

To maximise the acoustic quality, Marlowe called in one of his favorite mixing engineers, to finalize the score together. Hans-Martin “HM” Buff, formerly personal engineer of Prince, joined the composer again, to carefully mix all those wonderful, delicate or thundering sounds into an exciting musical landscape. A landscape of a fragile future, which is still in our hands to define.

COMPOSER'S NOTE: “A science fiction film about exctinction? To me, this is one of the most pressing topics of our time, and it is dangerously late to be addressed. Making and watching this movie is better than signing a hundred petitions.” (Gary Marlowe)