A multi-instrumentalist with a broad musical range, he first came to prominence as the keyboarder of the legendary German punk band, the Nina Hagen Band, and as a producer of international pop stars. His film and television credits include Run Lola Run, One Hour Photo, The International, Perfume: The Story of a Murderer, Deadwood, Without a Trace, and the epic adventure-drama Cloud Atlas. He is currently scoring Helix for Syfy. He lives and works in downtown Los Angeles.
I googled around a bit and found no interviews on Reinhold’s work on Helix so I reached out to him with some questions about his work on the show. He was kind enough to take time out of his busy schedule to answer these questions and offer a fascinating behind-the-scenes look into his work on the show. Note, one of his answers contains spoilers and I wrapped the answer with with **** Begin Spoiler Alert **** and *** End Spoiler Alert ***.
Mark Mosher: How did you get involved with Helix?
Reinhold Heil: My agent asked me to submit a demo and I did. I put a lot of effort in that because I love the genre and really wanted to show what I have to offer. Apparently they liked the demo and gave me the job without an interview. They must have been swamped with the shoot that had just started in Montreal, so most of them weren’t even in town. As it turned out they were all wonderful to work with and I had a lot of fun doing the series.
Mark Mosher: When Did you Start Working on the Show?
Reinhold Heil: On Helix I [started] developing material in August 2013, while they were assembling the first episode. So there was definitely an early involvement, but it was already inspired by the look of the show and the characters.
Mark Mosher: There are some very happy – dare I say – “elevator music” style and old Wurlitzer organ/drum machine styling’s in the show. Do you use vintage gear (and if so what gear) for these cues, or are you using virtual instruments or libraries?
Reinhold Heil: Funnily most people don’t understand that I have mostly nothing to do with the elevator music. It becomes very obvious when they are using classics like “Road to San José” or “Fever”, but the only easy-listening pieces I actually contributed to Helix are the main and the end-title. And I did the adaptations of the two pieces from Tchaikovski’s Nutcracker that happen in episode 6.
I’m not involved in the selection but check out the two transitions into “Fever”. They are pretty smooth and I did work hard on those. I did try to have the score segue seamlessly into the source pieces as often as I could. Some of them are exceptionally well chosen and used to great effect, but the guys in the writers room and show runner Steve Maeda as well as Producer Stephen Welke are the people to give credit for that.
Mark Mosher: These twisted “happy” cues are so great and act as an emotional signal to viewers that very bad things are just about to happen. It’s such a clever idea and it makes the hair stand up on the back of my neck when I hear any happy music in the show – lol. How did this idea for using happy and lounge sounding orchestrations come about and evolve?