When you’re watching a movie, the music can either draw you in or completely take you out of it. When that movie deals with 1936 Berlin, you want it to integrate seamlessly so you can focus on the serious topic at hand.
That’s what composer Lucas Lechowski achieves with this work.
Composing music has always been an integral part of his life, deeply shaping his identity as a person, musician, and artist. His journey into composition led him to the world of theatre and film, where he has scored over 50 projects, spanning feature films, television series, documentaries, and theatre productions.
I was excited to sit down with Lucas Lechowski and talk about his work on the new movie, The Performance.
Let’s dive in.
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No Film School: How did you get involved with The Performance?
Lucas Lechowski: A friend recommended me for the project, and after my first conversation with Shira Piven, the director, I pretty much jumped right into writing. Honestly, I wasn’t sure if it was still part of the audition process or if I was already in! But from the start, this project felt so natural, engaging, and captivating to me that I just kept going—and as it turns out, I got the job!
NFS: How did you approach the creative process and collaborative dynamic, particularly when working on The Performance with director Shira Piven?
LL: Working on The Performance was both a challenge and a joy. Harold’s story is incredibly multi-dimensional, and we wanted the music to reflect that complexity. We played with dualisms and contrasts—artistic fulfillment versus sacrifice, love versus abandonment, excitement versus fear. These themes shaped the tone of the score, which became a delicate dance intertwining all these elements. Finding the right balance was essential to capturing the film’s essence.
Shira was deeply involved from the start. We shared a clear vision: to evoke the essence of 1930s music while giving it a fresh, modern twist. We intentionally avoided the clichéd, big brassy sounds typically associated with that era, opting instead for something more nuanced and personal.
The process was very collaborative, and we had time to explore and experiment. Shira created a unique atmosphere—a sort of creative “democracy” where every idea was welcomed and given genuine consideration. We spent hours talking, playing instruments, and improvising, letting the music reveal itself naturally. Watching the score come to life this way was an exciting and deeply rewarding experience.
Collaborating with Shira was an incredibly enriching journey—not just as a composer, but as a person. For that, I’m deeply grateful.
Lucas LechowskiCredit: Stefan Kubicki
NFS: Can you discuss any particularly memorable moments/challenges during the pre-production and post-production process?
LL: There were many standout moments, all rooted in collaboration—dialogues, discussions, and simply playing music together.
Composing for the choreographed dance numbers was especially challenging. The scenes had been filmed before the music was written, so we had to ensure everything felt seamless, as though it was all created in unison.
To make the tap dance sequences stand out from the rest of the score, we intentionally crafted a noticeably different aesthetic, one that was much fuller and more dynamic. Also, as the story unveils, each of those pieces is designed to help in unveiling the story gradually, to show Harold’s journey, starting from the small jazz club all the way to his majestic performance in the Staatstheater.
The most challenging part of the entire recording process was recording the jazz portions of the score. It was no easy task. Our goal was to maintain maximum control over the recording sessions while giving the musicians the freedom they needed. We aimed to capture authenticity and spontaneity since, after all, it’s jazz!
Ultimately, it was a blend of over-preparation and letting go. We needed to play along with what the musicians brought to the table while staying true to what was written. We consider ourselves fortunate to have had the opportunity to work with such astonishing players!
NFS: How has your background and previous work influenced this piece?
LL: Starting a new project always brings a mix of excitement and a bit of fear—it’s a blank canvas with no templates, no shortcuts. But this project feels particularly special because of how it ties back to my journey.
It’s amazing how life has come full circle. Sixteen years ago, I made the leap to the United States as an ‘artistic immigrant’, driven by a dream to learn from the jazz masters. In Poland, I studied music at the Conservatory, focusing on violin, guitar performance, and jazz improvisation, and what was meant to be a quick artistic experiment turned into something much bigger.
Beyond the music itself, though, there’s another essential layer: reading and interpreting the film. Over the years, that’s become almost second nature for me, but I think my experiences with all the adventures —adapting, exploring, and embracing different perspectives—have shaped how I approach storytelling through music.
I’ve worked on all kinds of projects, with varied instrumentations and concepts, and I often play many of the instruments myself as I compose—it’s an organic process for me. But The Performance felt unique. I ended up recording some of the main themes myself—it just felt natural since I was so immersed in the music.
This project feels incredibly close to my heart, blending my passions, my history, and my artistic journey into one piece.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
