5 Minutes with Rachel Tauwnaar

From being a violin-playing teenager to award-winning music supervisor, Ambassador Berlin’s video director Rachel Tauwnaar shares the story behind some of her most meaningful projects, and offers advice for aspiring creatives navigating the delicate dance between art and commerce.

With a foundation rooted in both classical training and experimental performance, Rachel’s journey reflects a deep commitment to emotional storytelling through sound. She talks to LBB’s Olivia Atkins about how her approach to music supervision is less about trend-chasing and more about building authentic connections between visuals and music – a process she sees as both intuitive and technical, and always in service of the story.

LBB> How did you get started in the industry? And can you share more about your musical background?

Rachel> I began making music at the age of seven, starting with classical violin and later singing in bands from the age of 17. During this time, I started my first internship at a music company, driven by my fascination with the world of music for film and commercials.

At 19, I dropped out of university and started to work as a model agent and producer in the fashion industry while still making music. After a couple of years, I realised fashion wasn’t my path and decided to focus on my passion for music in moving images. Luckily, my mix of experience in client-facing roles, visual aesthetics, and music experience gave me the foundation to become a music supervisor for commercials and eventually led me to my position as music director at Ambassadors Berlin.

LBB> Have you been part of any recent projects that you found particularly inspiring or exciting?

Rachel> I supervised a project (soon to be released), directed by Judith Veenendaal which focuses on encouraging women to check their breasts and raising awareness about the importance of early breast cancer detection.

The challenge was to score the film with a piece that struck a balance between being emotional but not overly melancholic. It also needed a strong, repetitive yet simple melody that wouldn’t lose its essence during breaks in the film. On top of that, it couldn’t be too complicated, as it had to be performed by a protagonist who isn’t a professional pianist.

I worked on it together with composer Daan Duijf and the result became so much more than just a score. The music is the lifeline of the film. And it's breathtakingly beautiful. For me, it was an unforgettable project, seeing this powerful piece come to life in such a meaningful context and being able to work on this with such an amazing group of dedicated people.

LBB> Your work on ‘G-Star RAW – The Rhythm of Denim’ was highly acclaimed and became the most awarded commercial in the music category for original composition in 2021. What was the creative process like for that project, and what do you think made it resonate so much with audiences?

Rachel> The creative process for this project was unique and deeply collaborative, as we worked closely with a tap dance choreographer. The tap dancing in the film formed the rhythmic foundation of the track, which meant we weren’t just composing music, but we were also in charge of the rhythmic structure that the tap dancers would base their complete choreography on.

Unlike our usual approach of composing from the start, we first had to finalize the choreography. Using rehearsal videos of the tap dancers’ which they based on our rhythms, we carefully composed the score to align perfectly with their movements, ensuring fluid interaction between tap dance, rhythm, and the overall dynamic and story of the film.

The interdisciplinary nature of this project was rare and extraordinary, with every element intertwined in a way that felt essential.

LBB> Which artists would you love to collaborate with, and why?

Rachel> Bendik Giske: I recently saw his support performance for PJ Harvey, and it absolutely blew my mind. His minimalist yet mesmerizing solo saxophone ambient compositions, combined with his powerful stage presence as a charismatic, sexy and perfectly dressed performer, makes him an ideal artist for a brand collaboration.

Nick Cave and Warren Ellis: I am deeply moved by the album ‘’Carnage’’ but also adore the work they make together for film, for instance for the nature documentary 'La Panthere Des Neiges'.

Caroline Shaw: In my opinion, she is currently one of the most interesting and talented composers in contemporary classical music.

LBB> Are there any movies, or directors in general that have used music in a particular way that inspired you?

Rachel> David Lynch's ‘Lost Highway’ features several remarkable tracks that elevate the scenes with an dramatic and almost theatrical intensity. For instance 'I'm Deranged' by David Bowie, as well as Lou Reed's cover of 'This Magic Moment’’, the self-titled track by Rammstein and amazing compositions by of course the one and only Angelo Badalamenti. To me, the music supervision for this film is unforgettable.

Also ‘Only Lovers Left Alive’ has the most beautiful soundtracks by SQÜRL and Jozef van Wissem. ‘The Taste of Blood’ has been one of my favorite tracks for a long while.
In addition, the series ‘Atlanta’, starring Donald Glover (Childish Gambino), is a true blessing for music lovers. It showcases a wide variety of very good hip-hop and integrates major artists into its narrative as central figures.

LBB> What are your favorite projects to work on?

Rachel> I have a strong creative connection with the directors I work with, and it’s such a joy to build a world together with full creative freedom. One recent example is the director’s cut of ‘DM – Ganz Ich’, directed by Nina Aaldering, which I co-composed and narrated. I absolutely loved collaborating with Nina. Being able to pick each other’s brains without having to keep other opinions into account was a real luxury!

LBB> For those aspiring to follow a similar career path in music supervision, what advice would you offer, particularly in navigating the balance between creative passion and the demands of working with major global brands?

Rachel> Music is one of the most challenging aspects of a commercial because it’s inherently abstract and subjective. There’s no clear logic, and you often have to translate descriptive language into something musically tangible. It’s something that’s not always easy for everyone in the process to articulate.

This is where experience comes in. It’s not about pushing your personal taste; a skilled music supervisor knows what works and what doesn’t. This understanding is built through countless hours of listening to and studying various music genres, collecting tracks, watching films and commercials, and simply gaining experience in the field. These practices train your ears, broaden your taste, and refine your instincts and identity as a music supervisor. In the end, this will allow you to leave a personal mark on every project, no matter the genre.

Trust your expertise to guide the creative process while maintaining an open perspective. Over time, you’ll build a network of directors and creatives who you connect with, and you’ll collaborate with them as naturally as playing in a band together.

LBB> Are you still active as a musician outside of your job?

Rachel> Yes! I’ve also got a solo project under my own name for which I write, sing and play violin. I recently released my debut single, 'Pray For Us’,

LBB> What are you listening to at the moment?

Rachel> The album ‘Endlessness’ by Nala Sinephro. It’s so good.