Interview about music work with Berit Gilma
Berit Gilma is a trojan horse breaking into the mainstream. The Grammy-nominated new media artist's punk, alternative, and gothic vision defies convention and defies expectation—allowing her to stay true to herself as she navigates the multibillion-dollar music industry. The Austrian-born creative has served as creative director for composer/singer-songwriter Danny Elfman… Berit Gilma, Grammy-nominated new media artist, has been working as creative director for composer/singer-songwriter Danny Elfman for three years. Gilma began working for the Elevate festival in Graz, Austria when she was 19 and met Elfman through a mutual friend. When Coachella 2020 was canceled due to the COVID-19 pandemic, Gilma and Elfman found themselves with more time to work. They have collaborated on BIG MESS, their first project as Elfman’s creative director, which uses CGI, 3D technology, motion capture and AI to evoke feelings of anger, anxiety and frustration, with Gilma theorizing that Elfman was inspired by their discussions and angry at the state of American politics. She believes that everyone should be seen for their work, and that it is important to appreciate everyone doing their best.
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Berit Gilma is a trojan horse breaking into the mainstream. The Grammy-nominated new media artist’s punk, alternative, and gothic vision defies convention and defies expectation—allowing her to stay true to herself as she navigates the multibillion-dollar music industry.
The Austrian-born creative has served as creative director for composer/singer-songwriter Danny Elfman for three years now, but prior to her current role, she spent time studying with — and working for — Jaime Bridle, Adam Harvey and Ai Weiwei, who were part of her community in Berlin, Germany while she pursued her undergraduate studies at the Berlin University of the Arts. Immersion in the city’s new media art and hacktivist scenes greatly influenced her thinking and outlook, and while it didn’t directly shape the work she does for Elfman, she feels she would be a very different person and artist without him. “I’m all about authenticity, so there’s a lot of my personal aesthetic and experience in every piece I make,” she says. “It’s all part of a journey, with different chapters building on each other, and I have a lot of respect for my journey.”
While it was never her goal to merge her passions for music and art, her adoration for the former and standing in the world of the latter allowed the connection to happen organically. Gilma started working for the Elevate festival in Graz, Austria when she was 19 (she is now their lead art curator) and initially met Elfman through a mutual friend. The two have remained close friends ever since, and before she moved to Los Angeles for her MFA at UCLA, Gilma sent Elfman art and music from her world that he would always enjoy. “Meeting Danny allowed me to find a beautiful niche for myself, working at the interface between the visual arts and music,” she says. When Coachella 2020 was canceled due to the COVID-19 pandemic, the two found themselves with more time to work—giving birth to what eventually became BIG MESS, Gilma’s first project as Elfman’s creative director.
“I’m all about authenticity, so every piece I make has a lot of my own personal aesthetic and experience in it.”
Reflecting on their past conversations, Gilma theorizes that Elfman was both inspired by their discussions and angry at the state of American politics. The complexity of these emotions seeped through the artistic direction of BIG MESS – Elfman’s 3D scan and transformation into a grotesque digital sculpture, and the music videos, which use CGI, 3D technology, motion capture and AI, evoke feelings of anger, anxiety and frustration, with which resonated with many at the time. “My vision was to connect it to contemporary art and musical movements,” she explains of the record. “He is a true artistic soul and we both try to insist on high standards in everything we work on together.”
In three words, how would you describe your work to someone unfamiliar with the industry?
Can you walk us through a day of your work?
It’s pretty loose to be honest, but I usually get on the phone with Danny (if I’m not in his studio) for at least an hour and we’ll throw some wild ideas around. It could be for a music video, a design or a new song/project.
Did you always know you wanted to have the career you do now, and did school play any role in inspiring you along that path?
There is no plan in this industry. I just followed whatever felt authentic, creative and exciting. The school played a role in the sense that I was able to educate myself and practice critical thinking, and it connected me to a community that inspired me.
“Practice trusting your intuition, shape your thinking, and never lose sight of your moral compass.”
What are the necessary first steps one should take to start a career in music as a creative and art director?
I think learning something creative early is a good first step, and then you can go from there. Practice trusting your intuition, shape your thinking, and never lose sight of your moral compass.
What lessons and/or work ethic did you pick up only after working in the music industry?
Appreciating everyone’s work in a large team is important because everyone is doing their best. It shouldn’t be taken for granted, but unfortunately it is; greet everyone appropriately because everyone deserves to be seen for their work.
What has been the biggest challenge you have faced so far and how did you overcome it?
The music industry is full of creativity and wonderful things happening, but it’s also very harsh – especially for a young woman. It’s a space full of glass walls, and it’s hard to find words to describe it if you haven’t experienced it yourself. We are forced to navigate through it somehow; it’s built into the DNA of the industry and it needs to change radically. I definitely had to grow up a lot to do it, but luckily my personality allows for hardships and challenges. In general, I think there is a need for more women in important positions and women mentors. I learned to be brave and just say, “Fuck. I will do my job.”
What is one thing about your work that most people would find unexpected or surprising?
Because I focus on an overall vision, I need to bring a fairly broad set of skills to this job. Not surprising to others per se, but I’m often surprised at how much of my past experience is needed to do what I do.
“The music industry is full of creativity and wonderful things are happening, but it’s also very harsh – especially for a young woman… In general, I think there needs to be more women in important positions and female mentors. I learned to be brave and just say “Fuck”. I will do my job.”
Is there a secret to career longevity in this industry?
Ha, that’s a good question! But I do not know. I myself am still relatively new to this industry and this role. Let me know if you hear anything.
What are some of the habits you follow regularly to always maintain a good workspace?
Don’t check your emails in the evening (most of the time I fail). Good coffee, healthy vegan food, nature. I have a healthy product that helps me calm down before I sleep and I can recommend it to everyone. I call it the pain mat. It’s an acupressure mat with spikes that go into your skin. Calms your nervous system. It’s magic.
What does a day off look like for you?
I’d say either a nature day or a hangover day (because of the night before).
If you weren’t doing music, what would you be doing?
In a parallel life, I’d be an environmental politician, do art projects with NASA (still a goal), live off the coast of Tasmania, write books, and be the weird lady who befriends dolphins (still a goal -late in life).
Stay tuned for more features with music industry professionals—from managers to sound engineers, stagehands and more; the people who make the music world go round without standing behind the microphone.