Beckmann advises on all questions surrounding the usage of music in movies, tv series, commercials and other brand music. This always happens to be user-specific, up-to-date and modern. His scope of services includes licensing, music - and author research, copyright clearing as well as the production of soundtracks, title songs and film scores. He has plenty of experience in all aspects of music supervising and advising. Hereby he has access to a widespread network of musicians, songwriters, orchestras, DJs, recording studios, artists, media lawyers and PR companies. Everything is made as easy as possible for you and it all comes from a single person.

Beckmann so far has been supported with his talent, knowledge and with many years of professional experience more than 200 successful cinema movies, 100 episodes of tv shows and countless brand projects. His successes include more than 2 million sold records, 80 million youtube clicks and a dozen chart placements with his music and songs from movies he has worked on. He has written the score for multiple of the most successful german cinema published movies, including the trilogy of “Fack Ju Göthe” and the standalone movie “Türkisch für Anfänger”, which had a combined audience of more than 22 million.

Wim Wenders famous 70ties Movie „THE GOALKEEPER'S FEAR AT THE PENALTY“ was filmed in Vienna and the surrounding austrian area in 1971. Based on the novel by Peter Handke of the same name, this was Wim Wenders’s second long feature film. With cameraman Robby Mueller who was going to work onwards for many years, as well as composer Juergen Knieper or cutter Peter Przygodda. However, due to unresolved music rights to the extensive soundtrack, the film could not be shown in cinemas or released on DVD for almost 40 years. It was not until 2014 that a solution to the problem was found by recording new songs as part of the elaborate 4K restoration. For the restoration, the original 35mm colour negative was scanned with a resolution of 4K, retouched and light-determined.

Statement by Wim Wenders regarding the music: 

"When I made my first feature film, "Die Angst des Tormanns beim Elfmeter" (The Goaltender's Fear at the Penalty), based on the novel by Peter Handke, in 1971, WDR was the main commissioning body. In the sense we know it today, there were no cinema-television co-productions yet. Because I didn't even dare to think of other uses than cinema in Germany and television, I was very generous in my choice of music for the source material and included many of my favourite pieces in the film. The German rights were covered by GEMA anyway. Because the film then had an (albeit small) international career, and for example won the International Film Critics' Prize at my very first festival, in Venice in 1972, was shown at the MoMA in New York, etc., the question of the music rights became a problem and finally an obstacle to the distribution of the film. This is the reason why "The Goalkeeper's Fear at the Penalty Kick" has not been available in cinemas or on DVD for decades. As part of the film's elaborate 4K restoration, the Wim Wenders Foundation naturally had to solve this problem in order to make the film accessible again worldwide. Acquiring the original music in its entirety, and worldwide at that, was completely illusory. The price would have been very close to the original production costs of the whole film, which would of course have represented an absurd investment on the part of the foundation. We therefore only acquired some of the original pieces, especially under dialogue scenes. Other pieces, on the other hand, which came rather casually out of jukeboxes or radios, we simply produced anew. Michael Beckmann put together a band for this and wrote and lyricised new songs with them. This resulted in wonderful titles that are in no way inferior to the original songs. The guys managed to imitate the sound of the sixties as faithfully as possible. To do this, they also worked on instruments and with analogue recording techniques from the 50s and 60s. As a result, in many cases the difference between old and new is not at all or hardly audible. We didn't change anything about the mono sound of the film anyway, and of course nothing about Jürgen Knieper's original score. I very much hope that these music substitutions will not bother anyone. That was the condition for the film to be seen again at all." (Text: wimwendersstiftung.de )