Billie Mind is an editor, sound designer, and supervising sound editor based in Berlin. She approaches film through rhythm, image, and sound – always searching for intersections where stories can be felt emotionally. Her path to film began with poetry, art, and DJ sets in Berlin and London, before she shifted to sound engineering and ultimately studied editing at the Film University Babelsberg.
In 2025, she contributed to “In die Sonne schauen” (“Sound of Falling”) – the first German film in 41 years to win an award in Cannes and the official German submission for the 2026 Academy Award® nomination. Her filmography includes contributions to the Berlinale, Cannes, TIFF and the Tribeca Film Festival.
Billie Mind works collaboratively and with an experimental spirit – always with a clear focus on films that open up new spaces.
Questions and Answers
3 Facts
In Star Wars: Rogue One there are only ten women on screen in total, including extras. One is just a computer voice, another appears for barely five seconds.
Ellen Ripley in Alien (1979) was originally written as a male role. Luckily Sigourney Weaver got it.
People say cats meow at the same frequency as a baby’s cry (300–600 Hz) to trick us. Total myth. Frequency alone means nothing, and no cat “knows” how to weaponize Hertz. We react because we love them, not because they hack our brains.
Questions
1. What is the biggest inspiration for your music?
NASA’s sonification projects fascinate me. Space is silent, but data from telescopes can be turned into sound. Brightness becomes pitch, distance becomes rhythm, whole galaxies can be heard. It’s a way of listening to the universe instead of just looking at it. That shift of perspective is a big inspiration for me. And then: everything around us. A drill on a construction site that suddenly has a beat. Ventilation systems, broken radios, the noise of a night train. Once you start hearing in layers, the world becomes endless material.
2. How and when did you get into making music?
I was asked to DJ at a party with zero experience, so I just did it. That first step led me into DJing, producing and composing. lady4jane and Acid Maria were crucial inspirations. They showed me it was possible and gave me the courage to dive in.
3. What are 5 of your favourite albums of all time?
Bikini Kill – Yeah Yeah Yeah Yeah
Mica Levi – Under the Skin OST
Sepultura – Arise
A Tribe Called Quest – Midnight Marauders
Missy Elliott – Under Construction
4. What do you associate with Berlin?
Noise. My home. A place that somehow raised me and made me who I am today.
5. What’s your favourite place in your town?
My studio in Kreuzberg
6. If there was no music in the world, what would you do instead?
I would be an astrophysicist, a passion of mine since my teenage years. Or I would direct films.
7. What was the last record/music you bought or listened to?
While I was in Melbourne, invited by Sounds Australia, I went to Northside Records and found Aphex Twin’s Syro. It’s from 2014, but it was still missing from my collection.
8. Who would you most like to collaborate with?
Mica Levi.
9. What was your best gig (as performer or spectator)?
Being selected with my recent film Sound of Falling to compete in Cannes was unforgettable. The film opened the competition, and at 3am the night before, we were in the Grand Théâtre Lumière, one of the biggest cinemas in the world, doing a DCP test screening and sound check with my team. We ended up taking band-style photos between the rows of seats. It felt surreal, like being rockstars, and the premiere the next day was just incredible.
10. How important is technology to your creative process?
Essential. Even if I start from something completely analog – like recording a room tone, a broken radio, or a strange voice – the process always travels into digital space. Editing, layering, transforming, spatializing: technology is the tool that lets me translate the raw sound into a filmic and emotional language.
11. Please tell us more about the development of your new album.
Right now I am preparing my first film as a director. Sound is not just an element here, it is the core. I am developing early sound sketches and textures that will form the film’s entire acoustic world. For me it’s like composing an atmosphere before the images exist, creating a living environment that the film can grow into.
