Sophie Hommes is the production manager for CineMusic. Whenever the orchestra is at the theater, Sophie is there too. You’ve probably seen her walking around. We spoke with her about her role at CineMusic, her favorite film music, and her biggest dreams.
What is your role at CineMusic?
“I am the organization’s production manager. That means I’m responsible for all production matters. This ranges from communicating with theaters and the orchestra to arranging catering and sheet music, as well as scheduling the orchestra: who plays when.”
How did you get involved with CineMusic?
“I studied Creative Business with a specialization in performing arts. After that, I had the opportunity to work in a theater in Bergen op Zoom for four years. Then, through a friend who worked with CineMusic’s artistic director, I was asked to apply for the position of production assistant. That was in the summer of 2024.”
Did you always want to have a role in a major theater production?
“I’ve actually always said that as long as I’m young, I want to tour. Ideally from a theater with a production house or something similar. I used to be on stage myself, but I find working backstage more fun. The last time I was on stage was when I was 14 or 15. After that, I started doing things backstage. I’ve done directing for films and artist management in the theater, but also on a larger scale at Ahoy and at Feyenoord. I’ve actually been doing backstage work since I was 17, so for almost seven years now.”
What was your first impression?
“I thought it was fantastic. I play instruments too, so I was immediately excited by the idea of an orchestra. The team is great, and because this is a young company, it’s also an opportunity for me to grow with it. That really appealed to me. Growing together and being given the space to learn a lot.”
How was your first period at CineMusic?
“My first period involved a lot of discovery. That was the time when the company was really growing enormously, just after the first big season. In a very short time—I think within two months—I moved up to production manager. It was very hands-on work, getting straight to it. And I love doing that.”
What does your day look like?
“It varies enormously. Office days are often meeting days for us. Then I’m at the office with my colleagues, Stef, Paul, and John, and we have meetings about marketing and production. On the days I work from home, I’m busy organizing: calling, emailing musicians, theaters, but also coordinating with colleagues. Very practical work.
Theater days are very different. Then I arrive early to help with the technical setup, talk to everyone needed for that day, and check where everything is in the theater. Between three and four o’clock, I welcome the orchestra, make sure everything is ready, and ensure there is food. After that, I assist the musicians for the soundcheck and the show. In the evening, I watch the show or go home, depending on what still needs to be done.”
Are you present at every show?
“In principle, yes. It’s quite intensive. Especially at the start of the season, when we have the setup, try-out, and premiere all in one week. Then I’m in the theater for days from nine in the morning until ten at night—eleven if you have a show. Those are long days, but it’s also a lot of fun. That’s when you see what you’re working towards.”
Which film music gives you goosebumps?
“I really love bombastic music. So I think Hunger Games is fantastic! I also really love Disney film music. But I notice that I’m now also starting to enjoy films where I never would have thought ‘oh, there’s film music in that.’ Like Dark Knight and Love Actually.”
What has surprised you most since you started working at CineMusic?
“Within the organization, it really feels like one big family. I’m familiar with this world. Normally it’s very divided by roles—the orchestra, production, and marketing are all very separate parts. Here, it doesn’t feel like that at all. Not on stage either. You really see how everyone works together, how everyone reacts to each other. I find that very special. Additionally, the films we play are chosen together. Everyone can give input, which makes everyone feel like it’s their show.”
Where do you want to go in your career?
“What I hope to achieve, especially now within CineMusic, is that we can move towards multiple productions at some point. I hope to eventually lead a production team. I also hope to go abroad. Maybe we’ll head towards Germany or Belgium one day. Imagine being able to perform at the Sportpaleis, or nowadays the AFAS Dome. It’s a dream to work there. I’m originally from Bergen op Zoom, and when I went to a big show as a child or young adult, it was always at the Sportpaleis. I’ve seen many big names, major theater pieces, and concert shows there. I’d also love to perform in Maastricht, on the Vrijthof. That would be fantastic.”
The new season has just started, but you’re undoubtedly already working ahead. What can we expect from CineMusic in the near future?
“I can say that we have a very large event planned for late 2026 with three massive shows. Where and when remains a secret for now. But I’m already busy preparing for it with the team. It will be our biggest show ever.”