Music is one of the elements to be added to a short film or a movie.
It is an element that has to be in function of what happens in the film. In this case,
In this case, in Tadeo's short film [Tadeo Jones] and with Tadeo's films I am at
the service of the film and at the service of the director (s).
I have a hard time getting something I'm comfortable with.
The problem is that you have short time when you have to deliver the music and of course
you can't wait... I like to make a music, leave it there, let it breathe.
I can't do this!
But I can't make it when I'm doing music for films because I have some time to deliver the music,
I have to finish it and the director and the producer are waiting.
I usually do more or less the same thing every time. I watch the film and with the director's comments
what I do is make a musical motifs on piano and with those musical motifs
then I apply them to the music that I am going to make in the soundtrack, but I always
play before on the piano and I take out those ideas, those cells, those motifs and then use them
in the film. And sometimes the leitmotiv is a melodic thing, but sometimes it's a sound alone or it's a chord...
or it's... it depends a little bit on the movie, whatever it calls you.
Sometimes what I also like to do is to go running and play music and do something else
that doesn't make me think about the music I have to solve, and in that way, many
times I feel that ideas come up to me.
I am more into the music of John Williams or how those music sounds... I see myself more...
I don't know how to make it, but I see myself more reflected in that music because I... it would be impossible for me
it would be impossible for me to make that kind of music but it's the music that I listen to and that fills me and
that fills me and I love to listen to, right? Hans
Zimmer also: there are things that I love about Hans Zimmer, so a little is more the result and not how you get it.
With Autómata I feel a bond that I don't feel with many of my other soundtracks.
This is the second film I've made with the director, which is Gabe Ibáñez, with whom
I made Hierro, this is the second time I've worked with him... I know him a bit but Autómata,
it was for me a gift to be able to work in Autómata and explore
a different and risky musical universe; We had our problems with the American producer because we did
did things that the Americans would perhaps not do. We took, did, recorded
a choir and the choral music linked it to the robots. And that was a bit like: "How?
You are assigning a human voice to a robot?"
And Gabe and I loved it, we thought it was a thing that worked very well
despite the contrast. And in the end we got that, we push that idea forward, and for that type
of ideas Autómata is one of my favorite soundtracks.
But terror… I've made a few horror movies and I have a great time making horror movies
because you can explore different sonorities because terror can be achieved in many ways.
Supporting the terror with music and that exploration, those dissonances...
what do you want to do with music you can do in many ways, right? Animation
is a little bit of a way that is very limited, you have to go this way, you can't get out
much. The music of animation has to be here, instead the terror where you can do
many different things and that's cool, that's cool.
For more infomation >> Hobby De Luxe 490 KMF - Duration: 1:17. 
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