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Venezuela Perhaps no film composers of international renown but there are musicians who specialize in putting emotion to films with their native tunes.

In a country where a very particular kind of composition is emerging, where there are no training places for this discipline, which hardly can get a copy on CD or MP3 in the market for a soundtrack Venezuelan composers like Eduardo Marturet, Nascuy Linares Francisco Cabrujas and Rigel Mitxelena swim against the tide and still have become the leading exponents Creoles branch of the seventh as important as art direction and photography.

By Carlos "Caqué" Weapons
Waiting Room Magazine

"A good film composer understands the relationship that should exist between image and music. Understand how to follow a pattern, when the music should be in the foreground and when in the second, "said Luis Alberto Lamata, director of the film Taita Boves, who signed with the work his third collaboration with composer Francisco Cabrujas Venezuela, one of the experienced professionals in our country at the time of putting music to images.

Francisco comes from the world of television, where people work like crazy, most of the time without time and against the clock. Not specifically trained in the discipline of what they call film scoring, the good and bad that can do it because Venezuelan soap opera, the unit, television in general and the need (he says) is in his blood to intervene in the dramatic event. Its portfolio features the music of 8 films in Venezuela, as well as novels and television series for other countries.

Meanwhile, Rigel Mitxelena musicalizar just his first film. He gained experience in the audiovisual composition, making music for commercials. And has composed music for short films and other more informal video, but his greatest challenge came from the hand of director Marcel Rasquin, when asked to do music for his debut, Brother. Both composers

discussed the particulars of making music for films in Venezuela.

- What is the best soundtrack that has been done to a Venezuelan film?

-Rigel: there are two or three that I remember that I liked, but remember recently, I liked the music from a faraway place Oswaldo Montes.

-Francisco: overcoming the temptation to say they are the ones I've done ... lol I have to say that there are very good soundtracks in Venezuela. There is, above all, a generation of young people up; composers with very personal and interesting proposals. I think film music in Venezuela has much to say and I love that these young people have been driven by the lure of the standard and rather print their work that unique and personal stamp, which should characterize all creation justifying the title of the seventh art that brings films.

"If Venezuela does not formally exist places to learn the craft of composing for film, where did you learn? Is there a film composer that influenced you?


-Francis: I could give to Enio Morricone, Hans Zimmer, James Horner and many others that I seem Film excellent musicians, but I think one today is so bombarded with music, information and diverse cultures, the influences do not even know where they come from. One is a little of everything, and Latin America, proudly say "I'm mixed," and that also has a unique musical color that we can proudly show the world.

-Rigel: usually composers who make music for film can be very versatile. Must adhere to a story that can now be in a neighborhood, tomorrow in a jungle or in another era. In that sense, those who manage to be more versatile are the ones I like. I admire above all, work Gustavo Santaolalla has made for the Iñárritu film. The soundtrack he did for Babel is incredible.

-Francisco without fear of sounding stereotypical, my favorite is the soundtrack to Gone with the Wind. It's so memorable, so iconic and intense, it is impossible to overlook, without considering the Herculean job of making music without interruption, for a film so large, exceeding all limits.

- How is the creative process for creating music for a movie?

-Rigel, a lot depends on who and how you work.

-Francisco: The process starts with direct communication with the director, he is communicating what you want, giving you, what I call "the perfume of what you do."

-Rigel: I like to be involved from the script. In fact, I know her brother since he was an idea in four chips on a desk. Double-edged sword, because it involves much, you generate ideas and run the risk that mute the script as the film is rolling. You can fall in love with any particular stage, which can then be changed.

- Francis: Actually, I am among those who think that music of a film is printed on the same movie, just need you to translate the code and clear the director gives you a route for that translation. In fact, a wonderful team work, because nothing is more democratic than the film, a film is a lot of people and that's wonderful.

- What's with that music after the movie?

-Francisco: Very good question, I do it to me hahaha.

-Rigel, in my case, they may be edited in a CD for me, as you publish on the Internet. I do not know if the people who produced the film wants to do something. I think that in Venezuela there is a market not only for the film, but for discs with their music.

-Francisco: in other countries There has long been the industry's soundtrack, which is a product in itself and has a constituency that they should go.

-Rigel: it tends to underestimate the Venezuelan public. If people do their job, which puts him in the street and makes it accessible, you should consider that people like that sort of thing. It's a roll over of public infrastructure.

-Francisco: we should create a way to spread the music and that's also what I tell myself. Maybe it's time to put effort to it.

Source: Journal Waiting