THURSDAY, FEBRUARY 4, 2021
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20
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finding an overall vision for
t h e p r o j e c t , t h e n m u s i c
comes in.
Do you prefer to work
on movies or documen-
taries?
I find working on docu-
mentaries a bit different than
films. Conceptualizing the
vision of the score is very
much the same, but I change
my approach. Documentaries
tend to be more modular and
less chronological than films,
and the music sometimes
needs to be very flexible,
especially as they are editing
the project. Sometimes, you
have 20 second cues where
the music's function is to
make a transition from a clip
to another as smooth as pos-
sible (Disclosure had quite
a few of these moments).
Consequently, getting caught
u p i n t o s c o r i n g s c e n e b y
scene might result a bit con-
straining and might impact
negatively on your creative
flow. In that case, it is proba-
bly better to step away from
the picture for a second, keep
on writing music thinking
about your vision, and have
the picture editor working
with your material.
What is, in general, the
biggest source of inspira-
tion for you?
T h a t ' s a h a r d o n e t o
a n s w e r . I g u e s s i t r e a l l y
depends on what I am work-
ing on. On my first solo
record, Abroad, being away
from my family, and the life
choices I made have been the
biggest source of inspiration.
M a y b e t h e s e c h o i c e s d o
reflect into everything I write,
usually my music tends to be
a bit nostalgic! For film pro-
jects however, It always goes
back to the story.
Do you also like to play
live music?
Yes, I do. I miss being on
stage and playing. I did play
bass with a few bands back in
the days and I always enjoyed
it. I really look forward to
getting back on stage and this
time around will be with my
music, which luckily I will get
to perform on the piano, but
that can change. We shall
see!
Continued from page 18
LIFE
PEOPLE PLACES HERITAGE
Le Metre at the piano (Photo: Alessandro Serradimigni)
