Diego Navarro: «El dorado of a composer is a director who fully trusts you»

It is not the first time, far from it, that he dares to do composition work for an audiovisual project.

Indeed, there are already many films behind me and a dense and powerful career specialized mainly in the field of music for audiovisuals.

Also, you are the father of Fimucité, one of the most important film music festivals. What do you like most about being able to put music to stories on the big screen?

It is a language that has always fascinated me, since I was a child. I was always an absolute lover of cinema, I was hooked since I was a child and I was always attracted by the relationship between image and music and to what extent they were two languages ​​that could not be separated. That relationship between the two elements, music and image, and to what extent music plays a transcendental role in any film, in any audiovisual work, I always liked the most.

He has already worked with Mar Targarona on The Mauthausen Photographer, a film with which they both achieved great satisfaction.

We were lucky that The Photographer from Mauthausen became one of the great successes of Spanish cinema in 2018. After that very intense project narrating a very important historical chapter, the opportunity arose to start working on this second film together. It has nothing to do with The Photographer of Mauthausen, it is a completely different and diametrically opposite record, but no less fascinating for that. We are talking about a tremendously original story, very powerful and very risky. All those elements fascinated me. On an artistic and creative level they were a tremendous excitement as a composer. It has been an immense challenge to create the entire sound and musical universe of the film Two.

A curiosity is to know at what moment of the production you enter as a composer?

Music is part of the post-production process of a film but I like to be involved from the beginning. I always read the script of the film before the film is shot and I try to visit the set. This is how I begin to perceive sensations that I can later transmit to the score. There begins the dialogue with the director to find out exactly what he is looking for, what he wants for his film, which also becomes mine because in the end the composer becomes a co-author of the film. Mar gave me absolute freedom and has a wonderful level of confidence in my proposals. That helps a lot, it's like the gold of a composer: a conductor who fully trusts his composer.

"The character played by Marina Gatell is the cello and that of Pablo Derqui is the marimba"


He claims that this project has helped him get out of his comfort zone, why?

Well, it is a very interesting question. In any creator, the sense of search must always be a must. Following that premise, with the score of Dos I wanted to experiment a lot. Hence, getting out of my comfort zone. All the music on the soundtrack, starting from the central theme, is written around the number two. This was an idea that fascinated Mar. The main instruments of the score are the cello and marimba, which are part of a Canarian chamber music group called Socos Dúo. You may think that the percussion and the string do not mix but it is the opposite, they mix in a wonderful way. And from there, following this premise, all the music has been written around the two: it is written in two by four, the central theme is in D minor –which is the second minor key with flats–, the intervals of the The melodies of the central theme are mostly second and fourth, at a rhythmic level part of the two and its multiples and the central theme was written in two days, to give a few examples. Everything has an absolute level of coherence. I like that nothing is free, that everything is grounded, that it has a reason for being to transcend and that the music touches the viewer. It must be said that this soundtrack was released on the same day as the film's premiere by the prestigious Swedish label MoviScore.

The references to number two do not stop there, the main characters are also represented in the score.

Indeed, the character magnificently played by Marina Gatell is the cello and the character of Pablo Derqui is the marimba. The score is divided into three large blocks. In the first there is dark music, toxic music with which I describe the sensations of these two characters who are locked in a room that they do not know. They don't know how they got there. All that darkness, that fear and terror, I try to describe in that toxic part of the score. There is a second block - which I call detective or cluedo - which corresponds to the moment in which they begin to try to discover why they have gotten there. All that part is carried out by the marimba together with the orchestra and a lot of electronic elements that expose those sensations. The third block is the central theme, it is more melodic and the one that exposes the solo cello. All this leads to the final theme of the album, which has enormous significance and defines that duality: despite the fact that they are polar opposites, they attract, complement each other and once they have seen each other they will recognize each other forever.

What does a composer feel when he finally sees his work embedded within the film?

It is wonderful. It is a sublime feeling and you feel enormous gratitude. It is a privilege to see and hear your work in any movie. Being able to sign the score of a film like Two or like The Mauthausen Photographer is an honor that I savor with great pleasure and slowly, which is how things should be savored.

As a musician can you sit and watch a movie without dissecting the soundtrack?

One of the most beautiful things that they have told me after listening to my films - after telling them things or watching me direct - is that they no longer just watch the film, they listen to it. Music is part of that final aftertaste when you leave a movie. One has a generic perception and in that perception music plays a transcendental role. It is very gratifying for me to hear that.

I commented earlier on the importance of it being edited by MovieScore and that it can be listened to through the main international platforms.

That is essential. That the album has already been released on one of the most important labels is wonderful because it will be on all digital platforms and guarantees that it will be heard globally. As is also the fact that, in addition to in theaters, it will later have its international premiere on Netflix. It can be seen all over the world and that will be an immense second life for the film that will give the opportunity to be enjoyed in many countries.


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