PressPlay Cinema had yet another interview with amazing industry professionals. This time, we want to introduce you to one of the greatest film composers in the industry, Mariano Saulino! We were so excited to ask him insightful questions, and empower other film composers in the industry. Mr. Saulino also shared crucial pointers that film composers deal with throughout their career, and a breakthrough to succeed at it. We are so happy to show you, what film composers are capable of.
PressPlay Cinema: How do you navigate the fine line between capturing the emotional essence of a film and maintaining your artistic integrity as a composer?
Mariano Saulino: That’s what I like the most about my work as a film composer. The film is my frame that will contain the music, the map that shows me the extensions and the limits I shall drive through and notice. Playing between these boundaries it’s the game I love and my artistic voice lives in it.
As a composer, your main command is to serve the story and the emotions in a film, and that’s my main goal for sure, but I believe that if you don’t let your own voice, your art, to come up and let you guide your writing in the process, you’ll never get something solid for you and for the director.
That’s the difference between “it works for the film” and “it’s great for the film” because it serves the film and at the same its artistically fulfilling.
That being said, all this can turn into a nightmare if you have to follow a temporary track music reference while the director is in love with it!
There’s many ways you can choose to go when it comes to write the score for a given scene but I believe there should be a balance of what it works and what it takes.
PPC: What role does collaboration play in your creative process, and how do you ensure that your vision aligns with that of the director and other key stakeholders?
MS: I just LOVE input. I’m curious and eager to learn about something with a different approach, which might not be what I’m thinking of for the score. This input triggers my creative juices. It’s not a barrier but an inspiration for me to solve the scoring puzzle: Blend what the director or producer has in mind and what I can bring to the table.
As said before, the film is my map and the input from the team is the fuel I use to drive across that map. And again, my mission is to put into music what the film wants to say or not to say.
The director role can be the heart and soul of a film or not. I’ve scored many films in which the producers were the ones that envisioned the whole thing. The ones that may have lived and breathed the project for years and once I’m onboard I’m there to keep on living and breathing the film following their concept about what it’s needed in order to come up with for the final product. On the other hand, there’s many times they would request my input or suggest a different approach and that’s something I obviously love too, that’s what I’m trained for: Bring scoring solutions.
PPC: Can you describe a time when you faced significant challenges while composing for a film and how you overcame them to deliver a remarkable score?
MS: There’s always a challenge to face. Whether it is because there’s little time to get the job done or there’s a lot of time but little money!
It’s interesting, I’ve scored movies for India in which the score should not have to have an Indian music style to it, and a war movie that the main thing it’s not the action but the drama. Horror films which had a deep romance driving the story and drama films with an ironic touch to it.
That’s the challenge: Getting out of the comfort zone of the cliché and coming up with something a bit different. At least I try to breake the mold, this keeps me moving forward.
PPC: How do you approach composing for different genres of films, and what strategies do you employ to authentically capture the essence of each genre?
MS: As a Musician/ Composer I’ve always recognized myself as a pretty eclectic one. Through my career it’s been natural for me to explore different music styles and genres.
At my young age I used to feel this eclecticism as a problem and with the years I didn’t know it would become my main axe.
I started working as a composer writing music for commercials, so every job was a new adventure in terms of music styles and film genres and what’s more: I had to build and hit the emotion into a 45 seconds television spot (in case I were lucky enough to catch a gig that big) or sometimes I had to score 20 second stories or even get it all done into a 5 seconds logo.
So today when I score a film I can naturally switch from one genre to another, from one music style to another. I’m like a fish in the water.
PPC: How do you handle criticism and feedback from directors or producers who may have different opinions about the musical direction of the film? Can you share an example of a time when you had to compromise or defend your artistic choices?
MS: The bright side of feedback is that I’ll learn something for sure. That’s how I started to grow for real in the field: When I learned to listen and understand, translating the feedback into a new option for a cue.
The dark side is while dealing with feedback can be hard, dealing with rejection it’s always painful.
And the more you work in this profession you think it’s going to be easier, “I got this”. But you don’t. Rejection hurts.
If you really care about what you’re bringing for the project and you are really committed to it , a rejected cue is always a sensation of loneliness and lack of shelter.
You have to bring another option, and in a timely manner. And when you’ve got a second rejection of the same cue the pressure comes up and you start believing you’re reading the map wrong, that you’re walking in circles, “this will never end” kind of feeling. It can be a living nightmare.
There could be many reasons for this to happen: Lack of communication, not being on the same page, or even having different sensibilities in terms of what’s cool or not.
Music perception can be pretty subjective, art in fact it is. So there’s a psychological side of this profession. Part of the composer’s work is to be able to “translate” this and solve the puzzle.
Another issue to deal with opinions is that this is a team work and sometimes there could be multiple voices giving feedback about what’s the role of the music in a cue. So you’ll have to deal with the storm, listen, read between lines and find the balance.
I’ve found that it is always more productive not to talk with the director/producers in musical terms but in terms of feelings or moods and supplement this dialog with a music reference that can be in the ballpark of what they are looking for in terms of instrumentation or music style.
PPC: How do you stay inspired and motivated when faced with a demanding project or creative block?
MS: The blank page for me is a synonym of a new chance, an opportunity I’ve got to make it better. To enjoy it more, to make it different. I feel I can improve my craft with every start of a new project so the blank page is my Allied. That being said, it’s always a challenge too, of course.
On the proactive side of things I keep on studying my masters, studying theory from books and records or transcribing something from a score that rings my bell. Everything on a balanced basis without any pressure or urgency. I enjoy assimilating slowly, at my own pace.
Regarding motivation, I’m always feeding myself with music and interviews. I enjoy checking what’s going on out there. Especially once I get pending jobs out of my plate. Final delivery of a score is a time for celebration to me. That’s my moment to breathe fresh air and get inspiration.
I enjoy stopping. Silence is key for me.
I divide my time for music into a time for contemplation and a time for realization. I never overlap these moments.
I also like drawing and architecture. I’m a dovetee of the time for my family, my pets and my gardening.
PPC: What is an advice you’d give a young film composer?
MS: Stay curious and keep on learning from everything that surrounds you. Try to stay balanced. Spread your love and care.
We want to personally thank every film professional that has lost sleep over someone else’s vision. Verily, you are one of the reasons the final product inspires viewers and visionaries, to feel and create. For future inquiries , or just simple curiosity for Mariano’s amazing work, please visit his website at www.marianosaulino.com. Here’s a complementary video of Mr. Saulino, about the making of “Look Into The Fire” film score. Without a doubt we can say that, Mariano Saulino DARES TO INSPIRE!
PressPlay Cinema, LLC 