santiago barrionuevo He is the lead voice of the band from La Plata, He Killed a Motorized Policeman, but in recent times he has also been in charge of composing new songs and instrumental passages. remastered version of squat, the series that has since held a spot in the Netflix catalog.
Without half measures, the composer described Bruno Stagnaro’s call as “a dream”. “It all started because Bruno He invited me to let some of El Mato’s songs be a part of this new band the sound of squatAlso recalled the singer, bassist and painter, about the first contacts with the director of the prestigious series.
when last october squat Turning 20, Stagnaro made a . acknowledged in conversation with Telam There was a desire to make it available in streaming, but some had held back for years: it had several songs included in its 11 45-minute episodes. Theme of international artists with very expensive rights.
The series, directed by Bruno Stagnaro and starring Rodrigo de la Serna, has already made its way to Netflix.
The solution, in addition to careful remastering that improved its image and sound for today’s smart TVs, was to call Santiago Motorizado. To replace music parts that can no longer be used, but keeping the original spirit.
The La Plata native had only one experience in the matter with the film. Death does not exist and there is no love (2019, by Fernando Salem), but he was not disappointed: “He approached me, we had a meeting and apparently there was not much to talk about; I was happy with life,” Santiago said.
And he continued: “I’m a big fan of the big squat forever, and it seemed like a dream. After that conversation came the idea of turning to other musical moments, already writing something new from scratch“.
“Music is very important squat And for die-hard fans I leave them as a message – just watch it and judge it – that at some point my job was to go unnoticed, not to put my hand there. And I think I did. the essence of squat It is,” Barrionuevo assured.
– What was involved in the work?
-As we were in a pandemic and without doing anything, I offered Bruno to re-record El Mateo’s songs, apparently retaining that essence, because originally he had chosen them for something . we record them back, with a bit more force than those original.
And then there were several pieces of music for several moments in the series, some that were brief, of seconds, and other songs that played in the background. Bruno started giving me scenes and the work involved transforming them. Keeping the essence but trying something new.
-How many new creations are there?
-I made about 50, of which forty-two would be odd. Some are drones, others are very environmental moments… most of them are helpful. But there are many songs that adorn the background sound of a bar, a nightclub, a moment on the street, and which go through different genres. There is also rock, folklore and cumbia.
Same essence, new voice
– How was the conversation with Stagnaro?
– I have great admiration for Bruno; he is my favorite director Although now it feels strange because we are working together. So, the first thing I said was: “Bruno, I’m going to try this. Give me some clips, I’m going to try this music, and without obligation, see if you’re looking for it.” If not, nothing happens.”
I sent him some of the first songs that he really liked and what made me very unique, which was that the first sample I gave him was very much about something that had to be changed.
For Santiago, ocupas reflects a reality that remains in the present.
Then he told me: “Keep the essence, which is fine, but do something new. Get a little bit away from it.”. From those first signs I let go a little more. The truth was, it was very fluid: Bruno is the director, even though I’m composing together with Pipe (Felipe Quinton) as a composer, producer, and recording engineer.
– Would you say that this is a more limited creative work than composing for a band?
-Yes. but I take that restriction as a trigger. “You have to do it, looking for a scene, a climate, a performance or a dialogue.” It is as if it commands you and gives you the most direct ideas. Sometimes the other thing, which is absolute freedom and can go anywhere, becomes unattainable.
-This is your second assignment for the soundtrack of an audiovisual product, followed by Death does not exist and there is no love…
-Yeah, and it was a dream I always had as a boy, because I’m a very cinephile. When Fernando Salem invited me to do the entire music for his film, it was incredible. There I was a little more nervous, because much wanted and finally within reach, without knowing how to deal with it.
Fer was very clear about what he wanted and he helped me all the time. I also love that job of sharing a creative moment with someone, and I’d love to do it again. It also helped me a lot squat, which is huge, because it has many more chapters and many more songs.
a fanaticism that played in favor
There you also played the wisdom of the series in your favor.
-Yes, bigotry played in my favor. I watched the series about 40 times. I had it on VHS, I recorded it when they replayed it on Channel 9, and whenever I talked to someone about it I would say: “Let’s go see him”. And the stuff that the series carries on an aesthetic level and on a conceptual level was already famous.
– How do you think Okupas is aged?
– SM: I like to think about all that work; From movies, from records… squat It doesn’t age, it lasts. I know the dialogues by heart and they work every time. The performances are incredible. This is something that can never be repeated.
They wanted to continue with a certain aesthetic; In fact it opened a sort of genre within Argentine cinema and TV, but opened It never reached that level of rawness, realism and brilliance at the script level. Nothing is left, it’s perfect. Even something that is sad but real.
Unfortunately, the country that matters is the same. We are going through a very important crisis; The climate of the road, of discontent, is part of the landscape. It broke my head.
Source: Telam/Nicolas Beiderman