When we listened to Joao Victor Barroso’s soundtrack to The Boat, the legato mixed with staccato made for some intense tunes we had to learn more about. Follow along to learn more about this talented composer.
With all the creative outlets available to you, why make music for Horror films?
I actually compose to all kinds of film. In the horror style I have created music for the short film Pop Ritual, the Fantasy/Horror feature film The Boat, and the Fantasy/Horror feature film Clarisse Or Something About Us. For Clarisse Or Something About Us, I wasn’t the main composer (I only produced two versions of well-known compositions: Beethoven’s Moonlight Sonata and Ray Noble’s Midnight, The Stars And You).
I don’t limit my work to any specific style, but I do confess that drama, horror, and other kinds of psychological films are my favorite ones to make music for. This is probably because I enjoy listening to and creating profound music. I think I have an instinctive way of feeling music. Everything else which has this interaction with a deeper sensorial layer, you’ll find me lost in.
Tell me about your creating process.
Some directors invite me to work with an already defined idea of what kind of soundtrack they’re looking for. Others give me the freedom to create as I like. I noticed that when a project comes to me with a whole idea already set up, the music tends to develop itself much faster. When I have a wide set of possibilities to create, the process becomes much longer, but the final sound absorbs my personal touch/style in an evident way.
Which piece are you most proud of, and why?
From the album The Boat, I really like the opening track called A Filha do Futuro, which in English is The Daughter of the Future. The reason I love it most is because it has the density and dissonancy sound textures, and also because of the surprising end with the percussive sound.
How does a song start? An idea, thought, message, scenario, etc.?
The images of the film are certainly the starting point. The color palette helps in choosing the instrumentation, for example. The movement of the scene helps in the progression of the soundtrack. I do know there are some cases of composers who created the whole soundtrack before watching the film, but this has never happened to me and I think this is the way I prefer to create.
List some of your favorite writers or pieces and tell how your work has been influenced by them.
From the cinema field, I really like Mark Korven, who composed the music for The Witch (2015) and The Lighthouse (2019). Among many music references Petrus Cariry, director of The Boat, presented me, the songs by Mark Korven were the ones which impressed me the most. I love the organicity and the unusual way he uses traditional stringed instruments.
I also like Johan Söderqvist’s sound in the movie Let The Right One In. Especially the deep and melodic song The Father.
From another area in the world of music, I really am obsessed with the work of Brazilian composer, Liduino Pitombeira. I was his student for a short time and I’ll never forget his teachings. The music he creates is extremely complex and well thought out.
Where can we find your work?
My work is available on all music platforms.
I would like to announce that on January 24th, 2020, I released my second soundtrack album called The Welles Raft. The film it’s for shares the same name. It will be available on all music platforms.
And I want to thank you for inviting me to this interview and to show a bit of my work here at your space.
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