Gustavo Santaolalla, an influential Argentinian music producer who worked with Los Prisioneros on the album ‘Corazones’, was the composer behind the music for ‘The Last of Us’ for both the video game and the series.
This Sunday, at the same time as the ceremony number 95 oscar award serie “Last of Us” will bid farewell to viewers as it airs the final chapter of its first season after becoming the second most successful premiere in HBO’s history, behind “House of the Dragon.”
in your process 9 episodes one of the aspects of the plot that most caught the attention of newbies was the distinctive original music, which was composed by the same composer who musicalized the video game. naughty dog : Influential Argentinian Producer Gustavo Santaoralha .
“I have always been interested in all media where I can express myself as an artist because I don’t feel like a film composer, producer or singer-songwriter.” Santaolalla defines himself in a press conference with various Latin American media. BioBio Chile .
“I was interested in the topic of video games. I was fascinated when he told me the story, this is it,” I said to myself.
“I already had this concept of emotion. And it was a reassurance when I learned that people were crying playing video games at certain times. ” reflected after verifying the success of the series.
At the time, Santaolalla, a key music producer of Latin pop rock for the past four decades, was no shortage of experience. In his almost 60-year career, he played the legendary Trance He Andes, in addition to founding his band. rainbow At Soluna (Meet Alejandro Lerner) he has worked with artists and groups such as Café Tacuba, Divididos, Maldita Vecindad, Juanes, Molotov, Bersuit Vergarabat, Julieta Venegas, Fobia, Jorge Drexler and The Chileans. The Prisoners – Album “Hearts” (1990) among other names.
He also twice in a row oscar award Winner of Best Original Score for a Movie in 2005 and 2006 “Brokeback Mountain” and “Babel” .
Regarding the musical recollection of “The Last of Us,” he adds: We did a little bit of rehearsal about what happened with the pandemic, and I think that was also a factor in people connecting to the series. ” .
Gustavo Santaoralla: ‘I’m obsessed with identity’
(Q): What did you try to create for the audience with The Last of Us music? What were your inspirations?
(R): Craig (Mazin) and Neil (series producers) agree that music is part of The Last Of Us DNA, another character, a part of it, implicitly associated with it. says that What inspired me was life with all its mysteries, what it is to be human, what it is that is put into this game of life. It’s the only certainty that everyone has. Those are the things that inspired me. So the story in which it is so present, the human vulnerability in the face of external elements that can attack you, and how it faces your death and the death of society as we know it. is a very strong inspiration.
(Q): When you were composing the music for the game over 10 years ago, were you as excited to hear it now as it was in the series?
(R): It’s hard to express my feelings through music… But yes, I listened to it the last few times and listened to it and realized that there’s something like when you play and say: “Something symbolic was left behind.” If you ask me to explain, I can break it down and tell you why I came up with the title and why I came up with the melody line, but if there is a reasonable explanation Except that explanation doesn’t help when I do. Waited for my daughter to fall asleep.
(Q): Many viewers were shocked by the main theme, which could be described as “apocalyptic chacalera.” What is the origin of this work?
(R): Themes derived from games are already (played) on guitar, banjo and various instruments, snore, which is related to charango, but I would argue that it should have a certain instrumental height. This is because unlike the saxophone, which has baritone, tenor and alto, it has the same timbre in different specituras (sic). Due to the use of nylon strings, the charango is played with a very fast right-hand trill. The snoring doesn’t last long and you can play it like playing an arpeggio, so you can play a melody to accompany it or play it solo.
From the album called that sound “Grant” (1998) that’s what invited me to the movies. Michael Mann I heard that and wanted to incorporate it into his film. Alejandro Gonzalez Inarritu Also at the end of Amores Perros. He is hoarse, so its timbre has already been assimilated and generally accepted, and is not necessarily associated with Andean music. I’m obsessed with identity (…). The instruments were already institutionalized, but the 6/8 rhythm is overall bluesy and connected to the North American world. When I released this song, I think that snoring is already included as an instrument that I love, so there were no comments at all. Growl can play all kinds of music.