There is no cinema without music: Tim Davies, the man behind the soundtrack of Frozen and La la land

Movies hum too. There is no doubt about that Tim Davies, the man behind the music of Frozen, la la land, Minions Y The book of life. His task is capital: synthesize emotions in musical notes and then adapt them to a great orchestra.

Without the work of musicians like Davies, cinema would hardly be a factory of dreams. Hollywood has understood this perfectly and considers the music to be as important a part as the script, the direction or the cast.

“Of course music is very important because, without it, I wouldn’t have a job,” jokes this Australian composer and orchestrator in an interview with The Sun of Mexico about the workshop on musical composition for animation that he will give at the Taller del Chucho, in Guadalajara, from May 23 to 27. A selection committee chose only six participants from Mexico and Latin America.

“There are those who say that music is a character in itself, but there are those who believe that it should not be noticed. And indeed, many times we do not notice it because it does not get in the way of the plot. I think it’s an essential part, especially when it comes to an animated film. The music has to complement everything that happens in the film,” says Davies, who was also in charge of directing the symphonic concert of at home with my monstersby Mexican director Guillermo del Toro.

Tim Davies studied percussion at the Queensland Conservatory and music composition at the Elder Conservatorium of Music. From a very young age he entered the film industry as an orchestrator and director of soundtracks, although he has also worked to musicalize video games.

Pop music is no stranger to him. He has collaborated with two of the greatest rappers in history: Nas and Kendrick Lamar. With the former he worked as an arranger and drummer at the album’s 20th anniversary concert. Ilmatic (1994), in 2014. With the second he collaborated as the main arranger of the live performance of the album To pimp a butterfly (2015) with the United States National Symphony Orchestra at the Kennedy Center, in 2015.

“Sometimes (producers and directors) ask you to create an emotion that is not necessarily in the film, because it is a reality that with music you can make a scene happier, sadder or more chilling. It’s not that the soundtrack is more important than the other parts of a film, but the truth is that it is a big part,” says Davies, who worked with the Argentine musician Gustavo Santaolalla for the musicalization of The book of life.

Regarding Guillermo del Toro, he admits that he is an extremely demanding director who constantly presses, but in a sense of feedback, because “he knows what he wants and leads you to do things that perhaps you would never have even thought of.”

He says that he admires the forcefulness with which he asks for things: “When he doesn’t like something, he lets you know with just a few words. I don’t suffer when I work with him, ”she confides.

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In fact, he participated in the series Guillermo del Toro’s cabinet of curiositieswhose premiere is scheduled for this year.

“I did an episode of this new series that will come out at the end of the year or the beginning of the next on Netflix, it’s more of a horror anthology. It was a very different thing than making music for animated films, which is what I’ve been doing lately, but it was definitely a great experience to get into the world of Guillermo del Toro,” he shares.