Posted in : Max , TV| Tagged : Juan Cortés Arango , The Head
Juan Cortés Arango ( Funny Birds ) utter with Bleeding Cool about look at over compose the Max psychological thriller series The Head .
It may seem intimidating at first to take over the series grievance ofThe Headin the middle of its outpouring as composer for its third and terminal time of year , butJuan Cortés Arangoalready had a pegleg up working underFederico Jusid , who was established in the first two seasons . Cortés has been active in Hollywood for over 17 years since his debut in the shortDaily Bread . He ’s since undertake various roles in stock music , euphony / score programmer , music editor in chief , score social , and composer in over 75 task .
The Headis a Spanish - Japanese and English - language psychological thriller from creatorsDavid TroncosoandDavid and Alex Pastor , and showrunnerJorge Doradoas a joint speculation from HBO Asia and Hulu Japan , which follow the mystery surrounding the massacre of the wintertime research squad at the South Pole with some unaccounted for and the summer commanding officer Johan Berg ( Alexandre Willaume ) and his team to inquire what happened to the winter squad led by life scientist Arthur Wilde ( John Lynch ) . With the third and final season released on Max , Cortés spoke to Bleeding Cool about take the mantle of composer from Jusid in season three , the challenges of making the final time of year distinct from the former two , and turn with Dordaro .
The Head: HowJuan Cortés Transitioned to Composer for Season Three & Maintained Themes.
How did you get involved in ' The Head , ' and what intrigued you about the show ?
I worked with another composer , Federico Jusid , who was the composer for ' The Head ' for seasons one and two . It ’s through him that to get in touch with the show . When time of year three came , I work out on this show for five to six years , and I was already familiar with the euphony , and Federico give me this crack . He ’s like , " I think it would be instinctive if you take over from now on and even can put me on control panel as the composer for this buffer . "
How did you want to describe season three from the previous season , or was it important to maintain body ?
It ’s more with consistency , if anything , he was play everything all together . The show – it ’s like an Agatha Christie set up where characters are killing each other . The third season is where things start to link up up . It was crucial for me first that things make sensory faculty , narration - overbold , and people can understand where this was going . Some of that thematic material had , I finished anew , but some of it had to come from reprising what happened in the first season . We finally work that out because it was important that it feel like it was important even though it was novel textile . There are new persona , setting , landscape , and a bent of rules per se for these episodes . It was crucial to also reprise where all this came from honestly . so much . It was n’t so much about it being special , but it was more crucial that it was clear .
What ’s it like working with Alex and David [ Pastor ] as creatives and help to bring their visual modality active ?
Honestly , we solve mostly with the director or showrunner , Jorge Dorado . He ’s the skipper of our ship per se . At the very beginning , when [ Alex and David ] came up with the story itself , they communicate a lot with Jorge , who has been the same showrunner for the preceding three seasons . They have like a bunch of beats behind them , they ’re great creatively and Jorge was able to narrow down down his vision .
He ’s a alone director to work with . I ’ve worked with him on another show call ' Feria [ The Darkest Light ] ' on Netflix , and he was precise in his language , genre - wise , like horror , and seek to appease uniform with that speech . A lot of his notes are very musical . Sometimes working in film , you make decisions that are not very melodic . To dilate on the contrary , you must compromise some of the musicality to respond to a narrative upshot . Jorge has a expert instinct and middle to set things .
How does your work on the show liken to your other study ? Has it been consistent , or is it a little first derivative ? What were some of the big challenge when you first bug out read on the show ?
It ’s logical because I ’ve worked on the same show for the two previous seasons . On that end , it was consistent with my composer work , but it ’s not as logical with my other projects since they ’re not in horror . I do mostly dramatic event , and at the same time , I was working on ' The Head , ' I was work on another projection called ' Funny Birds ' ( 2024 ) , which was executive produced by Martin Scorsese and direct by these two Gallic couple Marco La Via and Hanna Ladoul , which was a completely different universe .
Creative - wise , I had always had to be good at compartmentalise what I was make on , so ' The Head ' was like in a different universe . Maybe what ’s coherent is my way of working is that I recorded a mint . I recorded my instrument , like my cello and guitars . I like to work a lot with springy pawn for ' The Head . ' We work with this woodwind player from Vienna , Veronica , who we ask , " How many flute do you have from duduks , Neys , to other more ethnic instruments . " She had this basso flute , which was cool , and it was nice to figure out with her when we involve a key signature strait or something different . Maybe that ’s what ’s consistent , the workflows are consistent , and we felt like an unresolved family relationship . We ’ve known each other for many years .
All three seasons ofThe Head , which also starsKatharine O’Donnelly , Richard Sammel , Tomohisa Yamashita , Laura Bach , Álvaro Morte , Olivia Morris , Moe Dunford , Josefin Neldén , Hovik Keuchkerian , andSota Fukushiis available on Max .
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