Frankenstein | Sound & Screen Film 2025 - video Dailymotion

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01:02You've worked on six projects with Guillermo.

01:07Not this year.

01:08No, yeah, but does each one, how did this one start?

01:14Does each one always start with a lookbook, or how did...

01:19It started when we were working on Shape of Water,

01:23because this is the triptych, you know, Shape of Water,

01:26of the three monsters, Shape of Water, Pinocchio and Frankenstein.

01:30Guillaume always dreamed of filming Frankenstein,

01:34so we always, we often spoke about it.

01:38But it started, I guess, after Pinocchio,

01:44when he mentioned the idea of having this huge monster on screen,

01:51but not making it a monster, but a creature,

01:53like he did with Pinocchio and Shape of Water again.

01:57I mean, he doesn't like to say the monster, it's the creature.

02:01And that's what he's looking for to, I think, to bring us into that world

02:07and be able to have empathy with that creature.

02:13That's what he likes about Frankenstein.

02:14That's how we started.

02:15He said that the film is about fathers and sons,

02:19and the generation of fathers and sons.

02:21And I'm curious, how did you find that theme musically,

02:25and also balance it with the Gothic Frankenstein that we all know?

02:31Well, we tried to avoid, I think, any Gothic reference.

02:34You heard the music is quite joyful at times.

02:39Because this was, the waltz that just ended,

02:43this suite is actually a kind of point to something we see on screen.

02:47For those who haven't seen the film,

02:49you haven't seen the film, so you'll hear it in the film.

02:53I'm not going to give it away.

02:55But I think all along the process,

03:00we tried to not be too much on the nose

03:03and not play this, you know,

03:05how is the monster and he's tapping his feet.

03:07No, it was mostly about being delicate.

03:14So the score is actually starting with a pure solo violin,

03:18which is already saying to the audience

03:21so you're going to love this creature as brutal and huge

03:26and strong that it looks.

03:30It's actually very fragile and sensitive.

03:34I was going to say,

03:35there was a choice to use delicate instrumentation

03:37during some of the most scariest scenes.

03:42Yeah, yeah.

03:44Well, it's on the screen,

03:45so why mimic what is already there?

03:48Unless it's really necessary.

03:51At some point, you know,

03:52there's always this thing I like to say

03:55that a good score balances function and fiction.

04:00And some scores need more function than fiction.

04:03This one needed a lot of fiction

04:05to be, you know,

04:08showing something else that just what is on screen,

04:11more deeper sentiments.

04:13And yes, there is this father and son thing

04:16because this Frankenstein,

04:18he's a doctor,

04:19he's not a creature, by the way.

04:21So Dr. Frankenstein,

04:22Victor Frankenstein,

04:23is creating this perfect thing

04:27because he's like an artist.

04:31And you'll see in the film,

04:32he behaves like an artist,

04:33he's dressed like an artist,

04:34and he has this trance

04:36when he's creating his creature

04:39that is as beautiful as it can be.

04:42It's not creating a monster.

04:44And again,

04:45the movie is not about that.

04:46It's about forgiveness

04:47and love and empathy.

04:50The number of minutes,

04:51how much music did you compose?

04:56I don't know,

04:57an hour and a half or something, yeah.

04:59And as far as like,

05:01how is he when it comes to music?

05:03You know, like...

05:04You know, it's not a matter of amount,

05:06it's about the quality.

05:07Well, sometimes it's the silent...

05:09You heard about that, right?

05:11The silent moments.

05:14The silent...

05:15You know, sometimes, you know,

05:18it's very deliberate

05:19where they put silent moments.

05:21Yeah.

05:22Yeah.

05:22I mean, we...

05:23I must say,

05:24we make a good balance with Guillermo

05:28because at times,

05:30I want to do something very restrained

05:32and very French.

05:35and he says,

05:36more Mexican,

05:38more Mexican,

05:39more Mexican.

05:42So...

05:42And on the other hand,

05:45when I...

05:46I know when I've nailed the...

05:49the tune

05:50or the moment,

05:52the picture

05:52that really is spot on

05:55because he cries

05:56because he's Mexican.

05:58See, so...

05:59First, French don't cry.

06:02They drink,

06:03they drink,

06:03but they don't cry.

06:04I look so...

Frankenstein | Sound & Screen Film 2025

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