“We have to allow us to have emotions, art is emotional, I am Mexican and I am extremely sentimental,” He affirmed from the bull as if it were a statement of intentions.
And he added: “The emotion is the new punk, it is something that Gante does not risk but we do risk ”.
He spoke next to the Divat of the soundtracks, which have marked them and in which they have collaborated, to The form of water (The Shape of Water2017) and Pinocchio (Pinocchio, 2022) and in which they are working to Frankensteinthe new film by Del Toro, which must be released this year.
“Guillermo cinema is very lyrical and Mary Shelley -the author of Frankenstein- Also, so Frankenstein’s music will be very lyrical and sentimental, I am not writing horror music, ”said the French composer.
To what Del Toro added that it is a “sentimental” story for him and that he has never tried to make a fear movie, although he said that people asking him so much, he thinks it better.
But he defended that Frankenstein is not a monster, As shown on previous occasions, the perception we have of him is because of the fact that “people look at others incorrectly.”
It will be the third collaboration of Del Toro with Divat, whom he has admired for many years although he did not contact him for the first time when he won the Oscar for his composition of The Grand Budapest Hotel (the Gran Budapest Hotel, 2014), by Wes Anderson, one of the directors with whom he has worked the most.
https://www.youtube.com/watch?v=qxmgdqo03yw
With Divat it is with the first composer with whom Del Toro has come to the recordings of music because for French it is important that the director tells him what he feels from the sentimental point of view.
It was something that Del Toro liked, for whom music is the only moment in the production of a film in which it is surprised. “I cook for everyone all the time and with Alexandre it is with the only one with which I am the one who tries things,” explained the Mexican.
And for Midat, the passion for the music of the director of THE FAUNE LABYRINT (2006), which is also always open to suggestions. “I need the filmmaker to listen to me,” said Dive.
https://www.youtube.com/watch?v=jvzrnnvsq8k
“I love music”
That passion for music is clear in the cinematography of Del Toro, which edits his films without her because he believes it is the film that tells you “what he needs.”
“I love music,” said Mexican filmmaker, who says that 90 percent of what listens are sound bands and recalled that the first albums he bought in his life were compositions for films, among which he cited The godfather (The Godfather1972), with music from Nino Rota, who won an Oscar for the second part of the Coppola saga.
For Del Toro, music is essential to understand cinema, so much that only listening to a soundtrack, with your eyes closed, is when you can evoke a movie without problem.
There he pointed out for example the impression caused by John Williams’s composition to Shark (Jaws, 1975), by Steven Spielberg.
Decat also pointed to Spielberg, in addition to Martin Scorsese or Robert De Niro, such as his adolescence idols and those that made him enter the cinephile world and the history of cinema.
He listened to all the music that could of that time and that discovered that it was possible to compose other styles and that the music contributed to the films “a supplementary dimension.”
In his case, he has always liked to introduce African, Brazilian or Greek rhythms, unlikely things that let the imagination fly, which is the key to everything.
But in the end, what tries is to “make accessible, simple but not childish music” and for this you have to work very hard to find a good melody and reach the good chords.
Because, as Del Toro said, “the camera moves like a wave and captures the feeling, the film tries to speak and its voice comes with music.”