For Spanish composer Alberto Iglesias, the challenge of scoring Steven Soderbergh’s behemoth two-part epic, “Che,” wasn’t the pic’s four-hour running time or its no-frills, docudrama tone, but creating two entirely different scores.
Going into the project, Iglesias says he knew Soderbergh wanted separate scores for “The Argentine” and “Guerrilla.”
“The idea that Steven gave me was that each film had to have different scores, not a variation or continuation, but a completely different idea for each one,” he says. “I had to divide my brain in two.”
Neither Soderbergh nor Iglesias felt either film warranted an epic, dramatic score; instead, the music is drawn from the landscape, “as part of the environment,” Iglesias says, and less from emotion.
As part of his research, Iglesias says he traveled to South America and Cuba as a reference, adding “color” and “flavor” to the music, but neither score is meant to be geo-specific.
“Working on films, I think it’s better to be very open to new experiences,” Iglesias says. “With ‘Che,’ I put myself in a new place; and for each film, I try to find something new to offer.”
When it comes to his music, Iglesias insists he has no personal style, saying it varies with each film. For “Che,” Iglesias wanted the music to be “transparent,” but admits sticking to that at times was difficult.
“Sometimes it’s easier to speak loudly,” he says.