Interview with The Sound of Identity Composer, Nicolas Repetto
Today we’re delighted to be joined by Nicolas Repetto, an Argentinian-American television and film composer based in Los Angeles. Nicolas’ most recent project, director James Kicklighter’s documentary feature The Sound of Identity, is a groundbreaking film that features the first ever transgender woman performing an opera lead in the U.S. with a professional company in a standard work. It was recently acquired by STARZ, has been featured in the New York Times, and was winner of the Programmers Award of Excellence at the OUTshine Film Festival. Nicolas’ past credits include director Phil Donlon’s feature drama, The Reunion and the Slamdance Film Festival premiere of the episodic/pilot Tijuana, directed by Mary-Lyn Chambers. Nicolas is hugely talented and we know that you’re going to love this interview.
What are some of the different roles you have held for the score or sound of a project, and how do they influence your success as a composer?
I’ve mainly been the composer of the projects I’ve been on, but I’ve also held other roles like playing on my own scores with my eclectic collection of instruments like erhu, violin, viola, guitar. I’ve also held the role of sound designer/sampler by collecting and recording a wide array of sounds from various locations, like collecting field recordings of wild gibbons while on a day trip here in LA, to going to junk yards to record metallic objects. I’ve also orchestrated and conducted my own scores as well. I see it more as a way to challenge myself by being a curious individual who loves to create the best and unique sounds and ideas for the film or project I am on.
Can you walk us a bit through the elements of the score on The Sound of Identity and how they supported the film’s narrative?
Stylistically, the score I realized straddles neo-romanticism and neo-baroque, fused together with modern electronics. In my discussions with James Kicklighter about the score, we both agreed on having an ‘Identity motif’. This recurring motif, signifying Lucia’s journey along with a full realization of her theme playing in key moments, would be the glue that ties the entire score together, in addition to working in tandem with another important theme representing Lucia’s mentor, Tobias Picker. I decided on using solo violin, performed by Rebecca Schlappich-Charles, to represent the ‘Identity motif’ alongside passionate cello solos performed by Ruslan Biryukov. The intimate viola solos by Jonathan Morgan assisted in representing Lucia’s and Tobias’ thematic material throughout the score. In addition to the solos, the use of a chamber string orchestra and modern synths/electronics completed the soundscape. There was also room to incorporate certain dramatic moments from Mozart’s music from Don Giovanni and weave it into a musical tapestry that straddles both score and diegetic music during a few transitional moments, like during the Tulsa Opera Opening Night. One reason for doing this is that James could only use a limited amount of music from the actual Don Giovanni performance that Lucia sang on due to Union rules, so it was my job, with the help of my music team, to take Mozart’s music and weave it into transitional elements that fit certain scenes. There were a few other moments in the latter half of the film during certain shots of the opera performance where transitions between the actual performance and our Mozart arrangements had to align. The result was a seamless incorporation of Mozart’s music recorded during the film score recording session and then adding some room adjustments during the final mix to complete the sonic illusion. We were all very happy with the end result.
What is the first step of your composing process? How do you get in the right mindset to score a project?
The first step in my composing process is to watch the film, then watch it with the director during the “spotting session” where we both discuss where music should place, as well as the emotional components of each scene. When I saw "The Sound of Identity'' for the first time, I remember saying out loud “is this a documentary?" It was a simple shot of Lucia Lucas--the subject of the film--under stage lighting, but the lighting created such beautiful contrasts and illuminated Lucia in such a dramatic, but very powerful and real way. The imagery felt like something out of a narrative film, but with the realness of a documentary. I don't think I've seen this in a documentary film before. James Kicklighter, the director of the film, really did a brilliant job. Those initial frames planted the seed for this “Identity” motif--something I heard in my head as a distant solo violin playing very fast arpeggiated bow strokes, representing the drama created by the contrast in light and shadow on Lucia's facial features. The film's imagery really provided me the foundation I needed to start writing the score organically from an emotional place.
This industry can require a lot of hours, but it is surely a labor of love. What do you all find to be the most fulfilling or favorite thing about your job?
The fact that I get to work with creative minds like James Kicklighter, or get inspired by the images of Jonathan Pope, our cinematographer on “The Sound of Identity,” is incredibly fulfilling. Collaborating with amazing musicians is another important aspect that is incredibly fulfilling in my field. Musicians provide the lifeblood and energy to make the little dots on the page come to life, so whenever I get to make music with an orchestra or any group of musicians, it’s always a treat for me. I also enjoy the challenge of crafting the best music possible on all the films I’ve worked on. Yes, the hours are long (just ask my husband!) but, the fact that I get to create music for a living and help tell these amazing stories through music is a great honor.
Any big wins or recent projects you are excited about?
Yes! I’m currently scoring an epic fantasy film called “Empire Queen: The Golden Age of Magic.” It’s an original adventure hero film full of magic, wizards, and dragons -- a genre I’ve wanted to score since reading “The Lord of the Rings” and watching the Peter Jackson films. This fantasy film is directed by Chris Dane Owens and it is based on his music video, “Shine On Me” which has garnered more than a million views on social media. I’ve also written preliminary music for James Kicklighter’s next feature documentary, “The American Question,” which examines the past and future of what we have come to value and the differences in those values across different parts of the U.S. and around the world. And finally, I’m going to compose music for the indie horror/thriller, “Spider,” directed by Desmon Heck (NCIS, Criminal Minds), a wonderful actor/director I met through my social media channels. Desmon has given me carte blanche to experiment with some unique sonic ideas for his film score, so I’m excited for that and the opportunity to work with him for the first time.
Have you gotten a chance to use a unique sound, odd instrument, or musical easter egg in one of your scores?
Yes! And that’s the exciting part of creating music -- researching and discovering that unique sound I’ve never heard before. I actually went to a junkyard with my handy Zoom recorder and a cello bow, and recorded various kinds of metals by bowing or banging on them. I was able to capture some very interesting sounds which I used last year on a feature film called “The Reunion” starring Austin Pendleton, Jim Norton, and Dave Rosenberg. Those sounds plus field recordings of wolf howls were used for some of the more surreal moments in the film. I’m planning on sampling new sounds and creating a cool, textural palette for my next film: “Spider” which was shot here in Los Angeles, so finding sounds unique to this city could possibly serve as a foundation for the basis of the score. I’m excited to try some things out.
What piece of advice do you have for composers looking to break into film/tv scoring?
I would say to look within yourself and discover what makes you and your music unique. Create your own unique palette of sounds and compositional ideas to stand-out from the crowd. There’s also the technological side which requires modern composers to learn music production, learn how to operate a DAW (Digital Audio Workstation), and learn how to create realistic mock-ups. It also helps to learn how to read and write music. Although it’s not necessary, it does help in the long run. Check to see if you can assist a composer as well. I’ve learned tons by assisting other composers. I’ve also hired talented people to join my music team whenever there’s too much on my plate. I also suggest joining organizations like the Society of Composers and Lyricists (SCL) and applying for their mentorship program (that’s how I got my start when I first moved to LA). Also, check with performance rights organizations like ASCAP and BMI since they both offer workshops and opportunities for their members. There are also online communities through social media. For instance, a few composer friends and I started a Facebook forum called “Perspectives”. It’s a great community filled with newcomers and seasoned pros where we discuss these topics and more. Lastly, go out and meet directors, producers, game developers, and collaborators, introduce yourself, and start scoring their films and projects. That’s how you get your name out there. So get out there and meet some people!
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You can learn more about Nicolas at https://www.nicolasrepetto.com. You can stream the Sound of Identity soundtrack on Spotify or Apple Music and can now view the film on VOD. Thank you for reading!
