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It is 9 in the morning and
Lucas Vidal
(Madrid, 1984) is one of the first to arrive at the headquarters of the
Fundación Orquesta y Coro de la Comunidad de Madrid
.
There, in a hidden palace in the Madrid neighborhood of Hortaleza, the musician and composer is recording the
soundtrack of
Once upon a time ... but no longer
, a
Netflix series
directed by Manolo Caro (
The House of Flowers
).
Lucas Vidal with the Orcam musicians.
A NETFLIX PROJECT
Actors such as
Asier Etxeandia, Iciar Castro, Sebastián Yatra or Rossy de Palma
participate in this musical project.
"I have spoken with all of them before making the soundtrack. It is not usually the usual thing in my work, but I have seen them here to
find out what it was. their musical register
and take it into account for the arrangements and compositions ", explains Vidal.
In his day to day, Lucas Vidal shows time and again that he
does not fit the idea that many have of a director.
"Nobody calls me a teacher,
" he laughs.
For this recording, which he arrived at in an electric Peugeot e-2008 (a brand for which he is an ambassador), he
wears sportswear and sneakers
.
And each one of his indications to the musicians is usually accompanied by a 'thank you', always in a
friendly and constructive tone
.
Although, for someone who does not miss a note, if something has to be repeated, it is repeated until it is perfect.
And everyone seems to agree with your improvements.
The composer closely monitors the entire soundtrack recording.
A DIFFERENT GENIUS
That boy who
started playing the piano at the age of three
is today a benchmark in Spanish music with creations such as
Resinphónico
, a review of Raphael's classics, or his album
Karma
, "where he
brings
together electronic and orchestral music
, two apparently different worlds that they can be joined. "
"Since classical music is a genre where the complexity of the composition is evident and requires concentration to listen to it, it can be adapted for children and adults", the composer explains with a pause, to finish with a
"do not take so much seriously classical music. "
With
two Goya Awards
on his curriculum - for his work in
Palmeras en la Nieve
and
Nobody wants the night
) - at 37, Vidal has studied in the US at
such prestigious
institutions
as the Berklee College of Music and the Juilliard School
.
And in that country he was working for several years before returning to Spain.
Among other successes, the soundtrack of
Fast & Furious 6
and the ESPN theme song for the Rio de Janeiro Olympics
should be highlighted
, for which he won an Emmy.
In Spain, Vidal has signed the
soundtrack of series such as
Elite
,
Tell me who I am
or
Midas's favorites
.
THE SOUNDTRACK OF OUR LIVES
"
The beauty of my work with soundtracks
, especially orchestral ones, is that
people don't think about them when they see the film or series,
" says the composer during a break from his work in this Madrid space where people are involved. a score of musicians. "Listening to a soundtrack at the cinema is an experience that we have all lived and that some consume almost without realizing it.
The important thing is that it works for the film and is at the service of the director's vision
and the story he wants to tell. in this case, the music I make accompanies the script ".
Very aware that making
a film is a team
effort, Vidal explains what his visits to the filming are like.
"They seem crazy to me. When I go there I feel that there is spare because each one has a specific function and I don't have much to do on a set."
A normality as great as the way you watch a movie in your spare time.
"
Yes I look at the soundtrack. But if everything is well told, I let myself be carried away by the story and I forget."
CHILDREN, CLUBS AND LEARNING
On the seriousness that many attribute to the work of composer, the musician has a very clear opinion. "
I would like people not to think that classical music and opera are elitist.
Before it could be, but nowadays you can go to concerts for little money and enjoying a lot." For this reason, Vidal himself uses compositions such as
Peter and the Wolf
, by Prokofiev, or
The Nutcracker
, by Tchaikovsky, so that his children enjoy the music "
instead of putting cartoons, they see ballet fragments in small doses
so that they want see more".
And he even remembers how he
combined a Friday night at the disco
late into the morning with his demanding
piano lessons
the next day "
I've never wanted to stay in my comfort zone. I like to learn new things."
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