Silence is a cornerstone of Gustavo Santaolalla’s music. A silence so loaded with meaning because of how and where it arises in his compositions that “sometimes it’s louder than the notes,” as he puts it.At his recent special performance at QNCC with the Qatar Philharmonic Orchestra as part of the Doha Film Festival’s music line-up — and also a part of the Qatar-Argentina and Chile 2025 Year of Culture activities — that majestic silence of his music kept shining through like gentle sunbeams filtering through the leaves of trees. Often, Santaolalla’s signature ebbs and flows is described simply as music that “connects with the heart and with emotions” and his moving Doha debut show was instant proof.The two-time Oscar-winning composer, songwriter, and producer’s iconic scores include Brokeback Mountain, Babel, The Motorcycle Diaries, Amores Perros, and most recently, The Last of Us (for both the video game and the web series). Towards the end of his visit to Doha, Gulf Times caught up with the 71-year-old Argentine multi-instrumentalist for an exclusive interview. From winning two Oscars, two Grammys, a Golden Globe, and 17 Latin Grammy awards, to an almost six-decade-long musical career that shaped the soundscape of Latin rock music and world cinema, how do you look at your musical journey in its entirety?Somewhere along the way, I realised that doing everything completes me. I love every aspect of making music; producing, composing by myself, composing with a group, composing for films, for animation, you name it. I love art and to be able to express my creativity. As an Argentinian, let me use a football analogy. Sometimes, I’m a striker scoring goals. Sometimes, I’m a midfielder strategising, or a goalkeeper, manager, coach. Sometimes I’m just cheering. But I’m always in the match. I have endless curiosity. I love to learn and expand my knowledge. Apart from making music, I run a book publishing company, a beverage company, and I am working on a perfume that we will be releasing next year. Doing different things allows me to keep learning and applying those learnings to the multiple interests that I have developed. Your Doha performance was phenomenal. Would it be correct to say that your ongoing global Ronroco Tour is a tribute to your vast body of work?Yes, the Ronroco Tour is my tribute to a 10-stringed, Andean instrument called Ronroco, my special relationship with that instrument, and the music that the ronroco has inspired, including my album (Ronroco). This tour is my first such in my career where all my music is centred in one space, connected through the ronroco. My concerts have always been marked with incredible eclecticism. So the Ronroco tour is very different and it has really blossomed.You like to experiment with various stringed instruments. Tell us a little about how this influences your approach to a film score.For Babel, I wanted to find an instrument that can connect the three stories. I wanted it to sound like world music and yet one shouldn’t be able to tell from which part of the world it was. In Oud I found a wonderful Middle-Eastern instrument that could tie the story together. I’m not an oud player and it doesn’t have frets like a guitar has. I played it with my fingers without using a plectrum. What I like about playing a new instrument is that it demands me to be minimalistic and allows me to play with silence and space. It was playful but it had an element of danger too. Your music is most often described as very visual and that it “touches the heart”. How does it play out deep inside you?Sometimes, I feel that music is like scenes in a movie and the choice of instrumentation is like the set design. What elements would you put in the set and why? I like the idea of breaks and pauses in songs, which to me are like a movie’s editing where you can move to an entirely different shot or thought. So I think almost in film terms when I’m making music. It’s always about storytelling anyway. So the element of surprise is there. The moments of calm and action are at play. I’m always conscious about all of these things when composing and performing music. Does this explain your usual approach where you read the film’s script and talk to the filmmaker and then dive into scoring music?Yes. That’s because I haven’t been trained to read or write music. Although I have composed music to visuals too, I find it very inspiring to write or compose based on the script, the story, the characters, and from a conversation with the director so that I see his or her vision. Once the vision is clear, it helps define. Filmmaker David Lynch said that the more you define something, the less things that thing is. So by defining something more specifically and giving more information about something, you kill it. If there’s magic that you are to discover, it’s gone. When you see it already on screen, then you know how someone looks, walks, and talks. But when I work out of a script or a conversation, it’s all so abstract and can be musically interpreted in several ways. That’s why it’s important to retain the mystery that things have, and be wary of how much you define something.
