Santiago Barrionuevo He is the leading voice of the band from La Plata, He Killed a Motorized Police, but in recent times he also became in charge of composing new songs and instrumental passages for the remastered version of Occupy, the series that since has a place in the Netflix catalog.
Without half measures, the musician described Bruno Stagnaro’s call as “a dream”. “It all started because Bruno He invited me to let some songs by El Mató be part of this new band sound of Occupy“recalled the singer, bassist and also illustrator, about the first contacts with the director of the iconic series.
When last october Occupy turned 20, Stagnaro admitted in talk with Telam his desire to make it available in streaming, but something had prevented it for years: many of the songs included in its 11 45-minute episodes were themes from international artists with very expensive rights.
The series directed by Bruno Stagnaro and starring Rodrigo de la Serna already has its place on Netflix.
The solution, in addition to a meticulous remastering that enhances its image and sound for today’s Smart TVs, was to summon Santiago Motorizado to to replace musical portions that could no longer be used, but keeping the original spirit.
The man from La Plata had only one experience in the matter, with the film Death does not exist and neither does love (2019, by Fernando Salem), but he was not daunted: “He contacted me, we had a meeting and obviously there was not much to talk; I was happy with life,” said Santiago.
And he added: “I’m a big fan of Occupy forever, and it seemed like a dream. After that talk came the idea of also replacing other musical moments, already composing something new from scratch“.
“Music is very important in Occupy And to the hard fans I leave them as a message – just look at it and judge it – which is that my job at some point was to go unnoticed, and not to see my hand placed there. And I think I did it. The essence of Occupy It is, “Barrionuevo assured.
-What did the work consist of?
-As we were in a pandemic and without much to do, I proposed to Bruno to re-record the songs of El mató, obviously maintaining that essence, because basically he had chosen them for something. We record them back, with a little more force than those originals.
And then, there were many pieces of music for many moments in the series, some that were brief, of seconds, and others of songs that played in the background. Bruno started passing me the scenes and the job consisted of replacing them. Keeping the essence but trying to do something new.
-How many new compositions are there?
-I made about 50, of which there will be forty-odd. Some are drones, others are very environmental moments … Most of them are instrumental. But there are many songs that are decorating the background sound of a bar, a nightclub, a moment on the street, and that go through different genres. There is rock, folklore and also cumbia.
The same essence, new sounds
-How was the interaction with Stagnaro?
-I have a great admiration for Bruno; he is my favorite director Although now that sounds weird because we are working together. So, the first thing I said was: “Bruno, I’m going to try this. Give me some clips, I’m going to try this music, and without obligation, see if it is what you are looking for. If not, nothing happens.”
I sent him some first songs, which he liked a lot and he marked me something very specific, which was that that first sample that I gave him was quite attached to what had to be replaced.
For Santiago, Okupas reflects a reality that remains in the present.
Then he told me: “Keep the essence, which is fine, but do something new. Get away from it a bit.”. From those first indications I let go a little more. The truth was that it was very fluid: Bruno is the director, even though I am composing together with Pipe (Felipe Quintans) as a musician, producer and recording engineer.
– Would you say that it is a more limited creative task than, for example, composing for the band?
-Yes. But I take that restriction as a trigger. “You have to do this, which is in pursuit of a scene, a climate, a performance, or a dialogue.” It’s like it gives you order and throws you the most direct idea. Sometimes the other thing, that it is total freedom and that it can go anywhere, turns out to be unattainable.
-This is your second job for a soundtrack of an audiovisual product, after Death does not exist and neither does love…
-Yes, and it was a dream that I always had as a boy, because I am a very cinephile. When Fernando Salem invited me to do the complete music for his film, it was incredible. There I was a little more nervous, for have wanted something so much and finally have it within reach, without knowing how to face it.
Fer was very clear about what he wanted and he helped me at all times. I also like that job of sharing the creative moment with someone, and I would like to do it again. It also helped me a lot for work with Occupy, which is much bigger, because there are many more chapters and many more songs.
A fanaticism that played in favor
-There the knowledge of the series also played in your favor.
-Yes, fanaticism played me in favor. I watched the series about 40 times. I had it on VHS, I recorded it when they repeated it on Channel 9, and whenever I spoke to someone about it I would say: “Let’s go to see her”. And that baggage on an aesthetic and conceptual level that the series carries was already well known.
-How do you think Okupas aged?
– SM: I like to think that about all works; from movies, from records … Occupy it does not age, it remains intact. I know the dialogues by heart and they work every time. The performances are incredible. It is something that could never be repeated.
They wanted to continue with a certain aesthetic; in fact it opened a kind of genre within Argentine cinema and TV, but It never reached that level of rawness, realism and genius at the script level. There is nothing left over, it’s perfect. Even something that is sad but is real.
Unfortunately, the country that counts is similar. We are going through a very important crisis; the street climate, of discontent, is part of the landscape. It broke my head.
Source: Télam / Nicolás Biederman