Opening Paragraph
Our discussions about the world of music have allowed us to speak with many interesting artists. This time, we thought we could invite someone outside of Los Angeles or the United States, where most of the film and game music is concentrated and uncover a new valuable story for our community. A story which has originated elsewhere. Therefore, we have with us Fran Villalba and in this interview we find out more about him.
Fran is a 46 year old Paraguayan-Italian composer and sound designer with a master’s degree in film scoring and music for audiovisual media from the Escola Superior de Música de Catalunya as well as a master’s degree in executive film and series production at ECAM.
He has composed scores for many short films and featured films. Fran is recognized for his composition of the original music for the film 7 Boxes, winner of the Work in Progress at the San Sebastián Festival and nominated for the Goya. He has also won the Best Music award for the original music of “Peaches” at the SciFi Film Festival (Australia). In 2024 he was selected to participate in the Berlinale Talents program and became a member of the European Film Academy. He is also a member of the Paraguayan Film Academy.
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In the interview, Fran revealed a few interesting facts about his life, he told us, that his favourite book is “Crime and Punishment” by Dostoyevsky. Also, that he is the father of Camila, a very cheerful 3-year-old, who is learning to play the violin. For several years now, he has only listened to instrumental music. He enjoys cooking, particularly Italian and Paraguayan cuisine. Friday nights are his favourite: He loves taking walks through the streets of Madrid. He enjoys silence and loneliness. Every night, he reads Camila a bedtime story. Music and cinema are Fran’s passions.
"After being away for several years, you end up feeling like a foreigner everywhere, even in your own country."
Keep on reading if you’d like to find out more about how Fran got into this, what challenges he has had to overcome, or what he plans to do next!
Interview
Tell us about your time as a music composer so far. What sparked your interest in music?
I began my musical journey at the age of eight when my mother hired a guitar teacher for me. However, I quickly realized that my true interest lay in the piano rather than the guitar. From my first lessons, I felt the urge to modify the pieces I learned; I felt the need to create my own arrangements. As the years went by, I began to look for a place to apply this creativity, and it became a very strong need for expression.
My first compositions were not conceived for films, but over time, I developed a deep love for cinema and allowed myself to dream. Paraguay’s film industry was still emerging, and when I started, there were very few opportunities to compose for films. In fact, I couldn’t even find a place to formally study the craft. So, I started traveling to study and connect with people in the industry, and that’s how I ended up living in Madrid.
What is your musical background and what kind of influences do you bring to a project?
My background is in classical music. First, I studied piano at the conservatory, and then I obtained a master’s degree in film scoring and music for audiovisual media at the Escola Superior de Música de Catalunya (ESMUC). My main influences come from classical composers like Debussy, Beethoven, Mendelssohn, Rachmaninov, Stravinsky, and Agustín Barrios.
While I was learning classical pieces, I felt a growing need to break free from rigid structures. That led me to explore jazz, studying composition and harmony with maestro Carlos Schvartzman. I’ve also been passionate about synthesizers since I was 12, teaching myself along the way. In that world, Depeche Mode and their album Violator played a huge role in shaping my fascination.
For years now, I’ve listened to many film score composers, including Alexandre Desplat, Alberto Iglesias, Hans Zimmer, Ennio Morricone, and Bernard Herrmann. All the music I have listened to all these years organically appears in my compositions unconsciously.
Could you tell us a little bit about the first track/song you composed and were genuinely proud of?
One of my first compositions is called “La Guerra Grande”, a Paraguayan polka with a traditional 6/8 rhythm. I wrote it in 1997 during my years at the piano conservatory. At the time, I had just read a book on Paraguayan history that described the tragic events of a war that left the country with almost no survivors. This war is known as Guerra Guasú (The Great War).
After finishing the book, I sat at the piano and started writing the introduction, imagining a soldier playing the melody on a trumpet after a lost battle. I wrote the music on sheet music, stored it with other files and didn’t touch it for years.
Twenty-three years later, I saw a call for a composition contest to commemorate the war’s anniversary. As soon as I read about it, I immediately remembered the piece. I searched through my old files, and luckily, I found it. Finally the work was awarded and can now be heard on Spotify.
What kind of equipment do you typically use to compose your music? Please walk us through your workflow and your personal approach.
I usually work with a computer and Logic, along with my analog synthesizers. There’s always an electric guitar nearby for sketching ideas. I often start with the piano to lay down the basics. Once I find the harmony, melody, and rhythm, I begin thinking about instrumentation and orchestration, but sometimes I prefer to start with the rhythm.
I enjoy mixing traditional orchestral instruments with synthesizers; I feel like my search for a unique sound identity is heading in that direction. I also love experimenting with analog effect pedals, especially delays and reverbs.
When I compose for a film, after watching the first cut or reading the script, I instinctively create pieces without tying them to specific scenes. This helps me find the right tone and concept. From there, I go through a process of deconstruction, eliminating melodic and rhythmic elements that feel unnecessary. I place a lot of value on this process, as well as the time it takes for a piece to mature, listening to it over and over again with days of rest in between to make adjustments and tweaks.
Many artists we interviewed told us about how they were influenced by movies or games, especially from childhood. What are some of the most significant influences on your musical production?
One of the movies that left a big mark on me during my teenage years was The Godfather. I was amazed by how music could transcend the images in film. I realized that many people knew the music even if they hadn’t seen the movie—something extraordinary that doesn’t always happen.
Midnight Express and Scarface were also movies that had a big impact on me, both with music by Giorgio Moroder. They weren’t exactly teen movies, but since I had older brothers, I always snuck in to see them. And then there’s Blade Runner, probably one of my all-time favorites.
The melodies from all of these films would stay in my head for weeks after watching them, and I’d run to the piano to figure them out by ear, trying to understand the harmonic choices behind them. This was back in the VHS era; I remember we used to rent seven or eight movies for the weekend, and it was always an exciting experience.
You're currently based in Madrid. What you can tell us about the Spanish art scene? What’s the atmosphere like over there?
Madrid is a highly dynamic city, both artistically and culturally. In the field of cinema, it has a strong output of high-quality films and series. I came to Madrid to study for a master’s degree in film and series production at the Madrid Community Film and Audiovisual School (ECAM), and it has truly been a great decision. It is an exceptional school that, in addition to its academic excellence, puts a lot of effort into establishing long-term relationships, supporting its students’ projects, and creating activities to connect them. After all, cinema is a collaborative art, and finding spaces like this—where you can meet people and make yourself known—feels truly wonderful. There are also many opportunities for training and networking through markets and festivals throughout Spain, but also at the same time, the industry is highly competitive, and finding your place isn’t easy.
Tell us about the biggest challenge you were met with when working on one of your projects. What was it and how did you overcome it?
One of the hardest moments I’ve dealt with, several years ago, was when I was composing for a short film, and the director rejected 100% of what I’d proposed. I think the biggest challenge in this kind of work is learning to put your ego aside and make space for the director’s ideas. I had read many books about soundtracks and knew this could happen at some point, so when it did, I was somewhat prepared and had tools to handle it. Still, it was very hard. Emotional intelligence, communication, and patience got me through it. I took a few days, then came back with a totally new idea. This time, the director loved it, and honestly, I loved it too.
What is the best advice you’ve been given?
The best advice I’ve received has come from the books I’ve read. I love to read, and one book that really made an impact on me was “Life is Elsewhere” by Milan Kundera. This book, in particular, made me think deeply about the possibility of living in another country. I don’t think I would have ever considered this idea if I hadn’t read it. Emigrating is a wonderful adventure, but it comes with a high emotional and psychological cost. After being away for several years, you end up feeling like a foreigner everywhere, even in your own country. And when you decide to emigrate as a family, the challenge is even greater.
What's next for Fran Villalba?
I’m currently finishing the score of two short films, one of them an animated film titled “Before I wake” for director Linnéa Haviland, a beautiful project that came up after we met at Berlinale Talents.
Next year will be 20 years since I composed the score for my first film, and this journey has taken me in some cool new directions. Along with still writing music for films, I’m now producing three short films. Over the years, I’ve met so many talented people and made friends all over the world, which makes me feel like working on my own projects is just the natural next step. Creativity makes me feel alive every day, and making movies from development is a stimulating way to keep learning and growing. Looking ahead, I see myself composing soundtracks and producing my own films under my production company, Planetario Films.
Gods with Amnesia · Fran Villalba
End of Interview
By Vox Groovy staff writer
Reading by Paul
Audio profile: Signalgate
© Vox Groovy Radio
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