Interview: Louis Febre, Smallville's composer (SPANGLISH VERSION)

Here it is the English version, with Febre's answers. You'll have to forgive me but the questions are in Spanish. Spanglish rules, by the way.

¿Cómo fue el proceso de convertirte en el compositor de la serie a partir de la séptima temporada, cuando abandonó Mark Snow?

Since I have been writing music for the show since the pilot, there really was no transition to speak of. I simply started writing music for the entire show, instead of half or three quarters of it. The schedule took a little getting used to at first, since instead of 30 minutes of music per week, I found myself having to write 40+. Other than that, it was a very smooth process.


¿Nos puedes contar cómo es el proceso de composición desde que recibes el episodio hasta la entrega de la música?

On Tuesday, I receive all the materials for the show, meaning a video copy, and notes from my music editor describing each scene, and reminding me of the important points to cover (such as: make a musical statement when we see the kryptonite and so forth). I look at the entire episode once again, having seen it the previous week, and start thinking about themes, sounds, any specific requirements for the show. And then I work. By Sunday I have much of the episode scored, and Tuesday is my deadline. Generally, the last few days are very, very long; writing 40 minutes of music, some of which is very complicated, is a significant amount of work, but I always get it done on time. The process takes the entire week to complete, but it is immensely rewarding.

¿Recibes alguna especifación por parte de The CW, los guionistas u otros a la hora de componer?

In general, we meet once to discuss the show in a broad way, but that's the only direct input I receive. After so many years of working together, we, as a team, understand each other very well. I'm very lucky to be working with a talented group of people, who trust me. It really is a privilege.

¿Algunas influencias que te hayan influído a la hora de componer por la serie?

I bring my own style to the table. I believe each composer has a unique voice, and I "speak" with my own. Now, as a composer, I am naturally influenced by a great many people. Shostakovich, Prokofiev, Ravel, Debussy, Stravinsky, Bartok... the list of influences for me is long! But as far as an influence for the series, the answer would have to be no.

5.¿Cómo describirías, musicalmente, a los protagonistas de la serie? ¿Tienes una base musical que los acompañe?
-He leído que la música es igual en la escena de Metallo donde Chloe y Clark están hablando y en otra escena donde sucede lo mismo en Hostage. ¿Acostumbras a repetir música ya realizada o fue para comparar ambas escenas?

Over the years, I've written themes for a few characters. Obviously Clark has his own musical signature, as does the Green Arrow. But I've also written themes to address relationships. Clark and Lois come to mind. And yes, I always return to those themes; that's what gives the show a musical continuity. Even the Watchtower has its own sound, which is what you're referring to, I believe. In Metallo, we had that beautifully realized scene in the Watchtower, and I wrote music which, to me, was as much Watchtower music as it was Clark and Chloe. I wanted to tie together the scene in Hostage, which after all, is as much the rebirth of the Watchtower as it is Chloe's return to duty.

¿Qué piensas de la mezcla de canciones pop-rock con las de banda sonora, en este caso, las tuyas?

If it is well done, which is certainly the case in Smallville, I think it's very effective.

¿Sabes si hay alguna posibilidad de una publicación de la banda sonora de Smallville en el mercado?

I am asked this question lot, and I am very grateful for the interest in my music. But at this point I'm not aware of any plans to release a soundtrack album.

En el final de “Persuasion”, vemos a Clark en una escena muy Superman con una música rockera compuesta por ti a la que muchos fans quieren escuchar completa. Pero... ¿hay más posibildades de escuchar más composiciones de este estilo?

The compositional style I use is driven entirely by the dramatic needs of the show. If another opportunity presents itself a for rock-style score, I'll be happy to write it! But it really does depend entirely on the show's needs. And by the way, there is no "complete" version of that piece. I write music that fits a scene, and not a second more!

¿Tienes alguna preferencia musical a la hora de los “scores”?

None. I like good music, where ever I find it!

¿Alguna escena (que puede o no puede pasar) que estes ansioso de darle el score?

Clark finally flying!!

11.¿Cuál ha sido el episodio más difícil para ponerle música?

Absolute Justice. It was a very *big* show, and very deep in many ways. Ironically, it was both the easiest and the hardest! And I loved working on it.

12.Confirmada la décima temporada, ¿podemos saber si Louis Febre también sigue?

Absolutely!

13. Ahora que ya estás trabajando en Salvation... ¿qué podemos esperar de este episodio?

You can expect a very very dramatic and stirring ending. I experienced my share of tears scoring it.

¿Nos deja con la intriga (cliffhanger) para la siguiente temporada?

You know I can't talk about any details!! But you're *about* to find out!!

¿Tendremos motivos para estar felices los fans de Superman?

There's always a reason to be extremely happy and avid Superman fans! ;)

Which is your favourite episode of the show?

Absolute Justice AND Checkmate.

Y para finalizar... si no fueras compositor ¿Qué hubieras sido?

Ha!! That's a great question. But I have always been a composer. I started writing music at age 8. I suppose I could be a composer working as a Chef to make a living, but I am, to the very core of my being, a composer. It is what I do, who I am. In many ways, I feel extraordinarily lucky to know that with such certainty.

If a love-soul-Spanish-speaker fan could post in the comments the questions in English will be great ;)