Over the summer Netflix explored new territory with their first ever Spanish speaking original program, “Club de Cuervos” produced by Gary Alazraki and Michael Lam. The story centers around the football club Cuervos FC, based in the fictional city of Nuevo Toledo, Mexico, and the power struggle that follows the death of its long-time owner and patriarch. With Netflix recently renewing the show for a second season, we decided to speak with the show’s composer Benjamin Shwartz, to find out about his process and inspiration for the show’s score.
How did you get involved with your latest project, “Club de Cuervos” and what about it attracted you to the project? Was it the genre, the actors or something completely different?
I got involved with "Club de Cuervos" because I worked with the director on the film “Nosotros los Nobles.” He was happy with my work on that project, so he brought me on to this. We really understand each other, so I was happy to get involved with this show. Especially since it is the first Spanish original Netflix series!
If you could be any character in the show who would you be and why?
That’s a hard one! I think it would be Felix (Daniel Gimenez Cacho), the team manager, because I sometimes feel like I'm resolving impossible situations like him.
Can you give any hints as to what we can expect during the show?
The show is a comedy, with some drama, so we can call it a dramedy. It begins at one point and takes you to very unexpected places; it’s also more intricate and funnier with each episode. It just gets better and better as the season goes on!
What made this experience different from your past experiences?
This show is the first TV series I’ve ever worked on and I had to write a lot of music and deliver it really fast. With films there is a lot more time to work. So the biggest difference would be the deadline times.
What were some of the hardest cues to come up with?
I think the hardest cues to come up with were in the large drama sections where I had to develop a certain ambience. I also worked really hard on a few action cues during the soccer scenes.
How would you describe the music for this show in 3 sentences or less?
This show's music is very eclectic. It goes from jazz themes to orchestral moments. I wanted the show’s score to have a vibrant and layered feel to coincide with all the different emotions fans and players experience at a soccer game.
If you could collaborate on a score with any composer, who would it be and why?
I love Mark Mothersbaug’s work, I think his music is great and fun. I'm a big fan.
What are your go to tools or instruments when working on a score?
I always start with the piano and viola, then I sequence in Protools. I also use virtual instruments to get an idea, then I start recording other instruments. I also love trying to get new sounds out of acoustic instruments.
Was there ever an instant when you almost gave up on music? If so how did you overcome the challenge?
There were many times I almost gave up music, somehow the music wouldn’t let me give up. I’m very lucky to always have interesting work that I feel passionate about.
What other projects are you currently working on?
I just finished the horror film “Km31 Sin Retorno” and am starting to work on the second season of “Club de Cuervos.” I am also scoring an animation film and a few records. I've been busy with many different projects which helps keep me on my toes and jump from genre to genre.
Aside from composing music for TV & Film you’re also in a band. Do you consider yourself a composer or a performer first and why?
I consider myself 50% composer 50% performer, both work together for me. I could not compose the way I do if I wasn't comfortable with my instruments.
Can you tell me one outstanding experience you’ve had during your career and why it was the best/the worst and what you learned from it?
I think an outstanding experience for me has been working with the composer John Zorn, I always admired his work and am very lucky to work with his music. Every day I learn something new from the films, orchestras and even small ensembles I work with. I think I’m a very lucky guy for getting to do what I do.
Written by rand01 on Dec 10, 2015
As Benjamin said, the series start was ok, but it became better at the end. Gladly waiting for the next season and see what kind of music he brings to the stage now :)