I couldn’t resist selecting this film about one of my favourite Chilean artists, poet and singer, Violeta Parra. My life has been completely touched by her art. My parents listened to her all the time, she is one of the most important figures regarding human rights in Chile. I can agree with everything she sings, she was punk before the term existed, she was an experimentalist with her music and her writings. I have eternal gratitude for her work and for showing such a luminous path. I try in a humble way to tread the same path with the things that I do.

The Big Blue (in English) by Luc Besson was one of my favourite films growing up. I’m not sure why it was on TV so much, because the film is quite meditative and long, it’s difficult to imagine it working for a TV audience. I always felt the music created by Éric Serra merged with the images in a way it made the experience really immersive, even if the soundtrack sounds so eighties and dated. I really appreciate the evocative feeling it conjures and it’s something I try to do with my own music all the time, creating a water-y feel, long pads etc.

I saw this film because it was Geoff Barrow doing the soundtrack and I have been a fan of Portishead and Beak for as long as I can remember, it was an instant watch. The film is totally sci-fi and the music never disappoints. I love the fact that the soundtrack feels like an ode to the analog synthesizer, with its imperfections and round warm tones. For me, all the music I make lately is just jamming to basic tones on some of the synths I have; and sometimes those jams never make it into a song, but they work as a tactile way to develop ideas.

I am always amazed by fast-paced art, being that a film or music. For example, I have always been into Nine Inch Nails because of the rapid changes in their music, from slow to super fast and loud within one minute. I think Birdman reminds me a lot of that and I always thought the main soundtrack by jazz drummer Antonio Sanchez, blended so well with the story and the action of the dialogue. I try to do this with my own craft too, I love fast cuts, things happening freeform that you didn’t expect, to go from loud to quiet with really fast transitions.

I could have put anything from David Lynch here, to be honest, or anything with Angelo Badalamenti’s music. I used to listen to the soundtrack on tape a friend of mine gave to me whilst I was still in school in Viña del Mar. He was going to this film course that I didn’t take and when he gave me the tape I was just mind blown with the music in there, is this music even real? I was so naive that it was like entering another world, full of weird sounds and dark atmospheres. I have been trying to recreate those elements all the time, especially in my darker tunes.

I missed this film when I was young and people wouldn’t stop talking about it but I just recently watched it and found it quite intense. Even though some things about it feel dated the music is compelling and full of intensity, mixing balinese and gamelan music with electronic music components. It’s so ahead of its time. I can’t say I use Asian music in my own projects, but I found great inspiration from this and I am always searching for new music from around the world to discover and to have a glimpse of cultures that I am so far away from.

This film is a classic and I was really young when I saw it for the first time. The music left such an impression on me. My mom used to have the soundtrack and I listened to it all the time with eyes closed. The question “how can music affect me so much” would pop up in my head and I think that’s why Ennio Morricone is so wonderful. The melodies he achieved create this sort of communion with the images. It inspired one of my very first approaches into classical music and wind instruments, so much I ended up studying flute in the conservatory.

This is a dreamy Australian movie from the 70’ that is filmed in such a way that it feels very modern. I think it’s brilliant to have used such a monolithic musical motif throughout the whole film and with so little instrumentation. The pan flute and organ create an ambiance that captivates, It feels like you cant escape the universe that the film is creating before your eyes. Something similar in what I try to achieve with my music, giving space to a motif, allowing it to repeat itself just until it is enough that it can transport you.

The looped aesthetics and arpeggiated music in this film make it a must for anyone looking for a profound connection between music and images. It’s such a radical movie because there’s no narration but at the same time, you get the narrative. It feels like both music and visuals are working together. I thought that it was such a beautiful idea the first time I saw it. I feel really connected to Philip Glass' music and his ideas are visionary. I can’t say I have his know-how, but I can relate with his work, especially this soundtrack when I’m working in the studio.

Nothing can touch Princess Kaguya, the delicate story and the animation is just breathtaking. The first time I saw it I was overcome with emotion and couldn’t stop crying. I love the different scales Joe Hasaishi uses and how a musical theme serves a purpose but after a few variations of it, it completely changes the tone of the story. I feel so connected to music and images that have these profound meanings. In a way, it’s what I always wanted to achieve with my music, to provide multiple layers that when peeled back resonate with people in very different ways.