Composer Elias Serpa recently created the score for the film In the Forest. Directed by Hector Barron and produced by Brian McLaughlin, In the Forest focuses on a family camping trip that turns horrific. A mother is forced to fight to save her family from an angry landowner who’s hiding a terrifying secret on his property. Serpa says the thriller/horror film has a certain old-Hollywood feel, which he found unique.
In the Forest
Venezuela native and multi-instrumentalist Serpa is also COO of production music library Voodoo Tracks, which he founded with veteran composer Juan Carlos Rodríguez. It focuses on creating authentic Latin music for media. Serpa’s work has been featured in advertising campaigns for Nissan and Tequila Espolón as well as for PBS’s Emmy award-winning series Artbound and over 450 episodes of primetime drama for Telemundo.
We reached out to Serpa to talk about his work on In the Forest as well as his workflow.
How early did you get involved on the film, and how did that help?
I got involved when it was being edited, which allowed us to take some time to work on the overall tone and sound palette for the score. There was very little temp music in the movie, and this gave me a lot of freedom in terms of placement and tone, but it was also a bit daunting — our spotting session was the only reference I had.
What direction were you given in terms of the score?
Hector told me that he wanted themes and melody to play a central role in the score. He wanted to bring back some of that old Hollywood style of scoring movies while still having modern and textural elements. After a couple of cues, we found the right balance, and it was smooth sailing from that moment on.
Can you describe the score? What were the influences?
The score is a combination of two different approaches. On one hand, we have themes and melodies corresponding to the characters. On the other hand, there is a lot of textural-atonal orchestral sounds and synths. I listen to a lot of Bernard Herrmann scores as well as the music of Ligeti and Penderecki. I think you can hear some of that influence in the score.
What instruments does the score include?
For In the Forest, I started on the piano. I wrote a couple of simple motifs for the characters of Helen and Andrew. I wrote Emily’s theme on my electric guitar, as I wanted hers to be more modern-sounding. We actually ended up using it in the film just as I’d initially sketched it.
Can you talk about your process?
After I watch the film a couple of times, I start putting together the puzzle, mapping out the main underlying themes and the tone. In this case it was family, trust and danger. This process helps me figure out the motifs and the harmony and texture the film needs.
In the Forest
What instrument do you start writing on?
For In the Forest, I started on the piano. I wrote a couple of simple motifs for the characters of Helen and Andrew. I wrote Emily’s theme on my electric guitar, as I wanted hers to be more modern-sounding. We actually ended up using it in the film just as I’d initially sketched it.
What tools do you use for your work?
My DAW of choice is Logic. I use it to record and program my scores. I play and record guitars, synthesizers and percussion instruments as well as these very cool, strange noise boxes made by a brand called Electro Lobotomy, which creates amazing, eerie sounds.
For this particular film, I used Spitfire’s Albion IV for some of the orchestral textures to great effect. I also create my own Kontakt instruments and have a lot of fun crafting these. They allow me to curate unique sounds for each project and save time recalling patches.
Elias Serpa
What feedback did you get from the director Hector? Can you give an example?
Hector really enjoyed the eeriness of the score and liked the balance we achieved with the melodic material. There are a couple of scenes where we went big with the music because he enjoys when the score takes over and comes to the forefront, especially in the scary and bloody sequences.
Was there something particularly challenging on this film? If so, what?
The most challenging part was striking the right balance between the melodic/thematic side of the score and the modern/textural aspect of it. We (Hector, Brian and I) wanted a score that felt modern but also had some of that old Hollywood style and sound. This was incredibly fun, and I think we found a way to make it work.
