BIOGRAPHY

Arnau Bataller is a Spanish film composer who is working in features and Tv series with prestigious Spanish directors such as Jaume Balagueró, Fernando León de AranoaMaría Ripoll, Pau Freixas or Mariano Barroso among others. Based in Barcelona, he has been a composer in demand in the last 10 years, scoring a range of projects ranging from big-budget horror/fantastic features to more independent dramatic TV shows: indeed 25 feature films, 8 tv series, and some concert music.

Thriving to choose the best musical color to the picture, Bataller always works with Marc Blanes, one of the most sought after engineers in Spain, assuring in this way the highest quality in his music. Indeed, he has recorded with most of the Film music orchestras in Europe, being the first ever to record a film score with The Symphony Orchestra of the Gran Teatre del Liceu, Barcelona’s Opera House. He also loves to use new sounds, either from ethnic instruments or synthesizers, always searching for a unique sonic palette for every project he works on.

Bataller’s music has been recognized with more than 15 awards and nominations such as the International Film Music Critic Association Award (IFMCA) for Best Original Score for Television or the VII Spanish Film Music Critics Award for Best Spanish Composer. He graduated from the University of Southern California at Los Angeles where he studied at the prestigious Scoring for Motion Pictures and Television program recording more than 10 times at Paramount studios. Arnau also has a violin degree.

Listen to the image to see the music

METHOD

Statement

I’m a filmmaker. I contribute to do films with my music. I’m a composer. I create music from stories because I listen to the image to see the music.

Five Areas

Every project is different: the story, the genre, the artistic and personal vision of the director, the production budget, the film editing, the acting, etc. but when starting a project, I always try to base my work in the following 5 areas:

1) Dramatic Concept:

My starting point is always the concept or idea behind the movie. What’s the movie about? can you summarize it in one word? I try to do it with melodies, textures, rhythms, and sonorities.

2) Music color:

The hardest, yet most rewarding task for a film composer is to discover how a film should sound musically speaking. Each picture has its own musical identity. My job is to find that unique color that defines a picture and differentiates it from the rest. Traditional orchestral sound? modern hybrid orchestra? indie and small ensembles? eclectic and jazzy soloists? Electronic and driving textures? what if we mix everything together?

3) Music dimension:

Is the music “bigger than life” or intimate and almost transparent? How dramatic is the saddest moment in the film? How comic is the funniest moment in the film? If we have to underscore an action, how subtle or evident should be the music? Setting the musical dimension’s framework is key to avoid overpowering the image or not being noticeable when the music should be.

4) Music narrative:

How many musical ideas do we need? What’s the hierarchy between them? How and when do we introduce every thematical idea? Do we transform the themes evolving like the drama or going the opposite? How many times do we repeat a theme? When do we have to introduce variations? Do we fool the audience? Do we help the audience? Do we trouble the audience? Do we move the audience?

5) Music interaction with the image:

Is the music mimicking the action and the narrative, is it accommodating to it, or is it ignoring intentionally what’s going on in the picture? Wich scenes will have music? Where is it going to start and end? How is it going to start and end? We have a scene with a character that dies.  Where do we start the music? a) When we enter the room and watch the dramatic situation b) When he says goodby to everybody c) When he closes his eyes d) When the rest of the characters react to his death e) Do we need music really? maybe the silence is even more dramatic? Probably there is not a single right answer but we have to contemplate that there are always questions to be made. Our task is to decide which works better depending on how is the editing, the acting, the place that the scene has in the dramatic structure of the movie, etc.

PROCESS

Process and Communication

Working in a movie is a collaborative process. Although I have a strong sense of what kind of music a film needs, communicating, sharing ideas and visions are key to the success of the movie. It’s my job to understand the creative needs of a project to make them the starting point of the creative process.

Mastering the process, the calendar, and your chops are key to be successful in the film business: tight deadlines, budgets, meetings, reviews, postproduction… And yet without inspiration, you have nothing. But nice melodies are not enough if you do not know how the process of making movies works. So working with a team that you trust and makes your work easier is not an option but a must. I’m proud to be working, for more than 10 years, with Marc Blanes, probably the most sought-after engineer in Spain. Also, we had recorded with a lot of the major European orchestras, selecting the most appropriate for every project depending on the sonority, deadlines, and budget available.

Creativity and Passion 

I’m always rethinking my creative process trying to find new artistic challenges in every project I start because I love what I do!. Composing for the picture is a dream come true. Since I was 14 years old I wanted to become a film composer so that’s why I try to enjoy every aspect of this vocational profession.

I consider making mistakes part of the creative process. Repeating known formulas is an option but most of the time is not the best one. What could happen if we try a different approach? We don’t know but if it does not work we can always come back to the safest strategy.

AWARDS
NOMI-
NATIONS

AWARDS:

2019 Valencian audiovisual Awards. Best Original Score for Vivir Dos Veces

2014 Berlin Fashion Film Festival, Best Music, Bronze Medal

2012 International Film Music Critic Association Award (IFMCA): Best Original Score for Television, winner

2012 Movie Music UK Award: Best Original Score for Television, winner

2012 Cue Awards: Best Action Music and Surprise of the Year, winner.

2012 Best Original Score at the Festival Valle de Bravo, Mexico for ‘Úrsula’s Victory’

2011 VII Spanish Film Music Critics Award: Best Spanish Composer

2010 and Breakout Spanish Composer, winner.

2011 X Goldspirit Awards: Best Spanish Original Score

2010 for “La Herencia Valdemar” and Best Thriller/Horror Score, winner

2006 XI Tirant Award: Best Original Score, winner for “Omar Martínez”.

2002 Jimmy McHugh Composition Prize

2002 BMI Scholarship for Scoring for Motion Pictures and Television.

2001 XIV International Orchestra Composition Competition Murcia 2001: winner

NOMINATIONS:

2014 Hollywood International Fashion Film Awards, best music

2013 La Jolla International Fashion Film Awards, best music

2011 III Gaudí Award: Best Original Score, nominated for “Herois”

2010 XI Tirant Award: Best Original Score, nominated for “Unió Muiscal Da Capo”

2010 V Jerry Golsmith Awards: Best Original Score for feature

2008 III Jerry Golsmith Awards: Best Original Score for feature

2007 VIII Euterpe Awards: Best symphonic music for wind ensemble, nominated for “Gene-sis”

2006 VII Euterpe Awards: Best symphonic music for wind ensemble, nominated for “Enderivell”

 

News
Press

” His talents clearly deserve significant success. Nonetheless, Arnau Bataller is surely in line for great things and is one to watch for the future. In LA HERENCIA VALDEMAR II, BATALLER has produced a score that any of the great Hollywood composers of today and yesteryear would be proud to call their own.”
Tracksounds www.tracksounds.com

“The Brotherhood is a proper thriller score, one of the true better examples of great scores in the genre.”
Soundtrackgeek www.soundtrackgeek.com

“Arnau connects immediately with the audience, and he knows how to maintain tension without monotony or repetition. He writes a music of textures with multiple layers, with a melodic sense that catches you and puts the viewer in a very well defined space. Serving the director, his music does not fear of complex orchestrations”
Alex Gorina El Temps

“I have to admit that Arnau Bataller’s score for The Brotherhood caught me completely off guard. I was expecting yet another collection of cliched atmospheric tracks that usually accompany horror movie scores”
Darren Rea www.sci-fi-online.com