She has studied in several areas and lived in different places. What have you been looking for?

I don't know -- I'm very curious in general. I studied translation and I've walked around and around because I like to be in another culture, meet people and adapt my personality to that. Then I liked many other things and I have learned them (alternative medicine, music…). Music has always been a kind of hobby, I've always kept it. I would say that all forms of communication pay me a lot of attention.

Today, studies are so specialized that I've been struck by this diversity.

Multifaceted people suffer a lot today. There's that pressure, it seems that in life you just have to do one thing, like there's no other choice, and if you don't do it, you're crazy, even if you've learned a lot. I've tried to dig deeper into things at an academic level, but it's true that I can't erase my curiosity.

You just said you're interested in communication. In an interview I read him that's why he studied translation, but later he was missing languages and dedicated to music. What limits of communication did you find to languages?

Words are very powerful, they're also pretty strong. It always affects us a lot what others say about us and what she tells you when you're with someone. And with music, I don't know how, but it seems to me that everything gets a little bit poetized. By this I do not mean that I have mastered languages and now I am at another level, I am not so vain. I wrote a lot in my day, I said what I had to say, and I've already had the time to communicate like this. Now, with music, I've discovered another language. I don't think I've chosen the other one because I'm small.

Is music not as univocal as language?

Words have a dictionary, and the dictionary tells you that this word means this. Then we transform them, but they usually have a base. As for music, who can say that the sun note has a concrete meaning? The one who says that is a flipty. You can't take music in your hands, you can't control it because you haven't invented it.

In any case (language) he acted as an interpreter in Geneva, the UN Human Rights Council.

It was a very nice experience. I worked with an NGO. ILGA with the International Association of Gays and Lesbians. It was nice, because I felt I could do something practical with the translation; I have always had that thorn, I don’t like coming back very much, but if I see that my actions have effect and I can also denounce some situations… I liked that. I thought I was doing something important when I was there and talking to people.

How did you finally decide to grab yourself to the head of music?

I had an existential crisis: I had a very bad time, I didn't find my place, I didn't know what I wanted to do in life. I talked to my mother and she told me that I had to think about silence -- I'm a little meditative -- and that I had to think about what I liked when I was little, that I had to come back about my steps and see what I could get out of it. In fact, when you're young, there's no filters yet, and what you've got inside is taken out, your personality. I finally realized that as a child I always whistled and played the piano and didn't want to read the sheet music. When I was in the conservatory, I always made my compositions, and I decided that I should try to fulfill my dream. I introduced myself to Berklee College of Music. And they caught me. They say it's the best modern music university. It's in Boston, and then in Valencia they put the masters. They only accommodate 30 people. People show up from all over the world, and I said, if you've chosen me, it'll be for something.

I've been in Valencia for a year and it's been a big push. Since then I've been surprised, because I've never had things so focused; for example, I started doing a PhD on alternative medicine and it was very difficult to talk to doctors. I've done a lot of things in life hitting, coping with obstacles, and this time, instead, after learning at Berkleen, everything has been easy. I am very grateful.

Do conservatories not encourage creation?

Conservatories only want interpreters, as well as elite interpreters, which means that you have to be the best, not between the hundred, but between the five thousand. In conservatories they only dedicate music to concerts: you have to be a concertionist and also the best. But that creates great frustrations, because there are musicians who have something special, but others, even if they try, will never get there, and they only see another alternative: teaching.

In the conservatory, no music is given as a means of enjoyment or experimentation. And what, do we have to work music just to play each other's pieces in a concert? Music is not only that, music is art, and through that art you develop a relationship, and if they promote a little that calm, if they said “be calm, you don’t have to be an interpreter, enjoy music, because nobody has the absolute truth”… But they do the opposite. It seems that the only thing that's worth is the intellectual music of concerts, and if you're not there, you're no one, but you're not, music is not a private thing.

Compones soundtracks. How did you start doing it?

It's a pretty world, but it's pretty closed. Berkleen's learning was a tremendous stimulus, because it gives you a sense of seriousness. It's not a normal theoretical master, they do it to the American, and that's like working really. The teachers played the role of film director, a sequence they gave you to put music on it. So you made your proposal and you worked with them. And it encompassed all the sections: composers, orchestras (if you worked with an orchestra), you made mixes in the studios… all so that it is then autonomous. I was in the lab every day, from 9 a.m. to 2 p.m., even on weekends. It was terrible. If you study there, you get very prepared.

What should sound bring to the audiovisual piece?

Many say that music has to help the scene, and I don't like that much, the goal of music is not to accompany the scene and if there is an error in the scene is to take music out of the port (and that happens many times). For me, the function of music is to give another way to express feelings. Normally, composers get material without music: you have a scene and as a person you feel things when you see that scene, and your job is to go back to music. Surely what you have felt and what the director has felt is not exactly the same, but I think it is the most beautiful thing: to give something different to the scene.

And what is your creative process like?

You're usually with the director, and with him you see the film mounted, raw raw material. He explains with his words what sound he would like to put, so I say that in a way we play the role of psychologist. They tell you they want something deep... but what is deep music? Many don't know much about music, but all human beings have feelings, so you're with the director and you try to understand it. Then you have your understanding, you see the whole movie and you strive to look for a color or a musical character, and with that you start to work. You start to compose, you run tests, you send the director, he takes a thousand laps, and since he is the director, so… Trying to understand the director motivates me, I think it is a great challenge.

Is it hard to work?

There are directors that you like and feel good, but others understand music differently, and it is true that sometimes you have to do things that you don’t want to do, you don’t feel comfortable, because what you are asking for and what you see are different things, but you have to do it… In the end it’s a job, and sometimes you have to leave the ego aside, and as it is the work of the other, look for ways to work, even if you don’t agree. I'm talking about the big movies: in those movies, there's a lot of pressure, a lot of money, a lot of years of work -- the principals want everything to go right, and you have to help in that.

You've worked on the team of composer Pascal Gaigne in the films Handia, Errementari and Dantza. How are you?

I've had tremendous luck because I have a chance to work with Pascal. In the world of film, you often see that the most important thing is your personality and your ability to communicate. And I think that's why I get so good at Pascal. As for music, I really like what it does, it's very delicate. It has a very nice world and a way to understand music: it's not a mainstream composer at all. I like it because it is very artisan, he also says, he does not do things to impress anyone, but because he feels the need to do what he does, he has no other way of living. And that character and that calmness are not often found in the world of film, I'm at least sorry: all the composers are very stressed, they have to work quickly and they're also creative. In the case of Pascal, I've seen that there's another way to work in film, and that's why I feel so lucky.

He has also composed music for video games: Is there a lot of difference between film and the two?

Yes, very high. To make a movie it takes 2-3 years, to make a video game, 7-10 years. Think of a movie, you have to make an hour of music, and in video games, 10 hours… It's all interactive, you have to prepare several things to get one or the other depending on what the player does. Everything has to be very well thought out, because video game music is not linear, it doesn't have a beginning and an end.

Do you like this world?

Yeah, plus the people who are in that is huge. The world of film has a glamour, as it is public, and working on it introduces you to that environment. But those who work in video games are programmers, very normal people, who are very easy to work with. In addition, as you don't normally know so much about music and there are not so many models, it's a little more open. In the movies, some people tell you: I really like the soundtrack of Ennio Morricone, do something like that. But do they have enough budget to do this? And is it the movie that gives to do something like this? No one asks you in video games.

What other work are you in?

I work a lot of documentaries, and then I have my own projects, the ones I've created. Here, if you don't, nobody calls you. I have ideas and I try to carry them out. I believe that the artist always has to work on his projects and keep creating, without waiting for someone to come and look for him.