Juan Cortés is a versatile Spanish-Colombian composer and filmmaker based in Los Angeles who combines his passion for music with storytelling. He strives to enhance the audiovisual narrative with a unique and unconventional use of music and sound.
This is definitely on display in his new work, the soundtrack for Funny Birds.
We sat down with Juan Cortés to talk about this soundtrack and to dig deeper into how he brings music into his projects.
Let’s dive in.
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NO FILM SCHOOL: Congratulations on the upcoming wide release of the Funny Birds soundtrack! Can you start by telling us what initially drew you to this project?
Juan Cortés Arango: After working with Marco and Hannah on their last film, Anywhere with You, which was selected for Cannes in 2018 under the L’ACID program, I have always looked forward to their work coming forth. So when they showed me the Funny Birds script earlier in 2022, I was very excited to hop on board. The story that weaves in three generations of women in a family where love has grown distant feels deeply personal, and the emotional journey of forgiveness resonates with me on a personal level. In our initial talks, we determined that the music needed to reflect the vulnerability that holds the film together. Thus, we aimed for a simple and honest soundtrack to match the film’s tone and emotional depth. My working experience with Marco and Hannah was incredibly inspiring because we could easily bounce ideas off each other. Their sharp feedback helped us fine-tune the music throughout the process. I think we succeeded in creating a sound that not only enhances the characters and their journey but also draws the audience in on a deeper level.
You collaborated with several talented musicians on this project, including percussionist Andrew Maguire and pianists Tiffany Romanlouk and Ted Case. How did these collaborations shape the sound of the soundtrack?
As a composer, I enjoy the collaborative aspect of music and the sense of community that comes with creative inputs from all aspects of collaborations. Tiffany and Ted’s delicate piano skills and performance were essential in crafting the emotional core of the soundtrack, and Andrew’s percussion work added a unique layer of rhythm and texture. We recorded Andrew’s percussion here in Los Angeles live, and being in the same physical space with him allowed us to experiment with objects and percussion instruments at hand. His percussion adds a layer of mischievous playfulness to the score whenever it is present.
The soundtrack includes tracks like “Cabecitas” and “Funny Birds” with artist/singer/songwriter Elline’s vocals. Can you tell us more about the process of integrating vocal elements into the score?
I always find vocal performances the most intimate and human when it approaches a film score. When Marco and Hannah brought up the intention of using a song in a pivotal moment where Charlie, the daughter of the three women, is undergoing a significant transformation both physically and emotionally, vocal performances are what drew all of us in. We needed a piece of music that connects the montage sequence and captures the subtle, complex and powerful vulnerability that illustrates Charlie’s emotional journey – and that’s when I called Elline, a close friend and an amazing singer I’ve collaborated with extensively since college.
We worked on the lyrics with Adam Brock, whose musical style and poetic storytelling matched the film’s tone beautifully. Adam beautifully captured some deeply personal emotions through the lyrics that thematically reflects the storyline, and Elline’s vocals consummated the final song and the scene – Charlie had just shaved her head. We chose the title “Cabecitas,” which means “little head” in Spanish, as a playful and affectionate nod to this heartfelt moment of shaving her head alongside her mom.
How did you and your fellow orchestrator Gustavo Gini approach arranging the score to reflect the film’s multi-generational theme?
Gustavo is one of my favorite musicians and people. He’s incredibly gifted, and I learn something new every time we collaborate. He’s been a fantastic musical guide, offering valuable feedback on arrangements and concepts I share with him. Gustavo doesn’t just refine my ideas; he challenges me to elevate them, pushing me to polish and perfect them. We worked on arranging all the cues together, and his support throughout the process has been invaluable. We also invited Gustavo to Los Angeles to record one of the piano pieces.
‘Funny Birds’RB Films
The track “Green Pumpkins” has a unique title. How does this piece fit into the overall narrative of the film?
‘Green Pumpkins,’ like ‘Cabecitas,’ functions as a transitional moment in the film. This time, we see Charlie navigating her new role as a granddaughter after meeting Solange for the first time. We aimed to make this scene quirky and a bit clumsy, capturing the essence of Solange, who is masterfully portrayed by French New Wave legend Catherine Deneuve. The music helps convey the blend of awkwardness and charm in this pivotal moment, reflecting the unique dynamic between Charlie and Solange.
Were there any particular scenes or emotions in the film that were especially challenging to convey through your music?
Portraying Laura and her journey was quite challenging. Andrea Riseborough’s performance is incredibly powerful, so we found adding too much music to be overwhelming the scene instead of helping the scene. To address this, we committed to using very simple musical ideas and subtle variations on the main theme. This approach allowed us to maintain space for Andrea’s performance without overshadowing her impactful portrayal, all the while guiding the audience throughout the journey.
You’ve previously worked on films like Anywhere with You and Back to Lyla. How does your work on Funny Birds differ from or build upon your previous projects?
Working on Anywhere with You was a great experiment, kind of like going through puberty on creative terms, where some of my musical and storytelling choices were more intuitive than intentional. With Funny Birds, it feels more like heading off to college, where I become a lot more in control of the languages – be it the musical language for composition, the film language for storytelling, or how the former informed the latter. We’ve grown as creators and are much more precise in our work now. A big difference this time around is that Anywhere with You used a lot of licensed music from bands that fit the characters, while Funny Birds is carried entirely by the score. I think that shift really speaks to how our creative relationship has evolved. Even with this new level of maturity, we’ve kept the close relationship we’ve built since our first project together.
What were some of the most rewarding aspects of working on the Funny Birds soundtrack, both creatively and professionally?
It was definitely a professional milestone for us. The cast — Morgan Saylor, Catherine Deneuve, and Andrea Riseborough — were all incredible. Plus, having Martin Scorsese as an executive producer made it feel like a truly pivotal moment in our careers. Looking back, the real highlight was going through this journey with Marco and Hannah. I couldn’t be prouder of them and everyone involved.
Looking ahead, are there any new projects or collaborations on the horizon that you’re excited about and willing to share?
Yes! I’m thrilled to be co-scoring the upcoming third season of The Head, which is set to premiere on Max this fall, alongside my mentor and dear friend Federico Jusid.
