Adriana! You’re making waves in the film industry both as a composer and vocalist – so let’s just dive in! You have a new short film that will be released next year with Antigravity Academy and Dolby Creator Lab! What can you share with us about this brilliant collaboration?

Esin, first I just want to thank you for making me part of this beautiful section of such a special organization. It’s truly an honor to be included alongside all the incredible creators involved.

And yes, I’m beyond excited for this short film to come out next year! It was such a special, challenging, and interesting experience. The film was created by Andrés Estrada, a Venezuelan director I had the pleasure of working with before on another short called Audio y El Caimán. From that first collaboration, we just clicked and developed a really organic workflow and relationship. So when he reached out for this second project, our collaboration with Antigravity Academy and Dolby Creator Lab, called La Sombra de la Montaña, I was immediately excited, not just because of the amazing people involved, but also because of the type of creative process we wanted to try.

Andrés wanted to have some music in place while they were editing, so he gave me the script. Based on the story, my imagination of how the film would look, and his comments, I started creating sonic worlds and some themes for certain characters. That process was something I was especially curious to try with a director. Even though a lot of the music we created didn’t end up in the final cut, we built the core musical ideas that were so helpful as temp music. And I had a lot of fun experimenting even when things didn’t work, sometimes they ended up being really cool.

The photography and color of the film are also very important to me as a composer because they set the tone. In my head, I initially pictured it darker than it actually was, so I had to rearrange the music accordingly. This process really made me think deeply about emotions, feelings, attitudes, characteristics, colors, and even smells, which might sound crazy, but my sense of smell is actually very sensitive! It was challenging but also really special because it brought me closer to the story, the land, the spaces, and the context. And since it’s a story set in the mountains and I’m from the mountains, that connection was even stronger.

On top of that, I got the opportunity to have the music mixed in Atmos by Dolby. I had to think about how each instrument, sound, or element would move through space, front to back, top to bottom and explore all the possibilities Atmos provides. That was definitely a highlight of the experience. I’m really excited about this project, truly grateful to have been part of it, and I can’t wait for the release date in LA. 

You were recently the music editor for All We Cannot See, an official selection from the Tribeca Festival this year! Was there anything particularly inspiring and/or challenging for you when switching gears and working as a music editor?

I had the chance to work alongside Carlos Mosquera, who’s an incredible score mixer. I assisted him throughout the process, and it was really inspiring to see his workflow while also editing and prepping the sessions, so it was definitely a project in which I learned a lot. The music by Dudamel, the characters, the story, and all the people involved are truly something inspiring, and so I’m very grateful to have contributed and be part of such a special project.

You recently music directed and performed for a very special gala concert in Los Angeles, honoring Gustavo Dudamel and his time with the LA Phil. When coming up with the program for this night, how did you choose what pieces of music to honor from Latin America? How did you prepare to perform in front of one of your heroes?

The performance was created to honor Gustavo’s roots, so this section focused on Venezuelan folklore. We dedicated several songs to him, including one very iconic piece called Tonada de Luna Llena by Simón Díaz, which is one of Gustavo’s favorites. La tonada Venezolana, a very special genre in Venezuelan folklore, is actually my favorite too. Together with the production team, we decided to create a set of tonadas for the first part of the concert. This set established a mellow, mysterious, poetic, and rich atmosphere, so I chose pieces that I feel deeply connected to and that allow me to serve as a channel for the music.

I have a profound respect for our traditional music, and I also love exploring different ways of interpreting it instrumentally, harmonically, and even in phrasing and intention. Bringing in Liza Wallace on harp and Yonathan “Morocho” Gavidia on percussion was really interesting and beautiful, allowing us to create new interpretations while staying true to the essence of the pieces.

The second set was Afro-Venezuelan music, which is a completely different story, vibrant, upbeat, raw, and danceable. Based on what the team wanted this set to portray, we performed rhythms called Sangueo de San Millán and Golpe de San Millán, bringing in all the traditional drums played by Venezuelan musicians Aaron Serfaty, Euro Zambrano, and Yonathan “Morocho” Gavidia.

Honestly, after I said yes to this opportunity, I definitely had that moment of “What did I just agree to?” We only had about two weeks to prepare everything, so yes, it was hectic, but in a good way. I realized the enormous responsibility of performing for Gustavo and the LA Phil at such a prestigious gala. But I love challenges, and it became a beautiful motivation and a true privilege. At one point, I had a very genuine realization: this wasn’t just about me or us singing and playing these songs at the gala, it was about being a channel for all the people who would have loved and deserved to be in that position, expressing their voices. Before, during, and after that performance, I felt really connected to my culture, my people, my roots, and my community. Especially now, given the situation in Venezuela, sharing our music hits differently and is deeply meaningful.

Audio y El Caimán, a Venezuelan short that you scored, featured a lot of cuatro, a string instrument derived from the Spanish guitar. When you shared the news about this film on social media, you talked about feeling insecure as a result of not being a professional cuatrist but that shutting down the self-doubt and listening to your instincts helped you learn tons while composing this music. I think this is a very common hardship that composers face, but magic happens when we create past our insecurities. What are some things you learned about your creative voice and about writing for cuatro thanks to this film? 

Thank you for this question, Esin! Yes, it was both a beautiful and challenging experience. As you mentioned, I wasn’t a professional cuatrist, so I was definitely nervous. But in my first meeting with Andrés, the director, I was very honest about it. I told him I could play some chords, but I wasn’t a professional.

His response was really key. He said he wasn’t looking for a professional cuatrist at all. In fact, the idea of me not being a traditional player was even more interesting, because it meant I wouldn’t be using the instrument in a conventional way. That gave me so much motivation, even though my mind kept trying to trick me and make me overthink everything.

This experience really reinforced that letting your instincts guide you and not judging yourself is essential for creating. When I was recording, I even decided not to call an engineer because I was feeling vulnerable with my performance and didn’t want anyone waiting while I figured out the arpeggios or whatever I was trying to do. That taught me something important: limitations can sometimes become part of your authentic voice and identity as a creator.

Whether you’re singing or writing music, do you think the language of the film or song affects your creative process? If so, how? 

Absolutely!!! When I compose a score, I usually watch the film or scene and start by singing melodies. Then I move to the piano or other instruments. For me, the voice is always my first instinct.

When I’m composing a song and thinking about production, it’s really important for me to consider textures, sound design, atmosphere, and context. Sometimes the songs I create don’t follow a formula, and I think that freedom comes from the language of film, how storytelling and visuals influence the way I approach music.

Lastly, what are some things that excite you about 2026 and how/where can our readers find your most recent music?

Thank you so much, Esin, and thank you to AWFC for having me on this Q&A. Sharing these thoughts always helps me keep learning and growing. I’m very excited, as I mentioned, for the release of La Sombra de la Montaña. I’ll also be composing another short film called Petals on Whittier Blvd, by my dear friend and incredible director McCall Cadenas. It’s going to be shot on 16mm, which I’m super excited about. Alongside that, I’m working on a very special personal project, my first singer-songwriter/composer project, which I hope to start releasing next year. People can follow along and get updates on my social media. I’m excited to experience where 2026 takes me. Happy Holidays and Happy New Year. Sending love.

Interviewer:

Esin Aydingoz

Editor:

Michael Van Bodegom Smith

Check out Adriana’s Directory Page here!