Hi Florencia, thank you so much for joining us!  I’d love to start with sharing with our readers a bit about your background.  How did you arrive at composing, and what has the journey been like?

I’ve always been surrounded by music. I was born to a family of musicians and film lovers. I started composing naturally and I started writing down the music I composed- I did it as a means to learn how to read scores. I know, a bit of a backwards process! When I came to be a concert pianist, during my years as a student in the New England Conservatory in Boston, I’ve always made up imaginary films to the music I was playing, I’ve always “seen” music. Composing for films came very naturally to me upon my arrival in Paris. I had the chance to meet a director, Gonzalo Arijon, with whom I started a longtime collaboration (Stranded, among other films) and learned all the technical aspects of film scoring as I was working. Nevertheless, I never quit composing for musicians, as I believe both activities nurture each other.

I heard your music described as “an orchestration of everyday life.”  I love this.  Can you share with us what you think of as your trademark sound?  What elements play in?

If I may say, one thing I know how to do pretty well is to orchestrate, with “traditional” Western instruments. Since the art of orchestration is the art of finding a particular timbre color with the combination of different instruments’ sound, I thought to myself, why not do so with non musical sounds that surround me. Less “noble” sounds if I may say, yet more true to life or in the case of a film, more true to the movie. That is why I love to include sounds from the film and mix them with musical instruments and create a cohesive score within the world of the film.

You’ve scored a ton of amazing festival films (Cannes, Berlin, Sundance, and more).  Can you tell us about some of these projects- what it was like working with the directors and what the collaboration was like?

Oh, it was just amazing! Each of these directors (and their fantastic editors) have given me the most amazing music composition lessons I could hope for. I learned about form, style, perception, even new instruments or folklores! But over all, it is the feeling of making chamber music with non-musicians. Haha. Maybe because I was a bit lonely as a concert pianist, working with a team and having a real close and personal creative dialogue is a dream come true. And yes, the grandeur of these festivals is a lot of fun, but it’s mainly about being proud of having a collective project seen and appreciated by vast audiences.

In addition to film scoring, you also write concert music!  You were a composer-in-residence with the Miami Symphony Orchestra- what was that like?  From where do you draw inspiration for music that stands alone (not to picture)?

I draw inspiration from music itself. I think that that is the main difference. Yet, it is difficult for me to write music without knowing who will perform it. I still need to visualize the performance. Luckily enough, when I write concert music it’s mainly commissioned, hence, I know who will perform it. 

I just listened to your score from Léa Mysius’ film Ava (readers, you can find this score on Florencia’s SoundCloud), and I loved it.  Can you speak about the film and the scoring process for this project?

Ha! This one was fun and a very dear project to me, as we’re starting our third collaboration together with (Academy Award nominated – Emilia Peréz screenwriter) Léa Mysius. First of all because I was pregnant with my twins Margot and Leonard. It was such a transforming experience to compose with two extra hearts beating inside of me… all the wild hormonal changes! I do believe they played a big role in the boldness and fearlessness of the score. My encounter with Léa Mysius and my relationship with her developed over the years- this is to me an example of an ideal collaboration with a director, based within an ongoing curiosity, creative freedom, and total trust.

I believe you live in Europe?  What is the film scoring scene like there?  Do you have any advice for our European members, who might be learning about how to seek opportunities, etc.?

Yes, I live in Paris! Totally addicted to this city and my current neighborhood (9th Arrondissement). During my two decades in Paris I have moved to pretty much every neighborhood. I work at home… no need to explain why sometimes it’s better for me to move, haha.  Although, now I think I found the perfect place. Right in the center of the city with a beautiful underground space where I can have my musical bunker with my Bösendorfer grand piano, my analog synths, guitars, etc. If I were to give an advice to fellow composers, it would be to naturally and organically approach film directors they feel connected to (it might be simpler to do that here in Europe than in the states) for example, at a festival or at a film premiere, and just chat with them and not be afraid to tell them how much you like their work and that you’d love to share yours with them. They’re people, just like us. They generally appreciate the love!

Lastly, are there any upcoming projects or works you can tell us about?  Or anything music or otherwise that has excited you lately?  What do you look forward to for the rest of 2025?

I recently had a commission from the Centre Pompidou to score a film posthumously released  by Terence Davies. A few months earlier I had scored his very last film. It was such an honor to have been able to work with such a legendary British filmmaker. I also recently had my second piano concerto played by the Mexico City Philharmonic. It’s super rare that a contemporary piece is played repeatedly and that concerto seems to please musicians and audiences altogether. I am just done scoring three long feature films and there is at least one that has huge chances of being in the official selection of this year’s Cannes film festival (yes, that was a scoop 😉 ), and I am currently starting to work on a feature film starring some of my favorite actors ever. A teenager’s dream come true! Once again, I feel blessed: on all of these projects I am working with directors that give me total artistic freedom, and since I work all by myself with no assistants at all- I can research, learn, and renew once again my understanding of music, film, art, and human relations altogether. That is what drives me the most; the human contact and the art that is conceived and born. 

Interview by Connor Cook

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