Free Run Artists
Multiple award winning Cristobal “Cristo” Tapia de Veer is a Chilean born, classically trained musician, producer, arranger and multi-instrumentalist, composing music scores for film & TV, based in Montreal, Canada.
After obtaining his Master’s degree (with honors) from the ‘Conservatory of Music of Québec’, he plunged into the pop music world and got signed to Warner Music in 2001, putting a hold on his classical career.
His band One Ton reached number one in Canada in 2003 with the electro-dance single “Supersex World” and won the Canadian Dance Music Award (SOCAN). After a tumultuous tour the young band decided to split up.
He continued to work as an album producer and touring musician with a wide variety of bands, further enriching his pop music experience.
In 2011 he scored his first mini-TV series “The Crimson Petal and the White” (dir: Marc Munden, BBC2), nominated at the BAFTA’S 2012 for Best mini-series.
2 years later Munden and Cristo teamed up again to work on C4’s critically acclaimed cult series “Utopia”. The 2 x 6 episode long conspiracy thriller won an International EMMY Award 2014 for best drama series. His music for Utopia won several awards (both seasons) and became an international milestone in the scoring world.
In 2013, he composed the music for ICI-Radio-Canada’s new TV-drama “Série Noire” (dir: JF Rivard), for which he won twice at the PRIX GEMEAUX (Academy of Canadian Cinema and Television) in 2014 and received a third trophy for the second season in 2016.
Later that year, he began work on the BBC One mini-series “Jamaica Inn”, directed by BAFTA award-winning Phillipa Lowthorpe.
The following year, AMC / C4’s co-production “Humans” became C4’s biggest drama hit in 20 years and got nominated for best drama series at the BAFTAs 2016.
His first feature film “The Girl with all the Gifts” opened the Locarno Film Festival and was released in fall 2016 (distr: Warner UK). Cristo won in the best original music category at the 24th Festival International du Film Fantastique Gérardmer 2017, the film also won the public choice award.
The same year Cristo was awarded a Golden Fipa 2017 (Festival de Film de Biarritz) as well as a BAFTA for C4’s mini-series “National Treasure”, which was hailed among critics as the most powerful series of the year.
BBC-America’s “Dirk Gently’s Holistic Detective Agency” has been released in fall 2016 and has gathered cult status amongst its fans on Netflix worldwide.
Recent releases include 2 episodes of “Philip K. Dick’s Electric Dreams” (Amazon, C4), for which he received an EMMY nomination, as well as the higly acclaimed season 4 finale of Netflix’ dark sci-fi anthology series “Black Mirror”.
SOCAN honoured Cristo with the prestigious International Achievement Award in fall 2017, marking the first time that a composer for film and television has been awarded the prize. Previous recipients of the award include bands such as Arcade Fire.
Due to his monumental success, Cristo was invited to be part of the jury at the 1st edition of Canneseries in France. CANNESERIES aims to highlight series from all over the world and to give an international voice to this increasingly popular and fiercely creative new art form.
List of directors Cristo had the pleasure working with (in alphabetical order):
Collaborations as arranger and co-composer include:
Black Museum (EP6) is the season finale of Netflix’ dark standout series Black Mirror.
This sci-fi anthology series explores a twisted, high-tech near-future where humanity’s greatest innovations and darkest instincts collide.
We first meet Nish (Letitia Wright), a young black women traveling through the southwest, who finds her way to the Black Museum. Uncoincidentally, the ominously-titled roadside institution is a collection of techno-crimes assembled by its devious white proprietor, Rolo Haynes (Douglas Hodge), a man with an appetite for the carnival and the criminal. The heroes and villains that furnish the anthology series have never wanted for audacity, but Haynes’s huckster bile manages to feel singularly evil, an opportunistic sociopath in the vein of P. T. Barnum.
The episode’s first flash of genius comes with the introduction of the museum itself. It houses “authentic criminological artifacts,” many of which are from previous Black Mirror episodes—including tech (the cloning device from “USS Calister”; an ADI from “Hated in the Nation”), sinister curios (the bathtub from “Crocodile”), and personal memorabilia (the tablet from “Arkangel”). Delicately, Brooker positions the Black Mirror universe within a linear narrative, bookending his galaxy with a beginning and perhaps an even more terrifying, unforeseen end. It’s a museum built on a mad dream, but also one imbued with a difficult truth: that all of us—the inventors, the thrill seekers, the intrigued, the “race-hating rich guy with a hard-on for power”—are in some way complicit in the society we create, and especially in its outcome.
Akin to the show’s haunting holiday special, “White Christmas,” “Black Museum” plays out in a nightmarish triptych, massaging three seemingly disparate stories into a single narrative. Haynes comes from a career recruiting people on behalf of a cutting-edge neuro-tech company, and his stories detail the use of devices that offer the ability to feel another person’s physical sensations, or even transfer one person’s consciousness into another’s mind. The final arc details the story of Clayton Leigh, a black man accused of murdering a journalist. He’s sentenced to death but agrees to sign over his digital imprint, in hopes that the revenue from its use will provide for his family once he’s gone. The three stories are threaded together not just by Haynes’ nefarious puppeteering but by Brooker’s insistence on proximity: Each character—a down-on-his-luck doctor, a mother in a vegetative state, a man who maintains his innocence—desperately wants to remain connected to the world, and the people, around them.
It’s a victory, and an ending that defies the natural biology of the series—and in being so, it’s a form of reparation not everyone will understand. Sophie Gilbert at The Atlanticaccused the episode of trafficking in “eye-for-an-eye justice,” asking: “Is this really the world we want?” Adi Robertson at The Verge was equally miffed by Brooker’s scope. “If anything,” she wrote, “it obscures the industrial-scale cruelty of mass incarceration by focusing on one man’s roadside attraction.” For me, that’s the point of “Black Museum”—the cruelty of the prison system, while a massive and horrific enterprise, is a deeply personal one. It reaches families, mothers and sons, daughters and fathers, on a one-to-one level. It’s a national crisis built on private pains, of people trying to find their way back to loved ones. Brooker’s macabre futureworld is proving increasingly true for us, and for the time being we’re stuck in the loop, beholden to innovations that will continue to amplify hate and cause destruction, but there’s still a way to fight for what you believe is right, for what is right. What’s more real than that?
Written by Charlie Brooker;
Directed by Colm McCarthy
Starring Laetitia Wright, Douglas Hodge, Daniel Lapaine and more
released: September 2016
Sci-Fi / Thriller
The near future; humanity has been all but destroyed by a mutated fungal disease that eradicates free will and turns its victims into flesh-eating “hungries”. Only a small group of children seem immune to its effects.
At an army base in rural England, this group of unique children are being studied, subjected to cruel experiments by biologist Dr. Caldwell. Despite having been infected with the zombie pathogen that has decimated the world, these children retain normal thoughts and emotions. And while still being subject to the craving for human flesh that marks the disease these second-generation “hungries” are able to think and feel making them a vital resource in the search for a cure.
The children attend school lessons daily, guarded by the ever watchful Sergeant Parks. But one little girl, Melanie, stands out from the rest. Melanie is special. She excels in the classroom, is inquisitive, imaginative and loves her favourite teacher Miss Justineau.
When the base falls, Melanie escapes along with Miss Justineau, Sergeant Parks and Dr. Caldwell. Against the backdrop of a blighted Britain, Melanie must discover what she is and ultimately decide both her own future and that of the human race.
Directed by Colm McCarthy (Doctor Who, Sherlock) with Glenn Close, Gemma Arterton, Paddi Considine and introducing Senia Nanua.
Written and adapted by Mike Carey, The Girl with all the Gifts is produced by Camille Gatin and Angus Lamont, company credits include Altitude Film, Poison Chef, BFI Film Fund.
About the writer:
Mike Carey first came to prominence within the world of comic books, writing the Lucifer series at DC Vertigo, Hellblazer for DC, X-Men, Fantastic Four and adapting Orson Scott Card’s Ender’s Shadow for Marvel amongst other titles. He also wrote The Unwritten which has made the New York Times graphic novel bestseller list and was awarded Comic Con’s Inkpot Award in 2012. More recently, Carey has moved into prose fiction with thrillers such as The Dead Sea Deception(under the pseudonym of Adam Blake), fantasy novels The City of Silk and Steeland The House of War and Witness and the Felix Castor novels. The Girl with all the Gifts is his most recent novel, published in 2014 to critical acclaim and attracting multitudes of fans including writer-director Joss Whedon who proclaimed it to be: “Heartfelt, remorseless and painfully human . . . as fresh as it is terrifying. A jewel.” (source: Orbitbooks)
RELEASE DATE: OCTOBER 22nd, 2016, BBC AMERICA
Penned by Max Landis and from the producers of The Walking Dead, the series is a comedic thriller that follows the bizarre adventures of eccentric “holistic” detective Dirk Gently (Samuel Barnett) and his reluctant assistant Todd (Elijah Wood). The series is an adaptation of Douglas Adams’ (Hitchhiker’s Guide to the Galaxy) wildly successful comic novels, Dirk Gently’s Holistic Detective Agency, and is set in the unexpected world of the hyper, absurd, eponymous detective.
This season, Dirk and Todd wind their way through one big, seemingly insane mystery, crossing unlikely paths with a bevy of wild and sometimes dangerous characters, each episode landing them a few random steps closer to uncovering the truth.
Oscar-winning director Dean Parisot will direct the series’ first two episodes.
In addition to Barnett and Wood, the series also stars Hannah Marks as Todd’s sister Amanda, a former rebellious punk riot grrl, now sidelined and housebound by a painful genetic disorder.
The latest additions to the cast include: Jade Eshete as Farah Black, the athletic, self-doubting, badass, hyper competent but utterly anxious Security Officer to a billionaire; Mpho Koaho as Ken, a nerdy, friendly-faced tech trapped in increasingly difficult and bloody circumstances; Fiona Dourif as Bart Curlish, the terrifying, homicidal, deranged, fearless and nearly invincible self-identified “Holistic Assassin”; Michael Eklund as Martin, violent ring leader of the Rowdy 3 with an inexplicable sensitive side; Miguel Sandoval as Colonel Scott Riggins, beleaguered CIA head of a defunct secret bureau investigating the paranormal; Dustin Milligan as Sergeant Hugo Friedkin, Riggin’s subordinate, unpredictable, wildly ambitious and dangerous moron; and Aaron Douglas as Gordon Rimmer, an enigmatic loser with an impressive series of horrible secrets. Also joining the inaugural season is Neil Brown Jr. as Estevez and Richard Schiff (The West Wing) as Zimmerfield, missing person’s detectives operating increasingly off book as they follow the trail of a complex and mystifying case. Additional casting for the series will continue over the course of production.
When asked about casting, show creator Max Landis responded: “I couldn’t be happier. We got such wonderful actors, it’s really a shame we’re killing so many of the characters.”
“Douglas Adams might have said we ended up with the cast we were meant to have. I’d add we’re extremely happy about it,” said showrunner Robert Cooper.
NATIONAL TREASURE is a gripping and highly topical 4-part mini-series, written by multi-award winning screenwriter Jack Thorne (Harry Potter and the cursed child, This is England) and directed by BAFTA-winning director Marc Munden. The cast is headed by Robbie Coltrane, Julie Walters and Andrea Riseborough.
The series follows Paul Finchley, an ageing, beloved comedian, a hero to TV audiences and peers alike, after he is arrested following an allegation of rape dating back to the 90’s. The four-part drama follows the story from arrest through to verdict and focuses both on the investigation, and the effect of the case on Paul, on his wife of 40 years, Marie, and his troubled daughter, Dee.
National Treasure is a story that goes behind the headlines to look at the human and emotional impact when the whole life of a family is called into question. It explores memory, truth, doubt, and how well we really know ourselves and those close to us.
The drama was first unveiled during last year’s Edinburgh TV Festival. “What I’ve always loved about Channel 4 is that it’s a place to discuss big ideas. (J.Thorne)
“National Treasure is a piece about doubt, about the smell of abuse, about how we as a society live in Yewtree times. Paul is a man who could be innocent or guilty. We’re going to examine him from all sides and ask that big question – how well do we know the people closest to us?”
National Treasure is produced by new production company The Forge for Channel 4.
HUMANS, an adaptation of the award winning Swedish series Real Humans, the drama, produced by Shine’s Kudos (“Utopia”, “Broadchurch”), is set in a parallel present where the latest must-have gadget for any busy family is a ‘Synth’ — a highly-developed robotic servant eerily similar to its live counterpart.
Written by British writing partnership Sam Vincent and Jonathan Brackley (Spooks, Spooks: The Greater Good), Humans is based on the award-winning Swedish sci-fi drama Real Humans.
Cast: Oscar winner William Hurt, Katherine Parkinson (“The Honorable Woman”), Tom Goodman-Hill (“Mr Selfridge”), Colin Morgan (“The Fall”), Rebecca Front (“The Thick Of It”), Neil Maskell (“Utopia”) and Gemma Chan (“Fresh Meat”) and Will Tudor (“Game of Thrones”).
Synopsis: In the hope of transforming the way they live, one strained suburban family purchases a refurbished synth only to discover that sharing life with a machine has far-reaching and chilling consequences.
Hurt plays George Millican, a widower who has formed a close relationship with his out-of-date synth Odi, who he treats more like a son than a piece of machinery.
Parkinson plays Laura, a woman who seems to have it all — a great career as a lawyer, a loving husband, three children. But inside she’s struggling with her own unresolved demons. In a misguided attempt to help the situation her husband Joe, played by Tom Goodman Hill, buys a Synth. Played by Gemma Chan, Anita is the pliant, servile automaton that all Synths are supposed to be — but every now and then, she does something inexplicable. Something almost human.
Morgan joins the cast as Leo, who’s desperately trying to track down someone from his past; Front plays the overbearing carer synth, Vera; and Maskell takes on the role of police officer Peter Drummond, who works for the Special Technologies Task Force.
“…six weeks of politically terrifying, narratively sophisticated and stylistically idiosyncratic, conspiracy drama for brain users…” Guardian
“Dark, intelligent, striking and ambitious – it makes a mockery of claims that UK TV cannot compete with high-budget US drama…” DigitalSpy
“Utopia has become a clear-eyed dissection of conspiracy fiction. Pragmatic, idealistic, cynical and naïve all at once, it remains one of the most interesting pieces of TV made in the 21st century…” Filmdivider
“Utopia is a domestic thriller that can equal the current output of American television. The six part series revolves around a group of graphic novel fans who discover a terrible secret. Stylish, intelligent and cinematic the show has now been confirmed for a second series in 2014.” (text:Silva Screen)
Enigmatic conspiracy thriller, written by Matilda the Musical co-writer Dennis Kelly for Channel 4. Tom Burke (The Hour), Rose Leslie (Game of Thrones), Trystan Gravelle (Mr Selfridge), Michael Maloney (New Worlds) and Ian McDiarmid (Star Wars) join the ensemble cast which includes; Fiona O’Shaughnessy (Jessica Hyde), Alexandra Roach (Becky), Nathan Stewart-Jarrett (Ian), Adeel Akhtar (Wilson Wilson), Oliver Woollford (Grant), Paul Higgins (Dugdale), Neil Maskell (Arby) and Geraldine James (Milner).
The second season of the six part series by Dennis Kelly (Matilda, Black Sea) is directed by Marc Munden (ep 1-3) and Sam Donovan (ep 4-6); produced by Bekki Wray-Rogers (This is England 88) by multiple award winning Kudos Film & TV, with an original soundtrack by Cristobal Tapia de Veer. Executive producers are Karen Wilson (Hustle, Spooks), Jane Featherstone (Broadchurch, Life on Mars, The Hour), Dennis Kelly and Marc Munden.
David Fincher (Fight Club, House of Cards) will direct the US-remake for HBO.
What else can we tell you? Well nothing actually, otherwise we’d have to send Arby round to kill you.
OST available on all platforms, released through:
Silva Screen Records
Utopia official page
This article , written by Phil Harrison for The Quietus, really says it all:
MI5 operative Milner is telling conspiracy theorist-turned double agent Wilson about the requirements of his new job. Wilson sighs. “Am I capable?” he asks, despairingly. Exchanges like this are inevitable when the paranoid but creative vigour of the ’70s meets the impotent languor of the current decade; a decade so indistinct and underpowered that it doesn’t even have its own nominal abbreviation. And the thing is, Wilson’s doubts are entirely well-founded. He probably won’t be capable of anything much beyond acting as a bewildered patsy. But that’s okay. Because nothing much beyond that will be expected of him. Both Milner and Wilson himself know that he’s at the mercy of forces way beyond his control.
In early 2013, the first season of writer Dennis Kelly’s conspiracy thriller Utopia made a splash on C4 thanks to its expertly calibrated mixture of tangled plotting, jarringly atmospheric direction and stylised ultra-violence. The first episode of this second run takes us right back to the beginning. What were the roots of the Janus population control conspiracy? How did the protein containing the Janus DNA end up in the bloodstream of tormented Tank Girl Jessica Hyde? And how did Milner become so jaw-droppingly cold-blooded?
This season two opener is a bravura exercise in the detournement of real-world history in order to milk its story-telling, myth-making potential. Utopia reimagines the present and future by reinventing the past. As such it’s both an astute critique of conspiracy theories and a willing participant in their possible creation. Were the assassination of Airey Neave, the 1979 vote of no-confidence in the Labour government and the Three Mile Island nuclear disaster linked? Of course not. But even so, Kelly plays audaciously fast and loose with dates, means and motives in order to construct his disturbing, mischievous thesis. And, as he juggles with the lingua franca and events of the ’70s, his series has plenty to tell us about today’s TV landscape too.
Is there a common thread running through current British TV? Consider the ’70s, where we join Milner, Jessica et al as they stumble around in the power blackouts and wallow in the filth of the winter of discontent. Think of a contemporaneous show which is now established as a key component of the British TV canon. Porridge maybe, or The Good Life or The Fall And Rise Of Reginald Perrin. What oddly subversive pieces of mainstream, prime-time entertainment they now seem. A querulous and dissenting career criminal with whom we’re supposed to identify and sympathise? A pair of suburbanites who reject conformity and materialism and mock their aspirational and conservative neighbours mercilessly? A man driven to suicidal despair by the world of work and the intangible nausea generated by a settled but bloodless family life? And all of these played for laughs? The 70s were weird. Looking back, the asylum really does appear to have been left in the hands of the lunatics.
But what of the ’80s? Consider the unashamedly polemical fury of Boys From The Blackstuff. Or the visionary strangeness of The Singing Detective. Even ITV’s hardscrabble recession fable Auf Wiedersehen Pet looks surprisingly pointed and gritty in retrospect. These were shows with real energy and vitality; with ideas that unnerved and polarised and characters who clearly articulated their creators’ visions. By the ’90s, the Soviet Union had collapsed and it was decreed in some quarters that history had ended. Accordingly, the decade’s keynote TV began to gaze inwards towards family, friends and workplaces – think Cold Feet and This Life. The best of it, exemplified by the work of Chris Morris, self-reflexively critiqued the medium itself. The post millennium TV ‘golden age’, meanwhile, saw British drama dwarfed by US imports like The Wireand The Sopranos which offered universality by probing the dark heart of unchallenged, unrestrained capitalism.
Drawing a line between Porridge and The Wire might seem like a tenuous exercise. But what all of these shows had in common was characters with clear, firm, fearlessly expressed points of view. And that’s remarkably rare in today’s TV landscape. For now at least, the idea of television as comfort blanket has won. In fictional terms, its victory manifests itself in everything from the ‘dark’ but predictable, tabloid agenda-driven horror-schlock of Broadchurch to the simultaneously earthy and fantastical communal warmth of shows like Stella and The Cafe. And it’s in this context that Utopia is so interesting – because it feels like a genuine attempt at truth-telling and a very honest recognition of powerlessness.
What Utopia seems to be suggesting is that there are no more heroes anymore – or if there are, they’re rendered impotent by the scope of their mission. It might seem like a paradox in the light of our current societal fetishisation of the notion of choice but recent British TV heroes (or indeed anti-heroes) with real agency are comparatively rare. Instead, things happen to them. And so it is in Utopia. None of the characters here are taking back power or even, like Reggie Perrin or Norman Stanley Fletcher, vainly but heroically challenging it. Instead, they’re cowering in the face of it; they’ve found themselves – pretty much by accident and misfortune – in the middle of a vast, incomprehensible, impossibly wide-reaching conspiracy that they can’t hope to understand. It’s telling that Ian’s reason for re-engaging with the Janus project in season two is simply that he wants his girl back. Why would he go anywhere near it otherwise?
So, if powerlessness is the key to much of this decade’s TV, how did we get here? We hear so much about the crisis of disengagement – how politics and civic life has never seemed more poisonous or more irrelevant to those who have to live with the decisions made on their behalf. We’ve all come to the conclusion that power is not maintained by politicians – and Utopia‘s central plot is fuel for those who point to lobbyists, hidden hands and corporate interests as the unaccountable wielders of real power. Government ministers in Utopia are ideologically neutral. They’re also cynical and more to the point, helpless – doomed to drift listlessly without the steering of drug companies and omnipotent secret service operatives.
But eventually, even this feels like a smokescreen. And this is the source of both the true horror and the true brilliance of Utopia. Most dramas play with fairly well-worn signifiers of ‘darkness’ – paedophile rings, people trafficking, state secrets, espionage and corruption. But usually, it’s possible to dismiss these as either ugly singularities or wild speculations. But at the heart of Utopiais the crisis of over-population. And ultimately, over-population is the elephant lumbering around in the real world’s living room. The realpolitik facts surrounding it are impossible to ignore and this knowledge adds both a layer of possible plausibility and a grim moral dimension to Utopia – faced with these fast-encroaching realities, who can really say which potential solutions are defensible and which are grotesquely fascistic? The viewers of 1982 knew what they were supposed to be thinking about Boys From The Blackstuff. But which side are we supposed to be on here? The dilemmas bedevilling the characters are reflected right back at the viewer. Now that really is powerlessness.
Dennis Kelly is, of course, well aware of this. Indeed he’s stated that he chose this issue to animate the black heart of Utopia precisely because it’s the problem that defies the good intentions of the most rational, liberal and progressive among us. For all the fond humour at the expense of conspiracy theorists and graphic novel nuts, the drama can’t help but point out that a crisis is being wilfully ignored by the rest of us because it’s simply too vast and terrifying to be truly reckoned with.
And it’s here that Utopia stops being simply a drama and becomes a satire too. Firstly, there’s the show’s immaculate branding – somewhere between a drugs company and a mid-market fashion label and something that no pre-millennial TV drama would have felt remotely necessary. But what is a brand if not someone else’s imposed and idealised version of reality? And so – Utopiaseems to be saying – how do you like this reality? Then there’s the horrific, stylised violence – most often perpetrated by Arby and Lee who come across as the terrifyingly yet amusingly blank result of a focus group study of the banality of evil. It’s simultaneously guiltily titillating and utterly chilling. Because for all of the violence’s artful invention, in this just-about plausible version of reality, this is how things get done. Most pointedly of all, the climax and trigger of this series looks set to be ‘V-Day’ – a delicious parody of one of those pointlessly feel-good Sport Relief-style communal backslaps – this time involving the supply of medicine to the developing world. And underpinning all of this, there’s the distinct absence of any solution that wouldn’t cause utter outrage if suggested in public and therefore, a big problem that isn’t going anywhere.
So, with its unique and heady mixture of black humour and existential impotence could Utopia be the emblematic TV drama of the decade? Quite possibly. We live in the age of algorithm-driven consumerism, of capitalist realism, of state surveillance that’s no longer hidden but seems almost entirely accepted anyway. We live in a world which has just reacted to an unprecedented crisis of capitalism by destroying essential public services in order to restore almost exactly the same system that caused the collapse. We live at a time when our knowledge of the extent to which our institutions are dysfunctional and corrupt is matched only by our disinclination to challenge them. And, as this series seems to be saying, the scariest thing is, that’s by no means the worst of it. Utopia indeed.
“This comes courtesy of François Létourneau and Jean-François Rivard, the same writers behind Les Invincibles, one of the most acclaimed series on Quebec TV over the past decade. This time ’round, the comic-drama focuses on two TV scribes, Denis (Létourneau) and Patrick (Vincent-Guillaume Otis), who’ve penned a cheesy crime-legal drama La loi de la justice, which has turned it into a bit of a hit.
But the critics have just savaged the show. In spite of the bad reviews, the network wants a second season and that sends our two anti-heroes into an existential crisis. They decide they have to make the writing more real…by living it. So by episode two, they’re trying their hardest to get arrested by the cops, in a totally-hilarious scene at a local massage parlour.
It has some of the quirky humour of Les invincibles and, in fact, both main characters are just the sort of mopey, angst-ridden males that made the first series so appealing for so many (and irritating for others). It’s also often very, very funny. There is a real complicity between Létourneau and Otis and they get help from a terrific supporting cast, notably Guy Nadon as a B-rate actor and Édith Cochrane as Denis’s wife.
In the U.S., this kind of edgy fare plays on cable networks like HBO and it’s intriguing that one of the two big generalist local networks has no trouble counting on this as one of its marquee prime-time dramas. Only in Quebec.” (text: The Gazette, Brendan Kelly)
La nouvelle série de François Létourneau et Jean-François Rivard (créateurs de “Les Invincibles”), une comédie dramatique en diffusion sur Radio-Canada des le 13 janvier 2014.
“Série noire raconte l’histoire de Denis Rouleau (François Létourneau) et de Patrick Bouchard (Vincent Guillaume-Otis), deux scénaristes dont la série télévisée, La loi de la justice, a reçu de fort mauvaises critiques. Pour se donner de l’inspiration afin d’écrire une deuxième saison, le duo se met en danger pour vivre des situations folles, fertiles en rebondissements.” (text: Radio-Canada)
NOW on Netflix with English subtitles!
A bold new adaptation of Daphne du Maurier’s classic novel, adapted by Emma Frost (The White Queen, Consuming Passion) and directed by BAFTA award-winning director Philippa Lowthorpe (Call The Midwife, Five Daughters), this gripping and haunting 3×60 serial is made by Origin Pictures for BBC One.
Jessica Brown Findlay (Downton Abbey, Labyrinth) will star as Mary Yellan, Matthew McNulty (The Paradise, Room At The Top) as Jem Merlyn, Sean Harris (The Borgias, Southcliffe) as Joss Merlyn, Ben Daniels (The Wipers Times, House Of Cards) as Davey, Joanne Whalley (The Borgias, Gossip Girl) as Aunt Patience and Shirley Henderson (Southcliffe, The Crimson Petal And The White) as Hannah, in this adaptation set in 1821 against the backdrop of the windswept Cornish moors.
Hugo Heppell, Head of Investments at Screen Yorkshire and Executive Producer on Jamaica Inn, says: “Emma Frost, Philippa Lowthorpe and Origin Pictures have delivered a ‘Jamaica Inn’ that is visceral and authentic, and while being true to Du Maurier’s classic, brings the sensibility of a Sergio Leone film, or Altman’s McCabe and Mrs Miller.
“It features fabulous performances and brilliant production design from Grant Montgomery, showcasing the world class talent that our region has to offer film and TV producers .’’
Producer David Thompson said: “We were thrilled to have the opportunity to revisit Yorkshire to film large parts of ‘Jamaica Inn’, which is a particularly rich source for period locations, providing us with huge possibilities to adapt this much loved novel for the screen.
Text: Origin Pictures, The Examiner (BBC’s Easter blockbuster…”)
Romola Garai, Chris O’Dowd, Gillian Anderson, Richard E Grant, Shirley Henderson, Amanda Hale and Mark Gatiss star in a bold four-part adaptation of The Crimson Petal And The White adapted from Michel Faber’s best selling novel by acclaimed playwright and screenwriter Lucinda Coxon and directed by award-winning Marc Munden (The Devil’s Whore, The Mark Of Cain), produced by Origin Pictures for the BBC.
Mirage of El Dorado leads us far into the Andes of northern Chile, where a pitched battle takes place between a farming community and mining giants like Canada’s Barrick Gold and its Pascua Lama project. The good, the bad and the powerful play for keeps in our political cowboy flick where radically different views of development collide. Check it out here: Mirage of Eldorado
released on the Atmosphere Label, “”A future darkly” is a stellar soundtrack music for a post apocalyptic world, a dystopian science fiction thriller. Et voilà: A Future Darkly
“…No kidding, no messing, and no need to reach for the spoon in order to tell the truth: Cristobal Tapia de Veer’s score for Utopia 2 really is the best TV soundtrack of the year…” Read the full article here
“…For “Humans,” the overarching goal is to make the music askew the stereotypical cold, sci-fi sounds usually associated with the genre… The music often creates an eerie ambiance for the human-to-human and human-to-synth interactions.Tapia de Veer’s compositions aim to tap into that aspect of the story. “I don’t really know what to call the sound of the score,” he admits. “I wanted [the] strangeness of being in that situation. It’s so radical and different from than how we feel, to have to deal with these machines. You have to feel a bit alien…” Read the article here
“In a companion piece of sorts to his excellent work on Utopia (across two vinyl albums if you can find them), Tapia de Veer returns with a heavily ‘synth’ laden score (that’s a pun if you know the show…) for AMC/C4 joint venture Humans…” Read the article here
“…The superb background music by Cristobal Tapia de Veer ranges from eerie childlike electronica to full-scale choral music that sounds as if it’s being sung by a choir being burned at the stake (somebody’s watching, below)…” Read the article here
“…Score composer Christobal Tapia de Veer seems to have literally tapped into the minds and emotions of the Utopia cast. As a result of this musical genius, we are able to as well…” Read the article here
“…The innovation, quality and creativity of his work are unquestionable and his musical compositions prompt and allow the viewer to discover hidden feelings and emotions of the narrative universe of television series. His career has been intense, and his musical propositions are risky and courageous, focussing on a constant quest for new eclectic sounds and new techniques…” Read the full article here
“…While Utopia as a series may be finished, this compilation of de Veer’s music from the program is a more than wonderful send-off, and gives fans of the show a little more to dig into.” Read the full article here
“…As you all know, arguably the most important British TV series has just started its second run and we have once again been introduced to Cristobal’s on-the-money sounds. I was curious if the signature theme and other noticeable compositions would survive for series two. Thankfully they have, but they have also far exceeded my expectations because of the very delicate re-workings Cristobal has incorporated. They sound much richer and fuller now, like there is a lot more emotion heard in them, when before they were quite sterile (which is a good thing). The way the score has mirrored the change in mood from first series to second series has been nothing short of superb…” Read the article here
“…Centered around a conspiracy theory to sterilise the majority of the planet, the show was a triumph of clever casting, black humour, ultraviolence, spectacular cinematography, relentless pacing and an endlessly bizarre score. Save for the omnipresent hue of yellow in nearly every shot, the latter feature was perhaps Utopia’s calling card – something for which they’re indebted to Chilean born, Canadian based composer Cristobal Tapia de Veer. The classically trained de Veer – who has also composed for the decidedly different likes of BBC period drama Jamaica Inn and French series Seríé Noire, rightfully won a Royal Television Society Award last year for his work…” Read the full article here
“…Following Cristobal Tapia de Veer’s mind-expanding work on the dearly departed Utopia, the adventurous film scorer will now see a soundtrack release behind his most recent project, the android-geared sci-fi series Humans…” Read the full article here
“…To say that Tapia de Veer puts the ‘Original’ into Original Soundtrack is a cumbersome but necessary description of his work. (…) the time and effort that has gone into creating, recreating and mastering this highly ambitious score is more than evident. Fans’ patience has allowed Tapia de Veer the time to create an OST which is also an album of fantastic electronic music in itself and indeed, it would not be surprising to hear tracks from Utopia: OST onto dancefloors in the near future. That said, Tapia de Veer’s music is intimately connected with the storytelling of Utopia and re-watching the original ‘Coming Soon’ advert which drew me toward Utopia in the first place, Portishead’s ‘Chase of the Tear’ now seems like the soundtrack equivalent of an aged and ill-fitting cardigan. Tapia de Veer is a key creative force in Utopia’s genius, and as Series 2 approaches and looks to attract a wider audience, Channel 4 should look to harness his genius wisely…” Read the article here
“…This innovative conspiracy thriller was dark, quirky, stylish and cinematic. I absolutely adored it but something that stood out in particular for me was Christobal Tapia De Veer‘s incredible score. His unconventional sampling techniques and extreme processing of (his wife’s) vocals ticked all the right boxes for me. He managed to recode the unsettling nature and black humour of the series into music that works just as well when listened to in isolation as within the context of the show…” Read the article here
“…T: I love when I can’t imagine the film without it..I don’t know if you’ve seen the show Utopia yet, but thats a great example of the music being a really powerful character – and the show is amazing, but the music pushes it over the edge… just killer… it actually made me go back and redo a whole project I was working on, just the sounds he used, so unusual, uncomfortable and beautiful… the composer’s name is Cristobal Tapia De Veer, he’s brilliant. It kind of inspired me to ditch everything I was working on and start over [laughs]. C: Inspired me to give up! [laughs] T: Thanks a lot Utopia! [laughs] Yeah, thats a great example. It’s the only TV show or film where we actually “rewind” it on 4oD to hear the music again because it’s so good… it’s something that’s birthed from a show but totally stands on its own…” Read the article here
“The ambitious scores of Game of Thrones, Utopia and new US drama The Knick are bringing a new dimension to music on TV…” Read the article here
“…What really cements the unsettling atmosphere of the show is Cristobal Tapia de Veer’s score. The composer was given free rein to come up with a sound for the program, and his results are completely off the wall. In an interview de Veer said he used human bones as instruments during his recording sessions because of Utopia‘s level of death and violence in the story. He also used a trutrukra he played in the subway and a dried piece of rhino feces as instruments. It’s a wildly experimental score, and the usage of warped vocal samples throughout, especially the sounds of people breathing, make it the most unforgettable part of the series….” Read the article here
“Composer Cristobal Tapia de Veer has, thankfully, broken the mold entirely with his music for the BBC’s The Crimson Petal And The White… Abstract instrumentals with unintelligible vocal sounds – reminiscent of an avant-garde indie record – weave in and out of the episodes…. With Tapia de Veer’s music having contributed so much to the delicious darkness of this series we can only wonder “what took us so long?”, and hope to see more of the same in future.”Read the article here
“…There was the woozy, gauzy, brilliantly claustrophobic atmosphere – the product of Cristobal Tapia de Veer’s score and Marc Munden’s exceptional, stylish, unselfconscious direction. This was an adult drama in every sense, and as complex and rewarding as anything the BBC has produced. In a nutshell: core…” Read the article here
“…the composer, Cristobal Tapia de Veer, set out to subvert – he welded the squelchings and rumblings of modern electronica to a tableau from the 1870s in the way that Radiohead’s Jonny Greenwood did in his score for There Will Be Blood…” Read the article here
“…director (Marc Munden) makes refreshingly bold choices for the camera and the music. He uses hazy focus and off-kilter framing to set us off-balance, and the soundtrack ranges from gnawing electronic hums to choral ecstasy. It’s all brilliantly, effectively, appropriately jarring, even if it sends the “Masterpiece” crowd to the medicine cabinet for Dramamine…” Read the article here
This is the interview between Eclectic Collective and Cristobal Tapia De Veer, Chilean multi-intrumentist who composed stellar music scores like the new cult mini-tv series “Utopia” (Channel 4, UK) – winner of the RTS Craft & Design Award for “Best Original Score”. Read the article here
“…When asked to describe his musical style as a composer, de Veer thinks for a few seconds, and then launches into an explanation of his approach outside the film music profession’s conventions. “I like looking at the music of a film or series as if it were a character in itself,” he says…I like to occupy more space musically, and to give a defined character to the music. I like proposing a counterpoint to the emotion in a scene…”. Read the article here
As the second season of Channel 4’s riveting conspiracy thriller Utopia unfolds in front of us, John Connon of Wake The Town briefly sat down with the show’s composer Cristobal Tapia de Veer, to learn about his experience of working on such a unique project. Read the article here
“…The quiet tension that had been built up in the first episode is maintained throughout, thanks in large part to the wonderful score. In keeping with the country setting, it has a folk music feel to it with, capable of lighter moments alongside the more explicitly Gothic ones. There’s a few horror references in there with low strings blending in with the wind outside the inn. A piano section in the first episode called to mind John Carpenter’s Halloween theme, albeit briefly, and it has worked well with the visuals to continue the unsettling effect of Jamaica Inn. It works well alongside Philippa Lowthorpe’s direction, maintaining the grim atmosphere…” Read the article here
“…Cristobal Tapia de Veer a réussi un double exploit : celui d’avoir une bande-son allant parfaitement avec sa série mais aussi, et surtout, d’avoir créé une musique qui possède sa propre identité. La musique d’Utopia (…) vit sans les images qu’elle sublime par ailleurs. L’écriture complexe, allant bien au-delà de la sempiternelle répétition d’un thème via de multiples variations, apparente presque ce disque à un album de musiques expérimentales ou de musiques électroniques.Atypique et dérangeante, insolente et fraiche, la BO d’Utopia est un disque qui redonne ses lettres de noblesse au monde de la musique de film et de série. …” Read the article here
“…La musique. Oeuvre de Cristobal Tapia de Veer, musicien de Dance canadien, qui nous pond une musique sortie de merdes séchées et d’os, pour un résultat là encore hypnotisant. Trois composantes qui offrent un tout d’une cohérence artistique remarquable. Une claque visuelle. Tout simplement une belle série…” Read the article here
“…La foi de Cristobal C’est l’une des caractéristiques les plus relevées par les amateurs de la nouvelle série à sensation de Channel 4 : sa musique entêtante, obsédante, déconcertante, si déconnectée de la diégèse de la série qu’elle finit par tout emporter sur son passage…” Read the article here
“…Le contrepied musical humoristique offre la distance nécessaire qu’exige parfois la brutalité de l’action. La mécanique rythmée insiste sur les rouages de la machine infernale du complot. Les sons organiques tranchant avec l’électro popisante du laptop me rappellent le travail de mon camarade Sacha Gattino.(…) 75 minutes revigorantes !” Read the article here
“Utopía” (ver recuadro) es el último programa de culto inglés, y su participación sacó aplausos. Su música retorcida y oscura fue emparentada con las bandas sonoras de los filmes de David Lynch y la electrónica de Trent Reznor, de Nine Inch Nails. Aunque él hace sus distinciones. “Soy más cercano a Reznor y lo que hizo para la película de David Fincher ‘La chica del dragón tatuado’”, señala. Read the article here
“…Más complicado nos parece aún que todas estas influencias se combinen tan bien y produzcan un resultado tan magnífico como el que obtiene Cristobal Tapia de Veer en toda la banda sonora. Eso sólo puede lograrse cuando la personalidad del músico es tan fuerte que consigue crear un estilo propio que, nutriéndose de todos los demás, se muestra como una voz única e innovadora. Seguiremos muy atentos el trabajo de Cristobal porque nos parece que la suya es una de las propuestas musicales más atractivas que han surgido en los últimos tiempos. “Utopía” es, por méritos propios, un disco que ha pasado instantáneamente a nuestra lista de favoritos de entre los surgidos en los últimos meses. Os animamos, por tanto, a haceros con él. Creemos que no os decepcionará.” Read the article here
“…Obendrein ist “Utopia” auch noch ästhetisch ganz groß: Visuell ein kinowürdiger, knallig-comichafter Farbrausch und dazu ein Sounddesign, dem man anmerkt, dass sich hier jemand von der Titelmusik bis hin zu jedem einzelnem Geräusch verdammt nochmal Gedanken gemacht hat. Kurz: Jeder, der sich auch nur einen Funken für Serien begeistern kann, muss “Utopia” anschauen.” Read the article here
“…Die Sonne bescheint ein überkoloriertes, unwirkliches Land. Mag das Tageslicht in anderen Welten Trost spenden, hier erhellt es eine grelle Kulisse, hinter der Finsteres geschieht. Garniert mit derbem bis abstrusem Humor und einem hypnotischen Soundtrack, präsentiert sich die Gesamtkomposition wie ein Mix aus der Thrillerserie “Homeland” und der halluzinogenen Kindermär “Alice im Wunderland”…” Read the article here
“…wenn man uns persönlich nach unserem Serienhighlight 2013 fragen würde, so müssten wir Dennis Kellys beängstigend guten Sechstteiler an allererster Stelle nennen… Read the article here
“…He’s been a longtime favorite for us at AE35 Media. His combination of sound design elements and percussion always make for a moody backdrop that remains compulsively listenable. All of these songs are the ones he contributed to the album “A Future Darkly,” and can be heard on Spotify. To get a sample of his full genius tune into his SoundCloud.” Read the article here
“…Cristobal Tapia de Veer, o compositor da trilha original da série, completa o círculo técnico criando uma das melhores músicas que pude ouvir nesses últimos anos. Nervosa, inquietante e extremamente arraigada aos intentos do show, as faixas de Veer transportam para os notas aquilo que a cinematografia faz com as imagens. A teoria de conspiração está lá, representada por incongruentes sons que incomodam e motivam a decifrar aquele cenário. O músico não deixa barato e aproveita ainda um interlúdio emocional para usar uma das canções do grupo Coldplay, completando sua parcela de contribuição desta obra-prima….” Read the article here
“…The music produced is as eclectic as its instruments. Like a gallery of modern art it bypasses your logic centres and goes straight for a gut reaction. Its creepy electronic tones, unidentifiable moans and vocal rips make it an unsettling, often dislocating experience: one that leaves you feeling like the test subject at the centre of a maze of deviously-crafted sound experiments. Don’t try and pull apart and analyse what you’re hearing: just let it flow through you. Soak in it. Give in. Relent. Submit. Where is Jessica Hyde? It is challenging, bordering on the terrifying. But there’s also something irresistible about the oddness of it all…” Read the article here
“…Cristobal’s music has the staying power to live beyond its context within the screen…” Read the article here
“…2. The tone: The visuals and the soundtrack make Utopia one of the most idiosyncratic shows around. Shots are framed like comic book panels, acidic shades of yellow make their way into almost every scene, and the soundtrack is award-winning. It looks, sounds and feels like nothing else on TV…” Read the article here
“…Otro complemento de la serie que pone al director americano en problemas: ¿Qué soundtrack tiene pensado para explotar lo antes mencionado? Y más importante ¿Quién se encargará de este arduo trabajo? Si bien el chileno/canadiense Cristobal Tapia de Veer hace un trabajo excepcional perturbando a más de uno con su música en la serie, el verdadero meollo será, de nuevo, si se trata de poner las mismas canciones –y tener que pagar a derechos de autor- o si se creará algo nuevo a partir del guión escrito por el oriundo de Denver…” Read the article here
“…And let’s not forget the soundtrack. Quirky and atmospheric at the same time, I don’t know if Utopia would work as well without it…” Read the article here
“…Aside from superb acting and direction, other notable aspects of this miniseries are Lol Crowley’s rich, dreamlike cinematography and the haunting score by Cristobal Tapia de Veer….” Read the article here
“…Everything contributes to the claustrophobic atmosphere: the dreamlike, shallow-focus photography; the strange, breathy music (take a bow, Cristobal Tapia de Veer); and tiny details like the hissing of the gaslights on the landing of William’s house…” Read the article here
“…Y es que la banda sonora de “Utopía”, acompañada por el preciosismo estético de la serie, juega un papel determinante. El tema principal, versionado de mil formas, se repite como un mantra asfixiante que nos concentra todavía más en la acción. Una auténtica maravilla de un desconocido, Cristobal Tapia de Veer…” Read the article here
“…Die herausragende Dramaserie Utopia feiert mit der Finalepisode ihren krönenden Abschluss. Stilistisch und dramaturgisch übertrifft der grandiose Staffelabschluss die vorhergehenden Folgen noch einmal. (…) Die Musik flimmert und treibt, untermalt die Handlung mit einer gewissen Dringlichkeit und wirkt dabei nie pathosbeladen oder aufgesetzt. (…) Den Autoren und Produzenten von Utopia ist mit der ersten Staffel ein Meisterwerk gelungen, das spielend leicht Eingang in den weltweiten Serienkanon finden wird…” Read the article here
Un son original pour une série qui sort de l’ordinaire. Bruitiste, électroniqque, farfelue, envahissante, qui trotte et retrotte dans la tête comme un petit mouvement d’horloge, la musique de la série britannique Utopia est aussi atypique que l’image que l’on voit à l’écran. Pour les curieux qui voudraient découvrir le travail de cristobal tapia de veer et qui n’ont pas encore vu la série (qui est actuellement diffusée par Canal plus séries… et sur le net :-)), je leur conseille de chercher son nom sur Soundcloud où il propose des versions Unmastered de certains morceaux du disque qui donnent un un aperçu très juste du travail intriguant de ce musicien.
“…Outre le fait que la série soit bien ficelée avec son intrigue conspirationniste et surtout son côté décalé typiquement anglais, j’ai trouvé que la bande-son soutenait remarquablement bien le tout. Elle a été composée spécialement pour la série par le chilien Cristobal Tapia De Veer. On retrouve d’ailleurs dans ses compositions des sons issus de la série elle même comme par exemple le souffle lourd d’un des tueurs…” Read the article here
“…Dès les premières minutes, on remarque le caractère unique, intense, et presque magique de la série. L’atmosphère dégagée par la réalisation sans faute, les couleurs très stylisées, et la musique exceptionnelle du talentueux Cristobal Tapia de Veer nous envoûtent…” Read the article here
“…Munden ne s’est pas contenté de cela. C’est lui qui a imposé Cristobal Tapia de Veer pour la bande son est le résultat sonore est aussi éblouissant que la performance visuelle. Originaire de Santiago, Cristobal est un compositeur de musique électronique toujours en recherche de sons peu communs (il a utilisé d’authentique os humains pour enregistrer certains d’entre eux, ne me demandez pas pourquoi…). Le rendu est final est tout à fait singulier et correspond étroitement au travail de Munden…”
“…La banda sonora de Utopia, compuesta por el chileno Cristobal Tapia De Veer, se sale de lo común en cuanto a estilo y a calidad: una vez la escuchas no puedes vivir sin ella. Es algo así como electrónica experimental, minimalista y con un deje latino donde el ritmo; sonidos orgánicos y voces rarunas completan composiciones que casan a la perfección con el estilo de la historia…” Read the article here
“…El complemento perfecto para una serie extraña sobre un mundo extraño es una banda sonora extraña. Y decir esto es quedarse corto. En la búsqueda por generar una sensación de desconcierto, de situarnos empáticamente con unos protagonistas cuyo paradigma acaba de ser demolido hasta los cimientos, la música es un vehículo fundamental que no puede quedar relegado a un segundo plano. El artífice de las magnéticas melodías que adornan las imágenes generando semejante tándem hipnótico es Cristóbal Tapia de Veer, chileno que ya firmara la banda sonora de Pétalo carmesí, flor blanca, aunque más allá de esto sea un completo desconocido. No obstante, su falta de bagaje en absoluto es impedimento para que componga unas melodías plagadas de beats inarmónicos, ritmos rotos y secuencias confusas a la par que agradables que componen esta banda sonora de electrónica experimental con mucho toque minimal y que bebe de artistas como Tomáš Dvořák o el profético Thom Yorke. Una música rara rarísima, exótica, pero que en este contexto encaja sublimemente acentuando la sensación de estar construyendo un puzzle de un trillón de piezas diminutas…” Read the article here
“…Y por último y de nuevo con un papel protagonista a más no poder, nos encontramos con la alucinante banda sonora del músico Cristobal Tapia de Veer. Electrónica seca, dubstep, o como queráis llamarlo, pero es escuchar un par de segundos de sus temas y los pelos como escarpias. Psicodelia, tensión, caña de la buena. Encaja a la perfección con cada uno de los momentos de la serie. Silencios, sonidos raros como de muelles, susurros, juguetes, qué sé yo, convierten a este compositor en alguien imprescindible para llevar hasta el límite la intriga y la tensión de esta obra maestra de la televisión británica. Más abajo tenéis una muestra de lo que hace…”Read the article here
“…Sonidos de otro mundo en Utopía. (…) Antonio Martínez destaca una virtud de este trabajo: “Cuando una banda sonora está muy presente en televisión, carga. En Utopía, esta música electrónica minimalista está ideal, entra en los momentos justos, te prepara la atmósfera tan extraña junto a esa fotografía colorista y esos escenarios que no sabes si es el presente o el futuro. Ahí la música está magistralmente utilizada, solo entra cuando tiene que entrar”…” Read the article here
“…La música está hecha a la medida de las imágenes. El tema principal de la banda sonora es pegadizo y rítmico, inolvidable. En las escenas violentas se escuchan golpes, caídas, disparos, apuñalamientos, gemidos y gritos; tan realistas como si estuvieran ejecutando la paliza, tortura o asesinato en tu propia habitación. Tanto las canciones como gran parte de los efectos, resultan opuestos a lo que está pasando, para generar desconcierto y tensión: ritmos alegres mientras todo parece estar fallando y música oscura cuando parece que los buenos van a ganar…” Read the article here
“…La música de “Utopia” es rara de cojones, para qué andarse con rodeos. He dicho rara, no mala. Lo cierto es que, aunque cueste encajarla en la acción, nuestro cerebro se adaptará a su frecuencia de onda al segundo episodio y ya no podrá separar los chisporroteos de electrónica experimental –muchos juegos de voces superpuestos, beats digitales juguetones y efectos de minimal pop a la berlinesa– de la personalidad de la serie. Sin la música del chileno Cristóbal Tapia de Veer, autor también de la banda sonora de “Petal Crimson And The White”, “Utopia” perdería uno de sus elementos más exóticos…” Read the article here
“…El score de la serie corre a cargo del compositor chileno Cristobal Tapia De Veer, quien ofrece un trabajo que va en consonancia con las imágenes, rítmico y percusivo, lleno de instrumento étnica de todo tipo (solo hay que escuchar el tema central), y con sonoridades innovadoras y experimentales (como el corte Discolate Thumbs)…” Read the article here
“…Il creatore della sigla è un sudamericano. Eclettico, dal nome da perfetto eclettico musicale, Cristobal Tapia De Veer. Ti aspetti grandi cose da uno che si chiama Cristobal… E lui di strada ne ha fatta. Il pezzo, alla faccia dei moralisti, ha vinto un sacco di premi. E se li merita tutti. Nonostante che parte dei campionamenti derivino da ossa umane. Ossa umane, corna di rinoceronte e di giraffa. Suonati e campionati…” Read the article here
“…La banda sonora es otro plus. Compuesta por Cristobal Tapia De Veer, que adivinen: es chileno. Claro que viviendo desde los 15 años en Canadá, donde su familia se fue tras los años de dictadura en nuestro país….” Read the article here
“…Utopia coniuga il fascino per la cospirazione governativa, uno degli elementi base del buzz Internettiano, alla cultura nerd addicted, mai di moda come di questi tempi, filtrando il tutto attraverso una messa in scena di altissimo livello, dove la grande cura nelle ambientazioni e nella fotografia non è solo esercizio di stile ma parte integrante della narrazione, tanto quanto lo straordinario e straniante score di Cristobal Tapia de Veer…” Read the article here
“…La música, compuesta por Cristobal Tapia de Veer, es completamente distinta a la escuchada en cualquier otra serie… Sonidos que son música o música que son sonidos. Sin melodía reconocible pero que va calando en nuestro ánimo. Está ahí pero no la escuchamos. Desasosegante. Magnífica….” Read the article here
“…Además, y como dato anecdótico, su banda sonora es compuesta íntegramente por el Chileno Cristobal Tapia de Veer que calza a la perfección con la desestructurada ambientación y trama que nos expone la ficción. otro motivo para sentirse orgulloso de que un compatriota logró entrar en lo mejor de la televisión británica….” Read the article here
“…Es ist das allenfalls leicht überzeichnete Porträt einer heutigen, als stabil und wohlständig geltenden Gesellschaft, das diese Serie so beunruhigend macht.(…) Es ist eine Serie, die heute besser als “1984″ oder “The Day After” in den Schulen gezeigt werden sollte, weil sie auf der Höhe der Zeit ist…” Read the article here
“Wer noch immer nicht auf den Utopia-Zug aufgesprungen ist, kann einem nur leidtun: Auch die aktuelle Folge ist wieder pures Seriengold. (…) Zu der fantastischen Inszenierung, die auch nach dem Wechsel zum Regisseur Sam Donovan nichts an Qualität eingebüßt hat und dem stets genialen Soundtrack muss wohl nichts mehr gesagt werden. Volle Punkzahl. Mehr von einer Serie zu erwarten, wäre ausgesprochen utopisch.” Read the article here
“…„Utopia“ als „Akte X“ für Fortgeschrittene: Die Bösen sind kompetent, die Verschwörung überall und Jessica Hyde (links) gibt sich als Scully auf Crack.(…) Brillant in jeder Hinsicht. Kein Wunder, dass David Fincher bereits das US-Remake plant…” Read the article here
“…Punto para el amarillo Utopia, punto para el pulso firme de Arby y punto para la música del chileno Cristóbal Tapia de Veer que hace todavía más siniestro todo. La banda sonora es un lujo. La serie un imperdible…” Read the article here
“…Un plano técnico privilegiado que se contagia en la faceta musical, con el gran trabajo de Cristobal Tapia de Veer y que termina por apuntillarse con una realización impecable y una edición dinámica, atrevida y fresca. Creando con la unión de estos elementos un estilo propio, identificable, llamativo y estilizado, pero efectivo, y acorde con el tono comic que abraza la historia…” Read the article here
“…Mes meilleurs moments de Série noire? Le pH «fucké» de Léa (Caroline Bouchard), (…), les nombreuses références cinématographiques (merci pour Halloween de John Carpenter), la musique originale de Cristobal Tapia de Veer et la trame sonore béton…” Read the article here
“…Notons aussi que la musique, signée Cristobal Tapia de Veer, colle parfaitement avec le ton singulier de la série, enveloppant, rythmant et accentuant avec juste ce qu’il faut d’humour les aventures rocambolesques de la paire…” Read the article here
“…Original and funny, it was particularly exciting to discover the first two episodes of the series seen thanks to the Festival. We have to watch more to be sure but to help us, the music of the series is due to the composer of the strange and cult British series Utopia, Cristobal Tapia de Veer. In short, many reasons to quickly watch this series!” Read the article here
“…Esta vez hablaremos de Cristóbal Tapia de Veer, compositor chileno radicado en Canadá, quien compuso uno de los mejores soundtracks del 2013 cuando musicalizó de forma increíble la serie británica Utopia…”Read the article here