Cristobal Tapia de Veer says he checks for good “The White Lotus”.
After three seasons, the Canadian Chilean composer whose brand sounds have helped define the successful HBO series, said that he would not return to his fourth and last season. He blamed a growing ditch with Mike White, writer and director of the series.
Reached at his home in the north of Quebec, Tapia de Veer says he has moved away from the show for years, and now that he has cut the ties, said: “I’m just relieved.”
“I have been separating (IT) since season 1, but for various reasons, I came back.”
Tapia de Veer describes “The White Lotus” – a bizarre social satire that invariably descends from violence – like a gap compared to the type of projects on which he worked, which explains why his music works so well.
“For all those who have seen my other work,” he says, “it’s not my cup of tea, normally.”
His scores are greeted for having led thematic elements in a strange and convincing manner. In the science fiction television series “Utopia”, it was the disturbing confrontation of humans and technology, and her music for the erotic drama of Nicole Kidman “Babygirl” incorporated a playful and breathless sexual touch.
With “The White Lotus”, he created the familiar theme “Ooh-Loo-Looo” and injected powerful tribal elements that slip into his most dramatic moments.
But he says that the creative differences with white on the direction of the score degenerated during the realization of the third season in Thailand, and Tapia de Veer says that this led him to put an end to the partnership.
While many have been controversial on the theme song of season 3 and the absence of its famous trademark “Ooh-Loo-Looo”, Tapia de Veer says that many other factors have contributed to his departure.
Before the final of the season, broadcast on Sunday in Crave, he spoke with the Canadian press of conflicts, controversies, successes and sounds of “The White Lotus”.
CP: So you have officially broken the links with the series that presented you three Emmy Awards. According to the sounds of this one, you feel that unlocking is a bit liberating. Why did you stay so long?
Tapia de Veer: When you hear the importance of music all the time and (how she) kept people interested in something that could have looked more like a normal spectacle, it is starting to have the impression of having to continue to help. There are so many reasons to get attached to something – even if it is like (being in) a toxic relationship. We have reached an unbearable point (which was) on a personal level. I just want to be more comfortable with the people I work with.
CP: In past interviews, you have described having played a lower role in the second season, in part because you were not also eager to get involved, but also because you were occupied with other projects. If you were reluctant with the second season, why come back for a third?
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Tapia de Veer: I love Thailand. I have Thailand tattoos. I have instruments – a collection of gongs – and all this. So when they said: “We are going to Thailand (for the new season)”, I had the impression that I already had a link with spirituality and all that. It paved the way for me to come back. I did not sign the contract for a long time, even when I started, because I did not know (if) we could make this work. I clearly show that I do not do this kind of jobs – I don’t make background music.
CP: What you describe looks like a fundamental disagreement on the role, or at least the importance, of music in “The White Lotus”.
Tapia de Veer: There is no understanding of what I bring to the show, because it works so well. I don’t understand why, even now, I have to fight so much for my ideas. It’s so difficult. The other person could say: “What am I supposed to do? You send me weird stuff, and I am supposed to love him?” Maybe not. Maybe you can give him time. If for no other reason, the fact that this show won 15 Emmys, three of them are mine. What will it take to make someone trust me to make decisions? And if I cannot decide what is going – the reason why I am hired to do this – then I don’t understand what I’m doing here. This is why I say that I am relieved that I will not start again.
CP: The theme of season 3 does not include the “Ooh-Loo-Loos” brand of the two previous seasons. It seemed to store many people on social networks.
Tapia de Veer: people were crazy at first, but they were bad tourists. They were unhappy not to find their comfort. But what is really cool is that (over time), people started sending me videos of dancing them. It is a transformation for me. It is an even greater success … Changing the minds of people. I am really happy with this theme because, for me, there is witchcraft in progress with this melody. I think it corresponds to the spirituality and the mystery of Thailand.
CP: But have you planned the backlash?
Tapia de Veer: We never talked about (if) people were going to be crazy. One of (producers) said to me, “It is crazy to see how people are attached to this thing. All they need is the “ooh” and they would be happy. “
At one point, I spoke to the producer and, thinking like a DJ, I (said): “It’s a really massive chance to build something, then at three in the morning, drop the great thing that people want to sing.” He was up to par and very enthusiastic, but with the problems I had with Mike, he was like “No, we don’t do that”. For me, people want to party, so let’s give them the party. Either open or finish an episode anywhere.
CP: A few weeks ago, you published an alternative version of the theme song of season 3 on your YouTube page, which includes the “Ooh-Loo-Loos” in an incredible crescendo. It is longer than most opening themes – during about 2 minutes and 45 seconds. Was it the other version?
Tapia de Veer: I have about 20 versions. One of the first versions only begins with the (obsessive) voice – but it was far too scary for them. They cut it and sent me the titles without that. (Another) version had the piano at the intro and it seemed different. I continued to receive notes that it was too “minor sounding”. At one point, a version had the accordion … at the beginning. It helped everyone feel happier. At one point, it was like, whatever the theme – and that’s it. It’s amazing, the power you can have with a little thing. If these voices were there somewhere, no one would have complained. But it is as if the sky fell. I asked several times: “Can we have at least 10 seconds or 20 seconds more?” Because Apple or the other banners have these longer titles. You have time to enter something and it’s cool.
CP: What other ideas have been refused?
Tapia de Veer: While women talk about the trash cans, I added this mysterious harp in progress with percussion. And they didn’t use this because (they said) it was too scary. For me, it was fun and weird. I don’t need to see these women moan on all this waste. If you had funky or comic music in the background, I’m just not going to look at that. What is interesting is the shock. It is the depth and the perspective that happens more. Maybe it’s just my taste.
CP: Are you still satisfied with how the third season sounds?
Tapia de Veer: Whatever there, I am happy. I want it to be less censored … (but) I am happy with the dark moments that remain. There is current music where it is more aggressive than anything we have done before, with battle drums and even a synthesizer on instruments with Thai consonance. It’s so super chaotic. I’m really happy that we have hard techno, this club atmosphere after working hours. The theme, for me, is massive. I’m really happy with that.
CP: These examples you have given, do you plan to publish them on YouTube?
Tapia de Veer: No. I am not allowed. I was sent a ceasefire or as you call it. They left the video I published (but I said): “That’s it, no more.”
CP: Do you think HBO can replace you for what is supposed to be the fourth and last season?
Tapia de Veer: I mean, they have tons of music from the three seasons and a good music editor who can juggle this and make something move. I’m sure they could make fun and cool music and people were watching the show at this stage, whatever. The brand is there now.
CP: Many creators behind the scenes would not make public with these experiences. Why did you choose to express themselves?
Tapia de Veer: I am happy not to be in the shadows on this subject. Maybe it’s just that I’m not Hollywood and I come from a dictatorship Chile and I’m not afraid of them, I really don’t care. I loaded as much as I owed it. It’s like a rock group ‘n’ roll – and I am a guy from the groups. I know what it is to have no connection with the singer, but you have to somehow work with them because you do something with this group and it works. This is why we love all the large groups that (broke up) in the 80s, then we bring together together. It’s a show-business.
CP: So as a rock group, you say you might start again for a meeting?
Tapia de Veer: No, don’t say that! Uh, yeah, no. But in the future, when I come back to it, (I will be) proud. It is incredible that we did this. The rest that I will have forgotten. Whatever tensions and nonsense took place behind the doors. It’s just right now, I want to burst.
This interview was published and condensed for more clarity.
