The many faces of musicality.
As we move away from the more pop side of the industry, we find ourselves in a rich landscape of expressions, processes and professionals without whom our contact with the artistic world would be impossible. managers and producers, to music supervisors for film and television, DJs and record label employees. They are all part of the complex system that, today, keeps us in touch with sound. And, if we have to talk about these roles, what better than to talk to someone who has lived them all: Fernando Heftye.
Early fanaticism for Nirvana would push the Mexican's musical ambitions throughout his basic education. This until he began a stage of maturity, artistic and professional, as a member of one of the flagship groups of national indie: The Plastics Revolution.
The band started out as something fun and unintentional. It was our songs that opened the door to what the scene was like back then, to the industry, to what it means to make a living from music,” says the musician.
10 years of experience on stage gave Heftye a much broader and deeper vision of the extramusical. From being a musician and composer, he went on to act as the band's representative, to manage the band's agenda, Bookingsestablish relationships with specialized media and, finally, work for the record company Indie Alliance.
“I think it’s been a beautiful and natural path. Life, and the people I met in it, have led me to where I am,” Heftye shares.
His studies at the Leeds Conservatory in England only served to accentuate the spirit of openness and collaboration that he had professed until then. Becoming friends with James Smith (vocalist of Yard Act) and enjoying events such as Grizzly Bear, St. Vincent, The National either Beach House in venues of 200 people or less. “Opening my ears to everything I didn’t know, in a country with so much musical history, was very meaningful to me. Beyond the University, I stay with this environment of musicians who are always collaborating, sharing ideas, going to concerts, etc.” Thus, and given that the path seemed to go in only one direction, the creative would begin to manage synchronization catalogs for TV. Meticulously selecting and, with the support of his business partner, Igor Figueroathe music best adapted to a particular scene.
For me, music is still everything. It's my day-to-day, my job, what I enjoy in my free time. It's always part of something bigger.”
With the passion of ideals transferred to each project, Heftye would gain the producer's trust Nicolas Celiswho would help him migrate to the film world and perform creatively as a music supervisor.
The supervisor is this piece in charge of doing the soundtrack “With music that already exists. The creative part is about listening to music, discovering new things, learning what the director likes. The other half is exclusively legal and administrative: contacting artists, talking to record labels, reaching agreements, etc.”
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Heftye spends his Monday through Friday trying to find songs that resonate with the director's vision, the tone of the scene, and the available budget. Solving the latter in as purposeful a way as possible.
We try to be guided by creative lines. What does the director want? What is the tone of the film? Which artists or labels work best?
It is in this space, between logistics and sensitive response, where the former Plastics He keeps his eyes on the path he had to take to get here: the independent turn. Always between the pop instinct –demanded by clients– and the reverse of curation underground that strives to maintain.
“Pushing other names has always been one of my professional ambitions. Since I started with the Plasticsthrough the label I worked for, as a DJ and up to now; I want to show new music to new people. I think of names like Lazarus Christopher Comala, An Andalusian dog, Luisa Almaguer, The Amparitos either Little Friendwhich are already somewhat well-known, but it is worth taking a look at them.”
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Between the daytime work of proposing up to 30 different cuts for a single scene, Heftye He manages to gather time (and energy) by DJing at various clubs and working in Fishlightshis solo project.
With my project, I try to follow my instinct more rather than listening to what people want. I know I can never escape this external influence, but when I make music I try to do it for the pleasure it gives me, what I can express. Without this pressure to satisfy a client, a director or people dancing.”
With all of the above in mind, the future of the musician, producer, DJ and music sound supervisor aims to continue expanding professionally and artistically. With his sights set on the highest level of discipline and the naturalness with which he has developed in all his facets. “I don't know if it's worth dreaming as far as Hollywood, but starting with the national level I would like to work with Alonso Ruiz Palacios, David Pablos and Lila Aviles. In the big leagues and those who have been references for musical sound supervisors, I would say Wes Anderson, Quentin Tarantino and Paul Thomas Anderson“With those three I would be at the top of the list of films I like, especially the musical ones.”
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