Meet Antonio Di Iorio

 

We recently connected with Antonio Di Iorio and have shared our conversation below.

Antonio, thank you so much for taking the time to share your lessons learned with us and we’re sure your wisdom will help many. So, one question that comes up often and that we’re hoping you can shed some light on is keeping creativity alive over long stretches – how do you keep your creativity alive?

To keep my creativity in writing music alive, it is important for me to feed the joy and passion I have for my work. My approach to work is to turn challenges into opportunities, and I see every moment as a chance to have fun and enjoy what I do. My creative process is guided by the simple delight of creating, whether I’m editing melodies, harmonies, orchestrations, experimenting with new instruments, or collaborating with other musicians.

My curiosity and willingness to explore new approaches, techniques, and genres also help me keep the fire going. The challenge I set for myself is to push boundaries and break free of creative limitations. As I explore new avenues and make discoveries, my artistic repertoire becomes even more rich and varied.

My ultimate goal is to evoke emotions in my audience. Whether it’s through a film score or a concert performance, I always hope to touch people’s souls and move their hearts through my music. When I compose, this purpose always stays at the forefront of my mind, so that every note I write is driven by passion and intended to achieve a specific outcome.

I enjoy the synergy of working with talented individuals who share my vision and find fulfilment in collaboration. The teamwork and satisfaction that come from sharing ideas, riffing off each other’s energy, and creating together are priceless to me.

Last but not least, I honour the journey that has taken me here. Throughout my artistic career, like many others, I have sacrificed, worked hard, and made tough decisions that have shaped me. The challenges I’ve overcome, the farewells I’ve bid to my loved ones, and my faith-based decisions have made me who I am today. Nothing is more priceless than making your parents, family, and loved ones proud, and I wish my father were still with us to see all of this and to make him proud.

Great, so let’s take a few minutes and cover your story. What should folks know about you and what you do?

As an Italian composer based in Los Angeles, I write music for film, TV, and classical concerts. With extensive training and master’s degrees in composition, orchestra conducting, and piano, from both Italy and the United States, I’ve built a diverse portfolio that includes collaborations with esteemed directors on award-winning projects like “Wings Over Washington,” “Il Viaggio,” “Tomb Raider,” “Jacks,” “Life In Between,” and “Spirito Eroico” created for the Vancouver 2010 Olympic Games.
Throughout my journey, I’ve celebrated numerous achievements, triumphing in esteemed international composition competitions such as the Krakow Film Music Festival, the Global Music Awards (Silver Medal Winner) in LA, the Bucchi Awards, Sky With Your Music, the Open World Toronto Film Festival, and others. Although narrowly missing the top spot at the Transatlantic Composition Competition, I earned recognition with two nominations at the Hollywood Music In Media Awards.

In pursuit of further opportunities, in 2016 I relocated to Los Angeles, where I became Senior Assistant and Additional Composer for Tom Holkenborg (aka Junkie XL). My time at Tom’s studio was transformative, allowing me to heavily write music for major films like “The Dark Tower,” “Tomb Raider,” “Mortal Engines,” “Alita: Battle Angel,” “Sonic The Hedgehog,” and “Terminator: Dark Fate,” “Distance Between Dreams” among others. Our collaboration extended beyond professional realms, as Tom became both a mentor and a friend.
Following four fruitful years with Tom, I transitioned to freelance work, contributing additional music to the blockbuster “Godzilla vs Kong.” Subsequent collaborations included providing additional music to films such as “PAW Patrol: The Mighty Movie,” “The Lost City,” “Shotgun Wedding,” “NFL Thursday Night Football,” “Avatar The Videogame,” and other projects, with Henry Jackman in movies like Disney’s “Strange World” and “Red One”, and with Alex Belcher, contributing additional music to the TV series “Citadel”.

Among the many projects I’ve had the privilege to contribute to, “Godzilla x Kong: The New Empire,” which is still number one at the global box office, stands out as the most significant film in my career. Released globally on March 29th, 2023, this movie holds immense personal and professional value for me, particularly as I stepped into a prominent role as a credited co-composer alongside Tom Holkenborg. Being credited with such a monumental blockbuster within a renowned franchise is truly amazing. It symbolizes the culmination of years of dedication, hard work, and passion in my profession. Each preceding project, whether scoring TV series, live concerts, or other big-budget films, has served as a stepping stone in preparing me for this moment.
Working closely with esteemed directors and executives from Legendary and Warner Bros. was immensely rewarding. Participating in discussions and brainstorming sessions alongside Tom and the creative team allowed me to witness the film’s vision take shape. It was an experience both inspiring and humbling. Filmmakers’ guidance and feedback challenged me to push the boundaries of my work, a responsibility I embraced fully, making creative decisions and engaging in crucial meetings with directors and producers alongside Tom.
From a creative standpoint, “Godzilla x Kong: The New Empire” presented exciting challenges. Our goal was to craft a distinct sonic identity for each character, environment, and community portrayed in the film. This involved extensive experimentation with various instruments, especially ethnic ones, as well as innovative approaches to sound design and synthesis. Collaborating with my team, including Shwan Askari and Jarrod Royles-Atkins, was essential in this process, making the journey lighter and more enjoyable.
The score featured a blend of a huge orchestral, synthesizers, sound design, and specially crafted samples to capture the film’s complexity and character development. I also introduced seven new themes to reflect the narrative’s nuances, alongside meticulous attention to character-specific motifs and environmental sounds. Utilizing diverse musical elements, including ethnic choirs and a titanic orchestra recorded at the Synchron Stage Vienna, ensured a rich and engaging sonic experience throughout the film. Ultimately, the goal, as usual, was to fulfil the filmmakers’ vision while delivering a diverse and engaging sonic experience. It’s a reminder of our responsibility as composers to understand and embrace the director’s vision, doing our best to make them proud and happy with their films.

Looking back, what do you think were the three qualities, skills, or areas of knowledge that were most impactful in your journey? What advice do you have for folks who are early in their journey in terms of how they can best develop or improve on these?

Throughout my journey, I have greatly benefited from my classical training. It’s not just about obtaining degrees in composition, conducting, and piano, all of which I am grateful to have earned, but also about cultivating a spirit of curiosity. Even before beginning my formal studies, I was inspired to explore how instruments functioned, their ranges, possibilities, and combinations, as well as understanding their roles within chords and in unison, and discerning what was and wasn’t possible.

I firmly believe that fully understanding the intricacies of each instrument, including their capabilities and how they blend together, is essential. It’s not merely about knowing instrument names but comprehending their characteristics, ranges, and timbres. When we have to create, especially with tight deadlines, we must be ready and well-trained for the working environment. Those aspiring to this profession should explore orchestration books, analyze scores from classical and contemporary composers, and ideally collaborate with live performers to gain insight into how different instruments interact, their potentials, and their limits. Practising orchestrating various musical ideas can help develop an intuitive sense of orchestral balance and colour. One of the gravest mistakes composers can make is relying solely on writing softwares (DAWs) and samples without a deep understanding of how real instruments and players work. I’ve witnessed too many young (and seasoned) composers creating overly complex music that cannot be realistically played by a live orchestra, with the excuse that “samples can handle it.” Such an approach only reveals their weaknesses and lack of experience. Always be prepared and well-trained.

The next point ties strongly into the previous one. Competence in composing software (DAW) like Cubase, Logic, or others is indispensable for modern film composers, particularly for producing high-quality mock-ups for directors/producers. These tools enable us to efficiently translate musical ideas into tangible audio compositions ready for presentation to filmmakers. To succeed in this field, aspiring composers should dedicate time to learning their chosen DAW inside out. Explore tutorials, experiment with various features, and consistently look for ways to improve workflow efficiency. The better you understand your tools, the more creative freedom you’ll have to realize your musical vision and deliver impressive mock-ups that resonate with directors and collaborators.

While a foundation in orchestral knowledge is essential, being open to new techniques and technologies is equally crucial. Synthesizers, sound design, and resampling offer fresh avenues for musical expression. However, the challenge comes in effectively integrating these modern approaches with traditional orchestration. Aspiring composers should actively explore new sound design techniques, experiment with hybrid orchestral-electronic compositions, and remain adaptable to evolving industry trends. Obviously, if a composer wants to focus on pure electronic music, none of this is necessary. Although it might trigger their curiosity just for fun.

Another significant aspect for young composers is understanding that as a film composer, your primary role is to serve the director’s vision. Your music should enhance the storytelling and emotional impact of the film, rather than merely showcasing your style or skills. Also, success in this field all the time depends on relationships and navigating the politics involved in collaborative projects: actively networking, attending events and building genuine connections while learning to navigate differing opinions and personalities diplomatically.
In addition, very often film scoring is a collaborative effort. Surround yourself with supportive colleagues and collaborators who share your passion and vision. Working within a team, especially one composed of friends, can bolster creativity and provide invaluable support during challenging times.
Pursuing a career in film music may demand significant sacrifices, especially if you’re relocating to industry hubs like Los Angeles. Be prepared to invest time, energy, and resources into achieving your goals, understanding that the journey may be demanding but ultimately rewarding. Developing your strengths and filling your gaps is something everyone should aspire to. Learning is a never-ending process.

Do you think it’s better to go all in on our strengths or to try to be more well-rounded by investing effort on improving areas you aren’t as strong in?

It is undeniable that specialization and a strong foundation in everyone’s primary skills are undeniably crucial. However, in my opinion, there is immense value in stepping out of their comfort zone to diversify and expand their skill set. Investing effort in areas where competence is lower can lead to significant growth and innovation, and increase the opportunity to work on various projects, broadening the spectrum of diverse possibilities.
Film composers’ strengths typically reside in specific areas based on their background and education. These skills are at the core of their identity and craft. While it is crucial to refine these skills, relying solely on them can lead to immobility. Venturing into new musical territories, such as electronic music or sound design for the classically trained, or exploring more orchestral writing for those with an electronic background, challenges them to learn and grow. Embracing something not familiar but quite unknown can be uncomfortable, but it is this discomfort that drives creativity and innovation. New strengths and possibilities in compositions often emerge when pushing beyond familiar boundaries.
In my experience over the past year, curiosity is a powerful motivator for any creative professional. Allowing composers to explore new musical genres, tools, and techniques can inspire a passion for learning that enriches their work, expanding the musical palette. Whether experimenting with synthesizers, diving into ambient soundscapes, or playing around with resamples, the journey of discovery can be as rewarding as the destination.
To me, and I saw this happened during my path too, filling the gaps in knowledge and techniques is essential for personal and professional growth. Every new skill acquired adds a new dimension to everyone’s capabilities. Learning something new, especially in areas where confidence is lower, increases adaptability and problem-solving skills, and this continuous process of self-improvement enriches one’s work and enhances versatility. For instance, understanding the intricacies of sound design and electronic music can provide fresh perspectives, allowing for more innovative and unique film scores. Familiarity with these tools enables their integration into the overall artistic landscape, creating a distinctive voice and style. Based on what I experienced when I approached “the unknown” for the first time, combining traditional orchestral elements, which is my natural world, with experimental and electronic sounds can lead to innovative scores that can stand out in the industry. The film music field has changed drastically over the last few years, and we shouldn’t forget that. There are always more and more productions that are projected towards hybrid scores.
Despite all this, I strongly believe that while exploring and growing is essential, it is equally important to remain true to their artistic identity and values. The process of becoming a more well-rounded film composer should align with personal aspirations and authentic self-expression. A unique voice sets them apart in the industry, and any new skills or knowledge acquired should enrich and not replace core artistic identity. By staying coherent with one’s personality, growth remains authentic and meaningful, leading to work that resonates deeply with both the composer and the audience.

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Image Credits

Amy Sussman
Wojciech Wandzel

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