As a holder of an undergraduate degree in English as well as film, I love a good classic adaptation. That’s why I was so excited by the new Netflix film One Hundred Years of Solitude.
It’s a sweepingly emotional and romantic journey that’s brought to life by sumptuous visuals and incredible sound.
That sound helps carry the film’s surreal theme as well. And it was all done by La Tina, a sound department trio that consists of Andrés Silva Díaz, Alejandro Uribe-Holguín, and Manuel José Gordillo.
La Tina’s collaborative work on One Hundred Years of Solitude brought together the talents of Andrés, Alejandro, and Manuel to create an immersive and dynamic soundscape that captured the essence of Gabriel García Márquez’s world.
We were excited to sit down with La Tina to talk about the movie and their work.
Let’s dive into the interview.
Editor’s Note: the following interview is edited for length and clarity.
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No Film School: The soundscape of One Hundred Years of Solitude integrates complex elements like cultural authenticity, natural sounds, and emotional depth. How did each of you contribute to the collaborative process, and what role did communication between the sound, direction, and production teams play in ensuring the sound design supported the emotional and narrative depth of the film?
Andres Silva Díaz: Communication for a project like this is central. Principally because it is a process heavily based on interpretation. The directors, the producers, the writers and certainly the sound department, each of us have different interpretations of the novel, so it was central to the process to have several deep discussions on what we wanted to achieve and which were the best ways to do this.
For us, every audio-visual project is a subjective point of view from the creators. So it is very important that the process begins with a deep conversation, starting with just listening to what the creators have in mind, then continuing the conversations with what we have understood and explaining our own proposal and point of view, and developing a mutual conversation throughout the process. So speaking our minds is crucial for a good result.
We undertook this conversation between Sergio Díaz, the Sound Supervisor, directors Alex García and Laura Mora and Dynamo’s producer Juliana Florez. First, answering the question of what magical realism should sound like? We rapidly agreed that magical realism had little to do with magic and more to do with the absurdity of real life in this part of Northern Colombia and the south of the Caribbean. So people’s accents and mannerisms, as well as fauna, were key resources on which to base the soundtrack. It must sound original to this area and this culture.
Alejandro Uribe-Holguín: As the Sound Effects Supervisor, Sound Designer, and ADR and Wallas Supervisor, my role was deeply tied to ensuring that every layer of sound resonated with the cultural and emotional depth of One Hundred Years of Solitude. Communication was essential in achieving this. With a story as rich and layered as Gabriel García Márquez’s masterpiece, we had to establish a shared vision with the directors Alex García and Laura Mora, as well as Francisco Ramos, Netflix LATAM’s VP of Content, to bring Macondo to life in a way that felt authentic and evocative.
The process was a nearly year-long journey of imagining, crafting, and refining the soundscape for García Márquez’s universe. It required a deep collaboration with Fénix, the post-production producers, whose expertise and dedication were instrumental in managing the scale and complexity of the project. Working in Dolby Atmos allowed us to explore new dimensions of sound, creating immersive layers that helped evoke the surreal realism of Macondo while supporting the narrative’s emotional depth.
One of my primary responsibilities was managing and leading a talented team of sound editors, designers, and talent to ensure that every aspect of the sound design met the highest standards. This involved overseeing regional recordings, including more than 150 Wallas sessions with local talent, to capture the vibrant energy and authenticity of Macondo’s voices. Coordinating closely with ADR actors and sound editors, with my colleagues guiding the team to maintain a unified vision while fostering an environment of creativity and collaboration.
The complexity of the deliverables, especially working with Dolby Atmos, required meticulous attention to detail. Every aspect was carefully designed to support the story’s emotional and narrative depth, from ensuring the seamless integration of sound elements to managing intricate mixes. This project was not just about creating sound—it was about capturing the spirit of Gabriel García Márquez’s masterpiece and bringing it to audiences in a way that felt both authentic and timeless. Collaborating with Alex García, Laura Mora, and Francisco Ramos was instrumental in aligning the sound design with the narrative vision and ensuring the project honored the legacy of this extraordinary story.
Manuel José Gordillo: I contributed as Sound Effects Supervisor and Sound Designer for the series, and also restructured the workflows and team organization at La Tina specifically for this project due to its scale and complexity. Communication with the production team at Dynamo, directors Alex García and Laura Mora, and the post-production supervision team at The Fenix CS was excellent, which was crucial for the project’s success.
At an early stage, we were invited to visit the set during the shoot to meet with the production sound mixer César Salazar and analyze what elements from the set recordings could be incorporated into the sound design. During the visit, it quickly became clear that some additional post-production processes would be necessary since the set wasn’t located in the region where the story takes place. The fauna, for instance, was vastly different from what we needed for the narrative. To address this, I suggested sending a team to Colombia’s Caribbean region to record natural ambiance, birds, frogs, and other elements. Recognizing the richness of Colombia’s biodiversity, I proposed involving an ornithologist to ensure the authenticity and relevance of bird sounds, which played a major role in Cien Años de Soledad soundscape. This led to the inclusion of Diego Calderón-Franco, an ornithologist from WhereNext, with whom I had various conversations to communicate what we needed from him.
The set visit also highlighted the need for group recordings and wallas, which weren’t being captured during production. We arranged multiple recording sessions during post-production, involving groups of up to 150 people. These sessions required careful planning, and the production and post-production supervision teams were instrumental in coordinating resources, securing voice actors, and arranging recording locations.
The materials we gathered, from natural ambiance to wallas, became the foundation for the sound design. Working closely with Sergio Díaz, sound supervisor and sound designer, we crafted a soundscape that was both emotionally resonant and culturally authentic. Directors Alex and Laura were deeply involved throughout the process, providing invaluable guidance that helped shape the final product. Over several months, we refined and developed a sound design full of original, locally sourced sounds that enhanced the magical realism and emotional impact of the series.
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No Film School: Andrés, as the sound designer and mixing engineer, you were tasked with organizing the workflows and balancing different departments. How did you navigate the technical demands of sound mixing while ensuring the sound design remained emotionally attuned to the story’s nuances and emotional beats?
Andrés: In general, you must enjoy the process so that the result is compelling. This is a marvelous project, and it was an honor to participate in it. We were very motivated by it.
We began by designing the process with the Project Management department, assigning the best resources available to each task of the project, and managing time. Understanding who the best person was to edit effects for this particular scene or action. Who was going to record backgrounds and birds in northern Colombia? What were the best moments to gather sessions, premix, and show directors? In which studio was it going to happen?
All of this involves managing high expectations from our clients and a strict timetable. To manage technical demands, we revised processes regularly and fixed any issues before time became even more sensitive.
After that, it was sitting for hours in the studio mixing, listening, revising, exploring, conversing, enjoying, and sometimes an occasional emotional tear.
NFS: The film is deeply rooted in its Colombian setting. How did you balance the need to stay true to cultural authenticity with the creative freedom required to evoke the emotional and surreal qualities of the story? Were there specific elements or sounds that you felt were essential to capture the essence of the culture and narrative?
The sound of 100 Years of Solitude came strictly from the book itself. This is a very well-studied book by many scholars so there are plenty of resources to investigate, to understand Garcia Marquez, and to gain knowledge and references of the symbolisms that Garcia Marquez uses in the story. Mario Vargas Llosa has a very good article dissecting the book. Also, being a Colombian, we are very aware of how different areas of Colombia sound like depending on the topography. The Caribbean region of Colombia is unique in terms of its fauna and the mannerisms of its people. The people from the Colombian Caribbean, “the costeños” as we call them, are loud people with a rich dialect and a strong accent. And we believe that the costeños’ mannerisms and idiosyncrasies are central to the story.
NFS: Alejandro, you focused heavily on cultural authenticity, blending regional sounds and folklore to evoke the magical realism of Macondo. What were the specific challenges you faced in capturing these authentic sounds, and how did you ensure they not only reflected the local culture but also enhanced the universal themes of the narrative?
Alejandro: Capturing the authentic sounds of Macondo required a deep dive into the rich and intricate universe created by Gabriel García Márquez. His world is one where the ordinary and the extraordinary coexist seamlessly, and translating that into sound was both a challenge and a privilege. One of the most demanding aspects was recreating the essence of the Colombian Caribbean—its unique accents, vibrant fauna, and the unmistakable energy of its people. We recorded over 150 crowds, carefully capturing their voices, accents, and idiosyncrasies to bring authenticity and life to Macondo.
The challenge went beyond cultural authenticity—it was about embodying García Márquez’s magical realism. Macondo is a space where the landscapes breathe and where the absurdity of life becomes a reflection of its truths. Inspired by the novel’s symbolic richness, we created a soundscape that bridges the real and the surreal. Each element, from the haunting cries of regional birds to the subtle dreamlike undertones, was designed to reflect the universal themes of memory, family, and the passage of time. This process allowed us to honor García Márquez’s vision while crafting a sonic universe that resonates with audiences worldwide.
NFS: Sound in this project plays a key role in shaping the mood and meaning. What were some of the biggest challenges in aligning the sound design with the pacing and visual storytelling? How did you navigate these challenges to create a seamless and emotionally resonant experience for the audience?
Alejandro: One of the biggest challenges was aligning the sound design with the film’s nonlinear narrative and its shifts between the surreal and the mundane. We needed the sound to act as a bridge, grounding the audience in reality while also allowing them to be swept into the extraordinary moments seamlessly. For instance, the pacing of scenes where time slows or accelerates—moments filled with tension or deep reflection—required meticulous synchronization between sound and visuals.
To navigate this, we worked closely with the directors to identify the emotional beats of each scene and crafted sound layers that complemented these transitions. Using Dolby Atmos gave us the flexibility to explore spatial depth, which was key in creating an immersive experience. We also experimented extensively with textures and dynamics, ensuring that every sound, from the faintest whisper to the loudest cacophony, served a purpose in the narrative. The result was a sound design that felt fluid, emotionally charged, and deeply intertwined with the visual storytelling.
The key challenge was to ensure that every sound supported both the pacing and the emotional resonance of the project, seamlessly blending with the visual storytelling. Balancing the transitions between moments of subtle introspection and high intensity required careful crafting of the soundscape to align with the emotional beats of the narrative.
To overcome these challenges, we approached the sound design with a storytelling-first mindset, treating every sound element as a character within the film. Dolby Atmos allowed us to explore depth and dimension, creating a spatially immersive experience that drew the audience into the world of Macondo. For instance, transitions were carefully designed so that ambient sounds—like the chirping of birds or the hum of daily life—evolved naturally into heightened, surreal moments. By continuously revisiting and refining the mix and by fostering open communication with the directors, we ensured the sound carried the same emotional weight as the visuals, resulting in a deeply resonant experience for the audience.
NFS: Manuel, your work with Colombia’s biodiversity was integral to shaping the film’s sound. How did you approach incorporating the organic sounds of nature into the sound design? What was the process like in ensuring that these elements both grounded the film in its setting and contributed to its surreal, dreamlike qualities?
Manuel: Colombia stands out as the country with the greatest biodiversity of birds in the world, many of which produce an incredible variety of sounds—some so surprising and unique that they almost feel fantastical. When I created the initial sound design concepts requested by the series’ directors and producers, my first proposal to the team was to use bird sounds (apart from the other obvious sound elements) to represent the magical realism of the story while showcasing this incredible diversity of species from the region.
During my initial experimentation, I revisited recordings I had made in the past and quickly realized that birds would provide an emotive and versatile palette for the sound design. Their vast range of sounds, some so peculiar they seem almost designed, blurred the line between reality and fiction, making them perfect tools for constructing the “realistic and magical” world of the story. This also added a poetic layer to our work as sound designers—what better way to honor a masterpiece of this magnitude than by integrating these beautiful, local sounds?
To create a robust and original library, I suggested incorporating a specialist in Caribbean birds into our team. We enlisted the help of ornithologist Diego Calderón-Franco from WhereNext, who, along with sound engineer Sebastián Martínez, traveled to the Caribbean region to record for several days. Before their trip, I met with Diego to explain the sound design concept and provided a list of specific “exotic” sounds from the region that I envisioned after reading the scripts. I wanted to connect specific characters and locations to individual bird sounds, essentially creating sonic leitmotifs, so I gave Diego a detailed list of descriptions tied to these ideas.
After the recordings, Diego and his team meticulously organized the material and shared a Google Sheet with descriptions of the birds and other animals they recorded. I spent several days editing this document, developing and writing relationships between the bird species, characters, and locations in the story. Once this framework was complete, I handed over the document and guidance to our sound editors at La Tina to use these sounds coherently, focusing on the use of birds that supported the realism required for the narrative while maintaining a surreal quality to them. This way, we managed to have a broad palette of sounds that complemented both the everyday moments and the surreal, emotional, and fantastical elements of the story, with minimal processing (such as pitch shifting or reverb) in some cases.
Some examples of sonic leitmotivs I implemented are:
- The Buendía House: I chose the calls of the “Bichofué” (Great Kiskadee), a bird with a very recognizable song across much of Colombia, to evoke a sense of “home.”
- Melquíades: I used “Gulungos” (Crested Oropendola) for its unique, synth-like sound, symbolizing the futuristic ideas he brings to the town. This bird’s sound was also used in José Arcadio’s laboratory since Melquíades brings his technological advances.
- Remedios: I chose the “Cucarachero” (Rufous-and-white Wren) for its serene and beautiful song, which we also used to create drones by lowering its pitch for emotional moments in the story.
- Rebecca: I chose the “Carga Barro” (Furnarius Rufus), which is a bird that carries mud in its mouth from one place to another to create its nests.
- Macondo’s Plaza: I chose a mix of “Pericos” (Parakeets) and occasionally “Guacamayas” (Macaws) that added vibrancy, movement, and noise to the bustling plaza.
These are just a few examples of how we used the region’s rich biodiversity to build a soundscape that grounds the story in its setting while enhancing its magical realism.
NFS: What was the most unexpected or challenging aspect of this project for each of you, and how did you overcome it?
Andres: I believe the biggest challenge of this project was designing the processes. I think, since there are many people involved in the sound department, it was a big challenge that the concept of the sound design was well understood and accomplished throughout the different phases of the project. I think 100 Years of Solitude is a special challenge being one of the most important works of modern literature and even of literature as a whole. So being faithful to the book and managing the expectations of our clients, Colombia as a country, and international viewers was a heavyweight.
Alejandro: The biggest challenge was translating Gabriel García Márquez’s universe into sound without leaning into clichés. The magic of One Hundred Years of Solitude lies in its subtlety—the extraordinary presented as an everyday occurrence—and capturing that duality required an incredible level of precision and creativity. One of the most challenging aspects was building Macondo’s sonic identity from scratch. We needed to ensure that every sound, from the voices of the crowds to the faint echoes of nature, carried the weight of García Márquez’s storytelling.
To overcome this, we immersed ourselves deeply in the novel’s symbolism and the cultural essence of the Colombian Caribbean. We drew from extensive research, field recordings, and countless hours of creative experimentation. The result was a soundscape that felt rooted in reality yet layered with an almost imperceptible surreal quality, ensuring it resonated both with audiences familiar with the novel and those discovering it for the first time. This process tested the boundaries of our craft but ultimately delivered something truly special.
Manuel: The biggest challenge I faced was redesigning the workflows at La Tina, organizing and assigning the team to different roles in order to tackle this particular project, given its size and complexity. I worked for several weeks alongside our project manager to propose various configurations aimed at maximizing productivity and quality.
I also established protocols for file naming, folder structure, and pre-selection and organization of our sound libraries. With a large team and Sergio based in Mexico, it was essential to ensure that every part of the production pipeline ran smoothly. This allowed us to meet our goals without technical or organizational issues. Questions like: Who would edit sound effects? Who would edit the dialogue? Who would handle the wallas for the large group sessions? Who would record wildlife on the Caribbean coast, and for how long? Who would mix and finalize the episodes? When would we present drafts to the directors?—were all thoroughly addressed at the outset to ensure the project’s success.
Although there were some schedule adjustments along the way, as it’s very common to happen, we delivered work of the highest quality, which we are extremely proud of at La Tina. Moreover, the process was an incredible learning experience that has made us a stronger team, ready to take on any type of project in the future.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
