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LIVES: 04, 10 and 11 of December

Period of availability of content and execution of  remote exercises: December 5th to 9th

LIVE 1 (12/04/2020): 20:00 - 21:00h: 

Presentation of the teacher and students and the content to be worked on in the workshop.

From 12/05/2020 to 12/09/2020,

Students will have access to four hours of teaching material produced exclusively for CRASH, as well as exercise proposals.  

Live 2 (10/12/2020): 20:00 - 22:00h: 

I work together with the teacher.  

Final live (12/12/2020): 20:00 - 21:00h: 

Presentation of works.

Sound is linked to the survival instinct since the dawn of human beings. The ears, in addition to being instruments linked to the act of communication, worked  for primitive man as sensors for detecting dangers such as predators and natural disasters such as storms and landslides. Reverberation or echo makes our brain naturally access the ancestral feeling of fear of the unknown: the darkness of a cave with its natural reverberation , for example. The generous volume and bass combined with an aggressive high of the rumble of thunder scares us to this day, making us fear the shock or that our electro-electronic equipment will be damaged. For these and other reasons, the sound in intensity brings us sensations linked to very primal emotions involving life or death.


The role of a horror movie soundtrack in the background works with these elements of access to our unconscious and survival instinct. There are many emotional driving mechanisms. Only the image, however powerful and exuberant, does not access all the necessary senses to conduct the spectator's cinematographic experience. Cinema is very much associated with moving images, but it is sound in its various aspects and the soundtrack's ability to suggest emotions that enable an immersive experience in a  story.


The purpose of this workshop is to focus on  use of these resources, where soundly and musically it seeks to provoke fear. we will test  concepts by doing hands-on experiments using film clips and short films and we'll discuss  aesthetic and  possibilities, simulating a director's briefings. The workshop will be completed  with an exercise performed.  It is an opportunity for listeners and musicians who are interested or who are eager to work in this field to have contact with this activity being guided by an experienced professional.



Paulo Beto is a musician and composer of soundtracks for cinema, broadcast television and commercials. Born in Juiz de Fora (MG), he has lived in São Paulo since 2001 where he worked for 8 years creating music and sound design at the animation and special effects studio VETOR LOBO. But his real passion is creating music for genre cinema, more specifically horror films. Specializing in the language of estrangement and the absurd, his influences range from films by Czech animator Jan Svankmajer (a bastion of the Iron Curtain's late surrealism) to contemporary films such as  "The witch",  "Inherited" and  “Under the Skin”, passing by classics like  "Exorcist",  "Enlightened" and  “Rosemary's Baby.” Its entry on the IMDB website includes 19 films, including shorts and features by directors such as Dennison Ramalho, Diego Freitas, Carlos Gananian, Paulo Sacramento, João Tenório, Dácio Pinheiro, Duda Leite, Guilherme Marcondes and Kiko Molica. And more his latest works: O Olho ea Faca (2018) by Paulo Sacramento and Morto Não Fala (2018) by Dennison Ramalho.  Before creating soundtracks for modern films, he experimented with sounding expressionist silent films. He recently created with his electronic band Anvil FX an original and alternative soundtrack for the film  “Incarnation of the Demon” (2008) José Mojica Marins, where it was presented live in the September edition of this year at Étrange Festival in Paris.