Sometimes a job comes your way that just fits who you are as a person. And that’s how I Love Filipino came to composer Denise Santos.

I Love Filipino is a brand new Netflix series highlighting different aspects of Filipino culture, so it is fitting that Filipino composer Denise Santos has arrived at the project with the ability to inject a unique and personal sonic backdrop to the series.

Incorporating regional instruments and sounds, Santos scored every episode of this playful docuseries, drawing from her background writing additional music under legendary composer Hans Zimmer.

It was amazing to talk to her about this experience.

Let’s dive in.

  – YouTubewww.youtube.com

NFS: Hi Denise! Netflix has created several excellent travelogue shows, but I Love Filipino feels like an especially unique opportunity to showcase a particular culture for a global audience. What does it mean to you as a Filipina woman to be a part of such a show?

Denise Santos: I totally agree. I Love Filipino captured something so special about Filipino culture and went beyond what is typically known about us. This has been one of those projects where I was able to show up as authentically as I can. I was born and raised in the Philippines and have lived in Los Angeles for 11 years now. It was an opportunity for me to embrace my heritage and my roots while combining them with the training I’ve had in Hollywood. It meant less second-guessing and simply BEING me—translating my authentic self into the music.

NFS: Can you tell us about your key creative considerations in shaping the score for the series, and how you worked to incorporate elements of Filipino culture?

DS: When I was still living and working in the Philippines, I had the chance to record samples of native Filipino instruments for films I scored early in my career. The main creative concept for I Love Filipino’s score was to create a clear hybrid of Filipino music with contemporary pop and film score music. So finally, this was my chance to utilize those samples that had been sitting in my hard drive for so long! Think gongs, bamboo percussion, and bamboo flute mixed with beats, guitars, and orchestra. I performed a lot of the guitar parts myself, but it was also really important for me to get Filipino musicians involved. So in the score, you’ll also hear Ling Lava (who also wrote additional music) and Anjelo Alonte on guitar, Ida Anita del Mundo on violin, Maria Corazon Reyes on viola, and Giancarlo Castrillo Gonzales on cello.

  Denis Santos Credit: John Atchley

NFS: Are there any unique instruments or tools that you used for the score?

DS: This is a very small detail, but I created my own shaker using uncooked rice inside an old pill bottle. A former colleague showed me this trick years ago, and I thought it would be perfect to replicate for this score, especially in the episodes featuring food. I also used a spoon and fork (tapping them against each other) as an additional percussive sound. A big part of the Filipino eating experience involves these three things: rice, spoon, and fork—and I wanted to be a little meta, have fun with those sounds, and incorporate them into the score.

I also used a two-stringed Filipino lute called a hegalong that was custom-built for me by a friend in the Philippines. It has this really interesting metallic sound and fits beautifully in the mix when used for a lead melody. I’ve used it in non-Filipino projects before as a rhythmic element, but this time it really got to shine as the lead because it was such a natural fit for the context of the show.

NFS: I am curious about your background as an in-house composer in Hans Zimmer’s company, Bleeding Fingers. Do you have any favorite memories from that experience, and did you learn anything that you continue to use in your musical approach today?

DS: I have so many great memories there! Winning an Emmy during my time there was definitely one of them. But that was just the icing on the cake. The cake was the small, day-to-day interactions I had with my former colleagues. It’s such a rare opportunity to be in the same space as some of the best in the industry, and to experience their company while navigating the challenges of the job. It was a pool of talent, resources, and inspiration that I got to swim in every day.

One of my favorite memories is simply walking down the halls and hearing muffled bits and pieces of music coming from the different rooms. That feeling and energy are irreplaceable.

Another favorite memory is when we would share meals together. Oftentimes, it was just us goofing around for some comic relief, but some days we’d spend that time sharing ideas, tips, technical discoveries, and more. I’ve made so many lifelong friends there—not to mention that’s where I met my husband, who is a very talented composer himself!

I learned so much during my time there. I consider it the Master’s in Film Scoring I was never able to take. I learned the delicate art of writing themes and crafting big musical and sonic ideas to elevate a score. Every project we worked on pushed us to think outside the box. We were trained to always take things a step further, and that’s a mindset I carry with me now.

NFS: What are the differences between scoring for a travel series like I Love Filipino and a nature series like Primates or Island of the Sea Wolves?

DS: Since I Love Filipino is a travel series with many talking-head moments and fewer narrative elements, it gave me more opportunities to write tracks that could stand on their own. It felt more like writing a soundtrack of instrumental songs than a traditional musical score.

Meanwhile, nature documentaries like Primates and Island of the Sea Wolves follow animals in their natural habitats, and those naturally come with storylines. Like how they hunt for food or care for their kin. The music I wrote for those shows heavily supported those narratives and helped move the story forward. For example, you’ll hear a lot more starts and stops in the music as we follow the animals’ different movements. In a way, writing for nature documentaries felt closer to writing for animation.

NFS: Are there any other genres or mediums for which you would love to compose a score?

DS: Ah, I feel like this list is endless! I’m currently co-scoring a romcom with my husband, so that’s finally off the list (for now). Beyond that, I’d absolutely love to compose for more dramas and dark comedies.

Ultimately, though, the idea of genre goes out the window if the story or topic is compelling. For me, it all starts with whether or not I feel connected to the story, the filmmakers, and the message of the film. My artistic dream is to have a varied portfolio with a consistent throughline of good storytelling and passionate people behind the work.

NFS: Thanks, Denise! Is there anything else you would like to add about I Love Filipino or your career at large?

DS: I Love Filipino has been a dream project and a labor of love for all of us who worked on it. I hope more people around the world get to watch it and feel the dedication the creators poured into it. It’s available on Netflix worldwide, and the score album is out on all music streaming platforms.

As for me, I’m working on some exciting projects that I can’t quite talk about yet—but follow me on Instagram @denthantoth for updates… and cute pics of my dog!