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How It All Started
Sebastian is a co-production between the UK, Finland, and Belgium, and the Finnish producer Severi Koivusalo was the one who first introduced me to the director, Mikko Mäkelä. I noticed early on that we shared a common vision for the score. We discussed the characters and how the music could enhance the film, especially in scenes without dialogue. The creative process was pretty straightforward, and in the blink of an eye, we found ourselves at the world premiere at the Sundance Film Festival 2024, where Sebastian was selected for the World Cinema Dramatic Competition.
Creating a Musical Identity
I wanted to create a strong and unique musical identity for Sebastian—something that truly draws you in and leaves a memorable sonic imprint on viewers. Reflecting Max's private nightlife, the score needed to be delicate and minimalistic. An electronic approach felt appropriate due to the urban pulse of London. My strong background in electronic music production helped me get started, while my roots in the DIY punk rock scene made it easy for me to be creative and playful with the music. Although the result is quite ambient and mellow, my methods and the urgent desire to create something unique and original stem from my teenage punk years.
Ilari HeiniläCredit: Altti Heinilä
Finding the Right Mood
With the score, the director Mikko and I wanted to focus on Max’s alias, Sebastian. It was important to find the right mood and sound palette for those private moments Max experienced—a world that is intriguing, tempting, and uniquely his. The music needed to deepen those feelings and drive the story forward. We aimed to capture the sense of urban loneliness Max felt, allowing it to resonate. Delicate nuances became more impactful when the score was minimalistic and mystical. I’ve always loved films with a minimalistic yet strong musical identity, such as Drive, The Lighthouse, and Midsommar. The score creates a unique universe where you can immerse yourself and feel the vibrations of the emotions within the story.
The Musical Vibe
Overall, I describe this music as organic electronica. It feels organic, with many acoustic sound sources, but I approached the production from an electronic perspective, utilizing electronic music production techniques. I recorded plenty of contrabass and then sampled and manipulated it—my most trusted tools for transforming the sounds were the old-school hardware effects Dynacord VRS-23 and Echocord Mini. There are moments when you can definitely hear something "acoustic," but you may not recognize what it is. Most of the time, it’s the contrabass played by the talented Helka Seppälä or a violin brought to life by the equally great musician Milena Törmi. When mixed with synths and ambient sounds, these acoustic elements evolve into something very interesting and original.
Facing Challenges
I believe that silence plays a very important role in my music—it's a powerful tool that provides space and air to the tracks. When there are pauses, the musical parts resonate more strongly. This concept was always on my mind; it’s like holding your breath as the tension builds.
Another challenge was limiting my tools. Creating something strong and memorable is often easier with fewer options. This forces you to be creative and really consider the meaning of the music. When you have too many choices, you might lose your focus, and the outcome may not align with the original idea. My main tools were the contrabass, violin, piano, Korg MS-20, Prophet ’08, and the previously mentioned hardware effects. While I did use plugins for editing and mixing, these five instruments and two vintage machines were my primary creative tools. The final mixing and mastering of my tracks were completed by my Cannes award-winning colleague, Petja Virikko, at El Camino Helsinki.
I am a very visual person, and I perceive music and sound design as one vast, deep blue ocean. In Sebastian, this ocean is warm and beautiful, yet simultaneously sad and tempting—the next film could introduce a darker, more thrilling soundscape.
Ilari HeiniläCredit: Altti Heinilä
