At the bustling celebration of WonderCon, composer Daniel Rojas sat down with Maddie Morrow from Temple of Geek to discuss his journey in the industry, his creative process, and the unexpected global phenomenon of K-Pop Demon Hunters. Known for his work on projects ranging from the gritty world of Marvel’s Hit-Monkey to high-energy pop hits, Rojas shared insights into what it truly takes to transition from a bedroom musician to a professional film and TV composer.
Daniel Roja’s Definitive Element Being Collaboration
For many aspiring musicians, the greatest challenge lies in transitioning from writing music for oneself to composing in a professional capacity. Rojas identifies collaboration as the definitive element that bridges this gap. He notes that while creating music alone in a room is a valuable skill, the film and television industry operates through the combined efforts of directors, producers, and editors. To facilitate these professional connections, Rojas emphasizes the importance of immersing oneself in a filmmaking community. Whether in Los Angeles, New York, or London, being physically present where other filmmakers work is often how projects and collaborations are born.
What A Day in the Studio Looks Like for Daniel Rojas
Rojas’s professional routine is a blend of business discipline and evening creativity. He typically wakes around 8:00 AM and aims to be in the studio by 10:00 AM. The first few hours of his day are dedicated to administrative tasks, such as catching up on business emails and responding to correspondence. He finds himself becoming more creative in the afternoon and evening hours. Rojas often works every day, including weekends, finding them particularly productive because they are quiet and free from the bombardment of meetings, Zoom calls, and emails.
From Marvel to K-Pop: Different Creative Worlds
Rojas highlighted the vast differences between working on established franchises versus original intellectual property. When working on Marvel projects, Rojas explains that much of the work involves research because these characters exist within a massive universe. He must read comics and understand how characters connect to other universes, such as the Deadpool universe, to maintain continuity.
It was a fully original thing. So there were no rules. There were no expectations. And that was very unique.
In contrast, K-Pop Demon Hunters offered a blank canvas and was the longest project of his career, beginning more than five years before the show’s release. Because it was an original concept, there were no rules or expectations, which allowed for experimentation and the ability to build a unique sound from scratch. Rojas brought in his friend Ejae to the project, citing her Korean-American background and experience as a former trainee with SM Entertainment as the perfect fit for the show’s authenticity.
Supporting the Story’s Truth
One of the most delicate tasks for a composer is supporting a story without being overbearing. Rojas distinguishes between clarity, which involves being intentional so the audience understands what a character is feeling, and manipulation, which involves telling the audience how to feel. He believes manipulation should be avoided unless used for comedic effect. Rojas advises treating the audience with respect and allowing things to breathe on their own. He views the score as a background character that reinforces the emotional truth of the scene.
For more WonderCon Coverage, Check Out:
Composer Kristopher Carter on the Ever-Evolving Sound of DC’s Greatest Heroes
