Today, we bring you a conversation with one of the key creative minds behind Netflix’s much-anticipated adaptation of Gabriel García Márquez’s masterpiece, One Hundred Years of Solitude. Let’s dive into the insights shared by Alejandro Uribe-Holguín Borda. The award-winning Sound Supervisor and Designer worked on the series to bring the magical world of Macondo to life. Macondo is the name of the fictional town in the novel and a place that reflects the lives, struggles, and culture of a Colombian village over generations.
Question 1: What was your specific role in the production of One Hundred Years of Solitude for Netflix?
Answer: I served as the Sound Effects Supervisor and Sound Designer, representing La Tina Sound Design & Film Scoring, a Colombian company I co-founded with my partners over 15 years ago. Our mission was to create the sonic universe of Macondo. This involved a lot of different activities. First of all, crafting a rich sound design for the production. In the post-production process, we did the re-recording of the dialogues in a studio to replace the original audio captured during filming. We also added the background sounds of crowds to make the scenes feel more realistic and lively and worked on the sound effects. I also led the Dolby Atmos mixing, which is used to create immersive, multidimensional audio experiences. The idea behind all these things is to ensure that every sonic detail enhances the narrative of the story.
Question 2: Did you work directly with the production team? Did they share any challenges faced in adapting such a complex and symbolic novel?
Answer: Yes, I worked closely with the directors, Alex García and Laura Mora, as well as Francisco Ramos, Netflix's Vice President of Content for Latin America. From our team at La Tina, we deeply understood the magnitude of this project. Adapting a work as iconic as One Hundred Years of Solitude was no small feat.
One of the biggest challenges was translating the novel's magical and symbolic atmosphere into an audiovisual language while respecting Colombia’s cultural richness. From a sound perspective, our role was crucial in immersing viewers into the world created by Gabriel García Márquez's magical realism - making it feel alive and authentic.
Question 3: How do you think the series will help our audience connect with García Márquez’s work?
Answer: The series offers a sensory experience, combining stunning visuals with a carefully designed soundscape. At La Tina, we worked hard to ensure that every sound would emotionally resonate with the audience, allowing them to experience the depth and richness of Macondo’s culture.
Themes like family, destiny, and resilience are universal, making it easy for viewers in Europe - and indeed audiences worldwide - to relate to the characters and their stories, no matter their cultural background.
Question 4: How can this series change the way the world perceives Colombia?
Answer: This series is a window into the soul of Colombia. It goes beyond the usual stereotypes to showcase the country’s cultural wealth and our ability to craft complex, beautiful narratives.
It reminds the world that Colombia is so much more than its challenges - it’s a nation of creativity, art, and resilience. I am confident that this series will help position Colombia as a global hub of cultural and artistic excellence.
Question 5: Our initiative focuses on helping children affected by sexual abuse and extreme poverty. Do you think the series touches on the roots of these social challenges in Colombia?
Absolutely. One Hundred Years of Solitude explores themes of inequality, violence, and cycles of oppression that have historically shaped our society. While it doesn’t directly address contemporary issues like child abuse, it delves into the historical and social roots of poverty and marginalization.
I believe the series has the power to spark important conversations about how long-standing social structures continue to impact Colombia today - and how we can begin to break these cycles for a better future.
Thank you for the conversation.