Defining the Sound of Universal Production Music’s Brand Film with Sylvia Navarro

1. Can you share a little background about yourself and your music career so far?

I like to think of myself as someone who isn't defined by a single discipline. My journey began with piano through the Suzuki method, and later my piano teacher, Mr. Marullo, took me under his wing - on and off from the ages of 9 to 18. I say "on and off" because I was a very stubborn student who constantly threatened to quit out of self-doubt. Thankfully, he never gave up on me and let me explore my own compositions after our lessons.

Singing was probably one of the first ways I truly learned to communicate linearly, but for many years I kept that to myself and within the family. I was so shy that I would often give up lead solos to other students in choir and school productions because the thought of singing in front of people terrified me.

Looking back, much of my musical foundation came through organic performances and simply learning by doing. I didn't begin incorporating technology into my compositions until high school, and from there I just kept building my skills over time.

I went on to study psychology and literature at university, but during my final four semesters, I was able to create a hybrid curriculum that combined film, music, and writing. After graduating, I began a master's program, but left after my first semester when I was offered an internship at Remote Control Productions. What was supposed to be a five-week internship turned into
several months working with Henry Jackman's team. During that time, Anže Rozman invited me to sing on one of his scores. It was one of the most rewarding experiences of my career and eventually led to more opportunities, mentorship, and a full-time position at Bleeding Fingers Music.

Today, I'm a freelance composer and vocalist based in the Dallas–Fort Worth area. While I continue collaborating on film, television, and game projects, I'm also dedicating more time to creating personal albums and original works that reflect the stories I want to tell; drawing inspiration from my faith, history, and the natural world.

2. Can you talk us through the creative brief you received for the Universal Production Music rebrand film? What was your initial reaction, and how did you interpret the brief?

Maddy Stevens approached me about the film, and I was genuinely delighted to hear that Universal Production Music was placing such an emphasis on sustainability. We often don't think about the fact that making music relies on a significant amount of energy, so it's easy to overlook how much can be wasted through everyday habits. Even something as simple as leaving equipment powered on when it's not in use, can have an environmental impact. If sacrificing a little convenience in our workflow helps reduce that waste, I think that's a worthwhile trade-off.

What immediately excited me about the brief was the challenge of taking listeners through four distinct musical worlds while making the journey feel like one cohesive story. I was working solely from the written description, as there were no visuals yet, so I had the freedom to imagine how each world might feel before translating those ideas into music. 

Rather than simply supporting the visuals, my goal was for the score to guide the emotional journey between them. I think that's one of the most exciting parts of composing for film music has a unique ability to connect separate moments into a single, meaningful experience.

3. Were there any particular themes, emotions, or values from the rebrand that you wanted the music to capture and how did you translate this into your musical composition for both the track and the album you created?

One of the themes I kept coming back to was childlike wonder. There needed to be a thread. It felt important that the music reminded us of the curiosity we naturally have when we experience the world for the first time, where perspective notices beauty, movement, and sound without taking it for granted.

At the same time, I didn't want to ignore the seriousness of it either. The challenge was finding a balance between playfulness and responsibility. Musically, that meant combining whimsical, exploratory textures with more grounded, human moments that acknowledge both our connection to nature and the impact we have on it. Rather than creating something overly dramatic, 

It kept coming back to the music, inviting listeners to rediscover the world around them.

4. If you had to describe the brand film track in three words, what would they be and why?

Exploratory, because it constantly moves between different sonic worlds and landscapes. 

Whimsical, because I was drawn to preserve a sense of childlike curiosity; Not to lose our fascination with the natural world. 

And vibrant, because the film itself is full of movement, color, and energy. It celebrates the life and diversity that surrounds us and, ultimately, what we're trying to protect.

5. What emotional response did you want audiences to have when theyhear the music and watch the brand film for the first time?

It's always difficult to predict how someone will respond to music and art in general, but I hope people feel drawn into the journey. I hope they notice how the music transitions cohesively from one idea to the next and that, despite being carefully produced, it still feels human and organic. I think that’s also the core and heart of it all.

Interestingly, this was one of the first projects where I was asked to do what comes most naturally to me: letting lots of different musical ideas exist within a single journey. It felt like home. If the music leaves someone with a greater appreciation for the beauty and wonder, I'd be very happy with that.

6. Do you have a specific creative process when approaching music composition, and if so, what does this look like?

I usually begin at the piano, my voice, or with my mallets; Anything tangible. The computer is actually the last place I go, especially now. Before I ever start recording, I like to think through ideas while I'm walking, especially in the mornings and evenings. Those walks are an important part of my creative process now, and finding the flexibility to protect that time, even within tight
deadlines, is essential for both my physical and mental well-being.

Beyond that, there really isn't a formula. Every project unfolds differently, and that's one of the things I love most about composing. Each score teaches me a new way of listening and creating.

7. What does it mean to you to create the soundtrack for a brand like Universal Production Music that exists to help storytellers around the world?

Firstly, it's an honor to contribute to something that exists to help storytellers around the world. I think that's one of the greatest privileges of being a composer, creating music that helps bring someone else's vision to life.

Being invited to work on this project felt like everything naturally fell into place. The message behind the film aligned so closely with my own values of sustainability that it never felt forced. As artists, we all hope our work can contribute to something bigger than ourselves, and knowing this music could play a small part in encouraging positive action made the experience incredibly fulfilling.

8. What do you hope clients, composers and creators take away from the music when they experience the new brand film?

This film is a reminder that there's a much bigger world beyond our screens, one that's constantly inspiring us and worth caring for.

Nature has an incredible sense of order, but it's never rigid or mechanical. I hope the music reminds people of how nature feels both intentional and alive. I tried to reflect that in the music by allowing it to breathe and evolve naturally, rather than feeling overly programmed. If listeners come away with a renewed sense of curiosity and appreciation for the world around them, I'd be very happy.

Discover Sylvia's latest album: Irlanya EP