Carlos Rafael Rivera

We had the pleasure of sitting down with Emmy-winning composer Carlos Rafael Rivera. Known for his deeply narrative-driven scores on acclaimed projects like The Queen’s Gambit, Godless, and Lessons in Chemistry, Carlos brings a distinct voice to every story he helps tell. In this Q&A, he shares insights on his creative process for the upcoming series Department Q, his long-standing collaboration with writer-director Scott Frank, and how Heavyocity’s tools have become an integral part of his scoring palette.

Can you walk us through your inspiration for your work in Dept Q? 

As we were getting started on Department Q, Scott sent me a playlist with bands like Flogging Molly, The Tartan Rockers, Dropkick Murphys. There was an aggression and muscularity in that music that Scott wanted translated into our story. Along with that, there was our main character, DCI Carl Morck – a man in free fall – so the melody of the main title was one that kept descending. But my favorite part of the process was that the harmonic bed was built on a set of chords Scott himself wrote. It made perfect sense to connect all these ideas into what became the main title of Department Q.

What was it like working with Scott Frank, the writer for Dept Q? 

This is the fifth story Scott and I have tackled together. We’ve known each other for over twenty years and have been working side‑by‑side for more than a decade, often from the moment the script starts taking shape. That long familiarity means a single comment or reference can point me where I need to go, yet the focus is always on serving his narrative rather than drawing attention to the music itself. I value how naturally the score is allowed to grow alongside the story – it makes the collaboration feel less like adding a layer to the story, rather more like completing the fabric of the film.

How did Heavyocity’s products fit into your palette for the style of Dept Q? 

Heavyocity’s Damage Guitars, specifically the playable guitar textures, were incredibly helpful. Gravity 2 provided the atmospheric guitar sounds. Damage 2 handled drums and percussion – the Ensemble Designer, Armageddon 2 for the monster low‑bass blasts, and the low‑tom rim hits were all specific to the show’s sound.

How and when did you first start composing?

I began classical‑guitar lessons at eleven in Panama – when our family later moved to Costa Rica my parents bought me an electric guitar, and I spent countless hours learning and playing rock music by ear. Bands such as Iron Maiden and Judas Priest were among the first I worked on. But it was Randy Rhoads’ solo on Revelation (Mother Earth) that made me go all in. I promised myself “The day I am able to play that solo note‑by‑note, I’ll be an amazing guitarist.” Four years later that day finally came, and as I was elated when able to play it, I was overwhelmed with the realization that I had not written it … and my attention turned to writing music.

What path led you to writing and teaching?
I have been teaching and making music since my teens. As soon as I could drive, I began teaching privately as a guitar instructor, and writing songs. The same dual path has continued ever since, although now I am in academia, as well as writing for film and television. Both play an important part in my musical life, driving me and giving me a sense of purpose.

Biggest musical influences?
Early soundtrack heroes: Goldsmith’s The Great Train Robbery, Williams’s E.T. “bike‑lift” cue, Horner’s “Wrath of Khan.”  Ennio Morricone’s Cinema Paradiso later showed me the power of melody. My Latin American upbringing also hard‑wired rhythms from my family’s culture.

Creative process—how do you start a piece?
With Scott in Department Q, as I have in our past collaborations, I usually begin by turning the screenplay into what I call a “script movie”: I drop the text into a simple timeline, pace it at reading speed, and mark the beats where music feels necessary. While that method lets me sketch themes long before any footage exists, the approach isn’t rigid – if a director prefers temp tracks, I’ll adapt. Whatever the starting point, I focus first on the dramatic purpose of each scene, decide where music should enter and exit elegantly, and only then move on to instrumentation and mock‑ups. Themes are built around story functions (addiction, genius, betrayal, redemption, etc.) rather than characters; instrumentation grows as the narrative enlarges.

Writer’s block—your remedy?
The only remedy I have found for writer’s block is to write. More specifically, if a cue stalls, I re‑examine the dramatic tone rather than stare at a blank staff.  On Queen’s Gambit I scored a scene i thought was working, but had to throw my approach to what would be a “game music template” for all matches, but after Scott Frank said, “You’re scoring the wrong movie,” I had to re-approach each match contextually; changing the storytelling question unlocked the music.

Genres you favor (or still want to try)?
I gravitate to narrative‑driven orchestral/hybrid scores  – western (Godless), noir (Dept Q), period drama (Lessons in Chemistry). Any is fine with me, as long as the story feels compelling.

Credit you’re proudest of & why?
I am proud to work at all – because it is a VERY difficult field to enter.

Studio setup & favorite gear/plugin?
Mac Pro, Apollo Twin, MAudio Keystation, Les Paul, Fender/Gibson Acoustics, MXL Mic, Logic Pro Core DAW: Logic Pro.
I love playing the Les Paul.

If you could snap your fingers for a custom virtual instrument…

A Classical Guitar virtual instrument.

Role of Heavyocity products in your work?
Heavyocity Damage Guitars, Gravity 2 atmospheres, and Damage 2 for percussion.

Biggest trend in current TV scoring?
It is excellent- that is all I can say. As stylistically varied and well made as it gets.

Where I’d like TV scoring to head next?
Wherever it takes me. I am completely open and excited for what’s to come.

Thoughts on AI’s impact?
AI can grow not only as our tool, but as an eventual collaborator.

Advice for someone pursuing media scoring?
Write every day; finish short cues quickly; collaborate on student films; learn tech cold; and cultivate relationships – my career began because Scott Frank was once my guitar student. Talent opens doors, reliability keeps them open.

Best career advice I ever received?
From Randy Newman during my USC days: “Serve the picture, not your ego.” Remembering that keeps every note in the service of story.

Check out Carlos’s full list of credits and upcoming projects at: https://carlosrafaelrivera.com

CARLOS RAFAEL RIVERA photos by: Nicholas Green