From Whalesong to War Dance: Scoring the Soundtrack of Tonga - Where Time Begins

In Where Time Begins, Irish composer and sound designer Denis Kilty (denis.) creates a soundtrack shaped directly by Tonga's energy, culture, and raw sonic textures. Directed by Adam Slama and produced by Studio Khonsu for Tourism Tonga, the film follows a local man’s journey through land, sea, and time - a cinematic tribute to the first place on Earth to greet the sun.

The project came together fast. Adam was in Tonga on a separate assignment when conversations with the tourism board sparked an idea: a film that would reflect not just the beauty of the islands but also their cultural and spiritual identity. Within 24 hours, flights were booked and gear packed. And with that, production began on what would become one of Studio Khonsu’s most evocative pieces.

The sound didn’t come after the image - it was part of the foundation.

“We captured whalesong out at sea, a full church choir inside St. Joseph’s Cathedral, and the national rugby team performing the Sipi Tau,” says denis. “Those recordings didn’t just support the film - they shaped its structure and rhythm. From the pacing to the tone, the audio led the way.”

Storms and unpredictable weather altered the original vision. What was meant to be a sun-drenched South Pacific showcase shifted into something more emotionally rich - dark skies, wild seas, and deep underwater blues became recurring visual motifs.

“The unexpected conditions added real depth,” says Adam. “They gave us contrast — and the sound helped guide that emotional shift.”

One of the film’s most striking moments comes during the rugby sequence, featuring the Tongan national team training and performing their official Sipi Tau war dance. It was during the edit that denis. saw an opportunity to amplify the energy of the footage through pace and sound.

“After syncing the energy of the Sipi Tau to the visuals, I felt we could push it into something tighter and more physical - something closer to a sports campaign,” he explains. “That collaboration with the edit allowed the music to move beyond score - it became rhythm, momentum, attitude.”

For Adam, the role of sound wasn’t secondary - it was essential.

“You always hear that sound is 70% of the experience - but with denis., it’s closer to 90%,” he says. “Whalesong, the Sipi Tau, ambient textures from location - he made them all work together. The timing of his drops, the way he weaves music in and out of the natural sound - it’s just spot on.”

The score flows between stillness and adrenaline - from the reverent quiet of a cathedral choir to a surging, rhythm-led war dance. It's not a soundtrack layered on top; it’s the result of listening first.

“That’s the part I care most about,” says denis. “Not adding sound after the fact - but letting it emerge from what’s already there. Whether it’s a whale 20 metres below the surface or a voice echoing in a stone chapel, the job is to listen first.”

“The film needed emotional rhythm,” Adam adds. “He didn’t just follow it - he carried it. It’s a dance, and he pulled it off with class.”