The relationship between vision and music creates an actual encounter that affects our brain. The sustainability of film scores lies in their ability to develop narrative and play with our brains. Creates a considerable impact that resonates long after the final credits have faded into darkness.

Robert played the piano and studied music from the age of 6. He received a classical music education in Prague. When he was 24 years old, he applied as a professional composer to Berklee College Of Music in Boston. Here he studied film scoring until 2000. In Prague, he felt that he needed to supplement his education for a successful career, and Berklee was the best school with a program for film music composers. Thanks to the professors in Boston, he could begin to perceive film music from a much deeper perspective than before.

He wrote his first composition when he was 8. He wrote his first film score when he was 22, more than 30 years ago. Since then, he has been constantly devoting himself to the composition of film music, and to date he has produced almost a hundred films and serials. His experience allows him to work both on chamber projects with music in a small cast or even with a purely electronic soundtrack, and to write music for a large orchestra with epic choirs if the film calls for it. The range of his work ranges from a classical approach to very experimental compositions. He writes the sheet music himself, even for the biggest projects, thanks to which he constantly discovers new sound colors, their combinations and the emotions they express.

In his work, Robert uses Apple computers, Apogee converters, Bowers & Wilkins speakers and headphones, Native Instruments and Doepfer keyboards, ProTools software, Sibelius, Spitfire Audio, Kontakt, Solid State Logic, Waves and much more. In addition to software from renowned developers, he also creates his own sound banks, which he then combines with acoustic recordings of musical instruments, ambient and synthetic sounds.

The psychological approach to the composition of film music is absolutely essential for Robert. Usually, preparing the structure of film music from a psychological point of view takes up the largest part of his creative time. "Why" is the absolutely key question behind every note of film music by Robert Jíša. His credo is that if it is not clear why and what music should be played in any part of the film, then silence is better for the film. Robert is very well aware of the music composer's responsibility for the resulting way in which the film communicates with the viewer. Music can reveal, it can confuse, it can deliberately lead the audience on a false trail, it can bring all kinds of emotions and expand the meaning of the script with the unspoken. It can also speed up or slow down the movie. The viewer perceives images and words as essential information, but music works at the level of the subconscious and thus becomes extremely important not only for emotions, but also for the entire resulting meaning of the film.