PARALLEL MOTHERS

Alberto Iglesias

What was your reaction to your nomination?

It was very surprising for me, because it’s a Spanish film — it’s not so easy to be recognized with such big films around. It was one of the best experiences for me doing music, so at the same time, I hoped it could happen.

What were you trying to accomplish with this score?

The film makes a path from childbirth until the common grave at the end. In the middle is Janice, [played by] Penélope Cruz, and the music is breathing with her, understanding that she is lying in moments, starting to know something she doesn’t want to recognize. That [adds] suspense; I tried to make evident the parallelism between light and shadows — life and death.

What are your thoughts on the category not being presented live on the telecast?

I don’t like it at all. Not only for the composers’ categories but editors’ categories — it’s better to celebrate all the people there. I would like to speak to the other composers, and if we can make a kind of pressure to change that, we will.