Alberto Iglesias: "Music, before image quality, is the best reason to defend the movie theater"

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Alberto Iglesias

is right now the opposite.

Neither one nor the other, as Cantinflas would say.

And perhaps for this reason, he has ended up being simply essential.

Faced with the excess of formalism, emotion;

against excessive noise, conscious silence;

in the face of apathy, enlightened and energetic rigor.

Nominated for an Oscar for the fourth time for his work in Pedro Almodóvar's

, this 66-year-old musician from San Sebastian has become one of the most particular, distinguishable and precise voices of composition in his almost four decades working part-time on film .

«I want to believe that over time I have been changing and if

an extension of its meaning”, he says cautiously, in tune and it could be said that he was slightly blushing because of the completeness of his statement, because of the difference.

He was first nominated in 2006 for

by Fernando Meirelles.

Then, two years later, he would do it again for

by Marc Foster.

And ten years ago he would have his third chance with

by Tomas Alfredson.

“What makes this candidacy different is first of all the age.

And not because I am older, but also because I am and I am different," he says, taking a second and continuing: "But without a doubt, what is relevant this time is that the nomination is a recognition of the work I have done with Almodóvar at throughout these years.

Each film has been a new challenge... always contrary to the previous one».

Indeed, since he began with the manchego in

in 1999, Iglesias's music has been adapting, shaping and dialoguing, always in a simultaneous gerund, oh with each of the alterations and turns of an essentially diverse filmography and different from everything and itself.

Iglesias came to Almodóvar when he was in the midst of a change, when he was in the process of transforming from the beyond-modern melodrama of

to the naked tragicomedy.

«I have always seen Pedro as owner of his style

and owner of his adventure.

And by style I understand the repetition that we all make of our imagination in the places we inadvertently visit.

But always in a different way, never the same”, says Iglesias.

And he continues: «We have both evolved together.

Before, he was not in favor of music accompanying the dialogues.

Now yes.

This is a discovery we made in Talk to Her.

Music can have narrative capacities that extend the discourse and can give it more meanings».

And it is here when the phrase from the beginning fits in with the echo and the words.

If asked about the candidates with whom he shares the nomination, Iglesias, unlike the other years in which he was also there, highlights the variety, the richness and, again, the opposing points of view.

From

, the member of the band Radiohead who surprises with his rereading of the western in

keeps his freedom.

"I love that he has so much nose and does what he wants."

From the totem

chooses his always hyperbolic ability to refound the genre he plays.

In this case science fiction thanks to

.

Germanine

is recognized for her ability to turn popular music into part of the soul of an animated film like

.

And from his friend

candidate for

, chooses his personality.

Be that as it may, music in the cinema is changing.

It is basically what is experiencing the most revolutions at a time when cinema is all about revolution.

Desperate even.

For too long, music has been neglected in the theorizing of film.

And perhaps for this reason, it is now when he claims his leading role.

At a time when the future of movie theaters is being discussed, it should be borne in mind that the ear is more immersive than the eye.

The persuasion of cinema is much more effective through sound.

Music, let's not forget, is not only heard, but felt throughout the skin.

Sound pressure is experienced right now throughout the body.

And that can only be achieved in a room », he says.

Despite this, despite the evidence of sound and music, this year's Oscar gala has relegated eight of the categories to a parallel

-gala that will take place an hour before the presumed big event.

“It is misunderstood and, in fact, has been criticized by everyone.

For a moment, I thought about going.

But, on the other hand, that would have been very superb of me.

The important thing is the film, defend the film.

And, furthermore, with all the really serious problems out there,

And having said that, the last question: What does the music of Alberto Iglesias sound like?

"I wouldn't know how to answer.

I have ideas, but no style.

I don't think my music sounds like Alberto Iglesias.

I see myself in the mirror and I don't recognize myself.

Quite the contrary.

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