0:00

A very warm welcome to

0:02

another episode of my beloved

0:04

podcast, Soundtracking with me, Edith

0:07

Bowman. Thank you so much

0:09

for joining me and thank

0:11

you to everybody who has sent

0:13

in their contribution for our upcoming

0:16

500s episode. I know, we're so

0:18

proud of it. So if you

0:20

haven't already, please let us know

0:22

if you've got a favourite episode,

0:25

a favourite guest. or maybe just

0:27

a favorite soundtrack. Send us a

0:29

little voice know, or if you

0:31

wanted to, on video if that's

0:33

easier, however it's easiest for you,

0:36

an email, and I can read

0:38

it out. But if you could

0:40

send those in to me at

0:42

info, at edithbowman.com, I would be

0:44

very, very grateful, and it would

0:47

just be so great to involve

0:49

as many of you as we

0:51

possibly can within our celebration of

0:53

getting to 500 episodes. And we

0:56

very much hope that there is

0:58

at least 500 more to come.

1:00

It's been a very exciting week,

1:02

I have to say, with regards

1:04

to recording a few episodes for

1:07

you guys to listen to in

1:09

the upcoming weeks. Not least, Mr

1:11

Robert De Niro. I know, it's

1:13

bonkers. I was lucky enough to

1:16

chat to Bob, along with Eric

1:18

Newman, son of Randy Newman. They

1:20

have worked together, Eric is the

1:22

showrunner, writer and executive producer and

1:24

Bob is the lead and executive

1:27

producer of this brand new Netflix

1:29

show called Zero Day. It's fantastic.

1:31

It's got such a great cast.

1:33

And I'll tell you more about

1:35

it as we get to that

1:38

episode that features Eric and Bob,

1:40

but it was so great to

1:42

talk to him and I managed

1:44

to kind of get him to

1:47

talk about music. Anyway, that's in

1:49

the future, but this is the

1:51

now. And then now we have

1:53

another of our soundtrack in everyman

1:55

film club shows, which we thought

1:58

we would share as a bonus

2:00

episode to mark the extraordinary recognition.

2:02

drama Amelia Perez has received. Land

2:04

in a whopping 13 Oscar nominations,

2:07

Amelia Perez tells the story of

2:09

a Mexican lawyer who has offered

2:11

an unusual job of helping an

2:13

notorious cartel boss retire and transition

2:15

into living as a woman. Now

2:17

I was lucky enough to be joined

2:20

at Everyman Broadgate by writer,

2:22

director Jaco Diard, Zoe Salaña,

2:24

who plays lawyer Rita, Clemon

2:26

Ducal and Camille, who collaborated

2:28

on the music. Now since Jacques

2:31

doesn't speak very good English

2:33

we also had a lovely

2:35

translator Sophie on stage so

2:37

thank you in advance for

2:40

your patience. As first he

2:42

gives his answers and then

2:44

she release them to us

2:47

in English. But we thought

2:49

it would be lovely to

2:51

kind of celebrate that within

2:53

the podcast anyway. We'll begin

2:56

with one of the many

2:58

wonderful songs from the film

3:00

El Allegato as performed

3:03

by Zoe. Well, one

3:05

of the cetace, oh, oh,

3:07

oh, oh, oh, oh, oh. Oh, let's yeah,

3:09

oh. De Justicia, that's

3:12

a, those in,

3:14

go down, pico,

3:16

pico, pico, pico,

3:18

pico, cottos, cin,

3:20

h'o, d'écías, bonitas,

3:23

bonita, s'o,

3:25

discíre, h'o, d't't'tado,

3:28

those habrenas, sportos,

3:30

The criminal is

3:33

a conscience, yeah.

3:35

Oigandres compamune prerunta,

3:37

who me and

3:40

other me cleante,

3:42

and see your

3:45

guardian indosa. Indira

3:47

suescoza. Congratulations,

4:03

not just on the film, but

4:05

the response that it's had, the

4:08

recognition. Just wonderful. So great. Jacques,

4:10

I'm going to start with you

4:13

if that's okay, sir, please. Because

4:15

this journey started for you if

4:17

I'm not wrong, and that you

4:20

originally wrote a short, which was

4:22

kind of, I guess, the seed

4:24

of this. Is that right? Yeah,

4:27

so he wrote a libretto first.

4:29

I think when you mentioned a

4:31

short, I think there was a

4:34

book that had short stories. It's

4:36

common. It's a common sense. It's

4:39

a person that has been a

4:41

person, a person of narco, who

4:43

will operate in transition. And the

4:46

other, the author, not a pastuit,

4:48

that has asked me to cope

4:50

with it, and so much, I

4:53

see, I see, it's a chapter

4:55

in the book, and there was

4:57

this character, this narco-trafficant, who wanted

5:00

to transition, and the author didn't...

5:02

give, you know, a follow-up to

5:05

it, so he'd develop it. Did

5:07

you know at the time, the

5:09

style, or did you have an

5:12

idea of, of musically, how the

5:14

film, you wanted it to sound?

5:16

I put, I come on, this

5:19

is really, I'm, I'm, I'm, I

5:21

say, when I put, I'm, I'm,

5:24

I'm, I'm, I'm, I'm, I'm, I'm,

5:26

I'm, I'm, I'm, a, I'm, I'm,

5:28

I'm, too, too, a, a, a,

5:31

a, a, a, a, a, a,

5:33

a, a, a, a, a, a,

5:35

a, a, a, a, a, a,

5:38

a, a, a, a, a, a,

5:40

a, a, a, Yeah, we didn't

5:42

want the standard typical thing but

5:45

otherwise one thing led to another.

5:47

When it came to these characters,

5:50

and so I'd love to bring

5:52

you in on this, and I

5:54

know that you spent so much

5:57

time casting this and finding these

5:59

wonderful actors to take on these

6:01

roles, but when we watched this

6:04

film, we're so immersed in the

6:06

story and the performances of the

6:08

actors, that it feels like the

6:11

music and the songs were written

6:13

specifically for those... people those performances

6:16

they're almost kind of there's no

6:18

there's no kind of joy in

6:20

there we just is so fluid

6:23

and so natural and Zoe I

6:25

guess that's the start for you

6:27

then in terms of when you

6:30

read the script how much of

6:32

the the kind of music side

6:34

of it or the musical performance

6:37

side of it was in the

6:39

script for return this performance no

6:42

every everything were there it was

6:44

there if anything there were a

6:46

couple of songs that that Jack

6:49

and Kami and Klimmon pulled back

6:51

on But when it came to

6:53

just the bones of these characters

6:56

that felt so familiar, mind you,

6:58

they were set against a backdrop

7:00

that was hyper real, that was

7:03

very surreal, that was almost in

7:05

a very dystopian kind of reality.

7:08

But these women still had aspects

7:10

in their lives and in their

7:12

adversities that they were overcoming that

7:15

were deeply familiar in our own

7:17

right to each and every one

7:19

of us. And I've spoken... in

7:22

depth with Selena and with Ariana

7:24

and with Carla about all of

7:27

this. We have experienced sensations, some

7:29

of us or even all of

7:31

us, of marginalization, isolation, betrayal, suffocation

7:34

due to an environment that doesn't

7:36

allow us to be who we

7:38

truly authentically are in competence. Jacques

7:41

just gave us the liberty to

7:43

be as abstract, you know, as

7:45

we possibly could or we wanted

7:48

to with our characters and obviously

7:50

as, you know, the director and

7:53

the editor that he is, he

7:55

just kept sort of guiding us

7:57

in sculpting. our performances in post

8:00

as well. So it was a

8:02

wonderful experience. These women are women

8:04

that, though they're dealing with huge,

8:07

huge realities, they were still going

8:09

through a desire to be loved,

8:11

a desire to be free, a

8:14

desire to connect and to be

8:16

successful. So all of these aspects

8:19

are just very familiar, sort of,

8:21

you know. feelings that people and

8:23

especially women go through. Yeah. Where

8:26

did you Camille and Clement? Where

8:28

was the starting point? And I

8:30

imagine it was a journey for

8:33

you both working with Jack to

8:35

find the musicality for the film

8:37

but also for the individual characters

8:40

as well because they each feel

8:42

like they have a kind of

8:45

not their own genre of music

8:47

but their own musicality in a

8:49

way if that's fair kind of

8:52

observation. Yes, it was a long

8:54

journey, almost five years, actually. And

8:56

yeah, we had the, we felt

8:59

very lucky because everything was worked

9:01

hand in hand with Jack and

9:03

Tom I began his collaborator. And

9:06

everything is woven together, you know,

9:08

the script, the songs, the music,

9:11

the narrative process, the emotions, and

9:13

then the character, the characters and

9:15

the actresses. It's really a team

9:18

process, you know. So we felt

9:20

very lucky to work even not

9:22

on a script. It was first,

9:25

it was a treatment, and we

9:27

were just pointing out the scene

9:29

that could be used for songs.

9:32

Maybe it helps Jacques to write,

9:34

to move forward, you know, because

9:37

songs can act as a catalyst

9:39

for narrative, for emotions. It helps

9:41

the action to move forward. Yeah,

9:44

and every character has his own

9:46

genre, but his own reason for

9:48

singing. Emilia sings because it opened

9:51

her heart. It's she. Amelia's Mannitas

9:53

has never sung. It's the first

9:56

time she sings in front of

9:58

Rita. Rita sings. because she wants

10:00

to render justice and it's very

10:03

difficult to make it official. So

10:05

it's what's going on in her

10:07

mind. She wishes would be out

10:10

there, but you know, it's so

10:12

hectic in her mind. And Jesse,

10:14

Selena Gomez, Jesse sings because she

10:17

wants to go out of her

10:19

golden cage and wants to go

10:22

for, you know, self-expression and drop

10:24

self-judgment and epiphania sings to... to embrace

10:26

her emotions, to celebrate at the end,

10:28

to mourn, to, she sings those same

10:30

ways she would, she would breathe. The

10:32

singing is also tailored to the

10:35

characters and to the actresses. What helped

10:37

you come to those decisions on what

10:39

those, those kind of genres would be,

10:41

what fitted to those characters and what was,

10:44

you know, what was right? And that choice

10:46

as well of, you know, Selina's

10:48

character with the karaoke, for example,

10:50

and what the performance of that

10:53

song in that... particular situation is

10:55

telling and is part of the

10:57

story. There's no day for decisions.

11:00

I mean every day was a

11:02

decision day. Yeah. Right. The carrier

11:04

okay happened like a week before

11:07

you know D'Amier-Géle came up. We

11:09

were struggling. I remember that scene

11:11

we needed we need a strong

11:13

something that would sound like it

11:16

was already a hit, you know.

11:18

So it was difficult Jack kept

11:20

telling us, we need a hit.

11:23

Okay! Let's write a hit. And

11:25

finally we got that song that

11:27

sounded really like you're almost familiar,

11:30

but we didn't want it to

11:32

sound cheesy or, you know, it

11:34

needed to be deep and sentimental.

11:36

And the carry-okai idea made it

11:39

more real in a way. She's, so

11:41

Lena, Jesse's singing along her own song.

11:43

So that was a kind of

11:45

last minute idea. Yeah, oh,

11:48

get it me, me,

11:50

me, smile. Get it,

11:53

see me, vida. Get

11:56

it, see, love, case,

11:58

yeah, though. Get

12:02

it, get it yummy,

12:04

me smile, get it

12:07

real sick, oh, thaw,

12:09

get it real sick,

12:12

oh, most sorry, get

12:14

it all mad, allamina,

12:17

get, no me that

12:19

I don't say, get

12:22

all mad, well, I'll

12:24

let me, hold me,

12:27

hold me, hold me

12:29

boy. Then,

12:55

I mean, Elmal, we did for

12:57

Zoe, with, you know, Rita in

12:59

her red suit. It took us

13:01

six songs to get there. The

13:03

lyrics were there, but then, you

13:05

know, what kind of style do

13:07

we need for that song? I

13:09

remember in 2022, I was here

13:11

in London doing publicity for Avatar

13:13

Way of Water, and all of

13:15

us had a night get a

13:17

text from one of the producers,

13:19

and they say, Jack wants to

13:22

know if you can wrap. And

13:24

I was like, what? And as

13:26

an actor, you just have to

13:28

like fake it to you mean,

13:31

get it like imposter syndrome at

13:33

its best? And it's like, well,

13:35

I mean, well, wait, well, what

13:37

is it for? Is it going

13:40

to be in Spanish? Is it

13:42

going to be like bad bunny?

13:44

Or is it going to be

13:46

like, like, is it going to

13:49

be like a drop called class?

13:51

I don't know. I don't know.

13:53

So I made this whole world.

13:55

So I made this whole world.

13:58

They will explain. And then they

14:00

kind of went, you know, MIA

14:02

for three months and then it

14:04

wasn't until, I would say like

14:07

April of... 2023 when I was

14:09

traveling to March, March when I

14:11

was traveling to to Paris and

14:13

I literally land and the very

14:16

next day I'm in the recording

14:18

studio that I heard in mind

14:20

for the very first time. I

14:22

just loved it because it just

14:25

felt like it was it was

14:27

what Rita needed to pop off

14:29

you know because up until that

14:31

moment she had never had that

14:34

opportunity to to tell it like

14:36

it is and then you know

14:38

Camille's lyrics and Clemon's like composition

14:41

and Jack's direction you know it

14:43

just it just turned it all

14:45

into this wonderful delicious playground for

14:47

Rita it was it was really

14:50

great. Aras, us, and familia, achinga,

14:52

e-gau, e-e-cier on connesos, cada veris,

14:54

a-a-cido. A-a-e-ceter, nada, solos,os,os,os, zan,os, cin,os,

14:56

frat, nados, cetace,os, cinos, cinos, la,

14:59

fura, a-fura, a-talesu, a-tas, a-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat-tat- It's

15:31

like that beautiful contrast of where

15:33

we see her in the start

15:35

and the gray suit, you know,

15:37

and she's kind of almost invisible

15:39

to so many people kind of

15:41

thing. And then the red suit,

15:43

yes, I chose it. Thank you

15:45

for the tribute, Edith. But the

15:48

notes, the notes that Camila, so

15:50

it shows, she was just like,

15:52

I just, I want you to

15:54

be very like, so do here

15:56

and then I want you to

15:58

kind of like say it in

16:00

a very mischievous voice. And I'm

16:03

like, in one performance, it just

16:05

pours out the screen, it's beautiful.

16:07

But in terms of preparation for

16:09

something like that particular number, I

16:11

was watching some behind-the-scenes stuffs and

16:13

the rehearsals and the preparation for

16:15

that. Where do you start with

16:18

that? You start with going in

16:20

the recording studio and recording the

16:22

song, so you get familiar with

16:24

it and then it's working with...

16:26

Dance for me though. That's what's

16:28

nice with Jack. There's never a

16:30

preconceived something. No, no, but we

16:32

definitely recorded the songs beforehand and

16:35

then for weeks we learned the

16:37

choreographies. One thing that was really

16:39

great is I was very honest

16:41

about just my anxiety and and

16:43

when I put pressure on myself

16:45

and I tend to put a

16:47

lot of pressure on myself and

16:50

I tend to put a lot

16:52

of pressure on myself and I

16:54

feel like... The preparation is what

16:56

delivers sort of like this medicinal

16:58

sense of release So they gave

17:00

me all the weeks that I

17:02

needed and so I remember telling

17:05

them it doesn't matter if I'm

17:07

shooting in the afternoon Like I

17:09

would love to rehearse and learn

17:11

the songs in the morning or

17:13

even on the weekends and and

17:15

I'll teach my kids the same

17:17

choreographies They were like all through

17:19

the house that we were renting

17:22

in Paris like It was really

17:24

cute. It was really cute. But

17:26

yeah, and then, but we made

17:28

also huge discoveries because sometimes there

17:30

were songs in which we would,

17:32

or scenes, where we were just

17:34

recording one piece of it and

17:37

we were gonna then come back

17:39

and record the other rest. And

17:41

that would dig take Camian Clemont,

17:43

some like changes or tweaks that

17:45

they wanted to make to the

17:47

songs. So I would go back

17:49

into the studio and we would

17:52

re-record the song so that for

17:54

the next shooting of the other

17:56

piece of the scene, we would

17:58

be ready. So this experience felt

18:00

like an experiment and... an experience

18:02

all at the same time. It's

18:04

the story and how these performances

18:07

tell us so much. You know,

18:09

they're part of the storytelling, the

18:11

every move that you make and

18:13

all of those scenes are kind

18:15

of, they're part of your emotion,

18:17

they're part of how you feel

18:19

what you're trying to say, what

18:21

you can't say. Is that something

18:24

you talk about or is that

18:26

just something that I don't know

18:28

Jack, you talked to Damien about

18:30

in terms of what you want

18:32

from his choreography or... Damien and

18:34

Zoe and Zoe traveled to Lortcote,

18:36

but I've traveled to June, no.

18:39

I said, these issues, come sas.

18:41

And Zoe and Damien were working

18:43

on their side, and I was

18:45

working on Clemon Kami-on-on-I-side. Don't I

18:47

never want to want to tell

18:49

Zoe-Zoei-Dami-and-Zoie-Zoui-Koum, but-do-cry-crief, a-creat-cry-cry-cry-cry-crief-cry-crief-crief-crief-crief-crief-crief-crief-crief-crief-crief-crief-crief-cree-crief-crief-crief-crief-crief-crief-crief-crief-cree-crief-crief-crief-crief-crief-crief-crief-crief-crief-crief-crief-c I think that

18:51

Damien and Krivei, it's a choreography

18:54

or furamuzieu, it's true. Yes, I

18:56

came too taken, but I think

18:58

that Zoe, that Damien was writing,

19:00

in a way, I don't know

19:02

if you can write a choreography,

19:04

but he was writing this choreography

19:06

with you. Yeah, yeah. Yeah, yeah.

19:08

Yeah, it's, it's, it's, it's, it's,

19:11

it's, it's, it's, it's, it's, it's,

19:13

it's, it's, it's, it's, it would

19:15

become, you know, it would just

19:17

go forward and forward and forward

19:19

and further. Yes, given, given, given,

19:21

given my level of training, but

19:23

also like my level of abilities.

19:26

we that dictated how far they

19:28

can they can take certain you

19:30

know certain pieces of the choreography

19:32

and and also even with you

19:34

like it was given my range

19:36

it was okay then let's adjust

19:38

this note or she can hit

19:41

that note or maybe let's take

19:43

that note a little lower but

19:45

everything that we learned it was

19:47

always for the sake of forgetting

19:49

about the day of because whatever

19:51

these women were going through was

19:53

so visceral. Whatever Rita was experiencing

19:55

as a lawyer, as someone that

19:58

left a world behind in order

20:00

for her to find herself. maybe

20:02

by reinventing herself and the sense

20:04

of shame and guilt and paranoia

20:06

like all of these things were

20:08

so visceral you know for her

20:10

that I we always knew that

20:13

we needed to learn everything so

20:15

that the day of it was

20:17

all about giving space to whatever

20:19

take after take would sort of

20:21

surface or resurface for for our

20:23

characters and I know that the

20:25

same thing happened. you know, for Godline,

20:28

for Sophia, and for Selena, and for

20:30

Adriana. So it was, it was really,

20:32

we all gave each other that space

20:34

of like when we were in the

20:36

studio, we gave it our all, when

20:39

we were with Damien, learning the choreography,

20:41

we gave it our all, and then

20:43

when we were with Jack on set

20:45

and those sound stages, it was just

20:47

about understanding how everything kind of came

20:50

into place, you know, because at the

20:52

end of the day, we were there,

20:54

you know, to, to play these women.

20:56

that were so strange to us and

20:58

yet so familiar. The two particular, you

21:01

know, the one we've been talking about

21:03

in the red suit and then in

21:05

the opening number as well, Jack. I

21:07

like your red suit by the way.

21:09

Thank you, especially for you. I know

21:11

it. And the opening scene, you know,

21:13

through the streets. there's a beautiful piece

21:15

of footage of you Jack watching and

21:18

you know directing and then when so

21:20

he sits down with a laptop at

21:22

the end of you know it was

21:24

and your face is just so beautiful

21:26

there your responses yeah clearly you're you

21:28

know you're it's your film you're directing

21:30

but just how much joy you've received

21:33

from what you've just watched and

21:35

put together I wanted to ask you

21:37

how you feel about seeing these

21:39

things come together. That's what I

21:41

was saying, Roussanté, or do I

21:43

look crazy? Well, you look so

21:45

beautifully, do I look crazy? Now

21:48

you look so beautifully, do I

21:50

look crazy? Now you look so

21:52

beautifully happy. But I refuse, but

21:54

I mean, I don't want my

21:56

children to see the BTS, and

21:58

I'm making off. But see these...

22:01

But, well, I don't, I'm a

22:03

souvenir scene. It's the premiere scene.

22:05

It's the premiere scene, and I

22:07

really, I saw the premiere scene,

22:09

because it's a little bit difficult.

22:11

Yeah, I wanted it to be the

22:13

first one we shot this scene, because

22:16

it was the first one we

22:18

shot this scene, because it was

22:20

the most difficult. Yeah, and

22:23

if we

22:25

succeed with

22:28

this scene, then,

22:30

you know, we

22:33

can, you know,

22:36

we can don't

22:39

have, we don't

22:42

need to stress

22:45

out so much.

22:48

Yeah, and so we host a lot, but then

22:50

I would see, you know, the joy I would

22:52

see Zoe, I would see Zoe, there was incredible

22:54

things, and I thought, wow, in like real life

22:57

I would need to, you know, really pay, like,

22:59

how much would I need to pay to see this?

23:01

And I was being paid. I love

23:03

that. Come you uncle, I want to

23:05

ask about the kind of this, the

23:08

wonderful way that you've created this fantastic.

23:10

fluidity between the songs and the score

23:12

and the soundscape that we and working

23:14

with that team as well on that

23:16

because you know sometimes if a film

23:19

is a musical that you can have

23:21

that trope where it's kind of stop

23:23

start song stop stop start but it's

23:25

just the fluidity of the film is

23:28

extraordinary and the use of voices and

23:30

I just wanted to ask a little

23:32

bit about creating that and how you

23:34

got to that point of what it

23:37

would be. As a singer, as a

23:39

performer, I've experienced how fluid is

23:41

the path between speaking

23:43

and singing, you know, you know,

23:45

it's just right there, you just

23:47

speak, and then you sing, then

23:50

you sing, you know. So it's

23:52

really there. And then all that

23:54

work was really together with

23:57

Jack and together with the

23:59

actresses. just getting there. There were

24:01

several layers, as Zoe mentioned, several

24:03

moments of work, you know, working

24:06

on the playback, so that was

24:08

more like getting there before the

24:10

shooting, to have like a direction.

24:12

And then during the shooting there

24:14

was some life takes. I remember,

24:16

you know, Porcazualidad, the song in

24:18

the restaurant, and I remember being

24:21

in a panic and telling Zoe,

24:23

I felt so bad asking you

24:25

something. I said, Zoe, you're not

24:27

on the playback at all. Maybe

24:29

we need at least one take

24:31

and you're on the playback, because

24:33

in case we want the play.

24:36

And actually, you tried it, but

24:38

actually we kept the live take

24:40

because it was so, maybe it

24:42

was in a breath, it was

24:44

so, felt so real. And then

24:46

there was the third, I mean,

24:48

I mean, I mean, I mean,

24:51

I mean, And that brought so

24:53

much acting again to it, in

24:55

El Mal, you know, chemical, you

24:57

know, things added, like with, you

24:59

know, more movement added to the,

25:01

to the, to the screen watching

25:03

the move, the scene and with

25:06

Carla Sofia we really, really worked

25:08

on her, have spoken voice for

25:10

de seo, for her first song

25:12

and the song when she's dying.

25:14

I had, we had to make

25:16

compromises with melodies, with rhythm, with

25:18

rhythm, with rhythm, we were like,

25:21

we were like, like, With songs

25:23

as well. Yeah, with the songs

25:25

a little boy, you know, we

25:27

went from a song take to

25:29

a completely breathy take to a

25:31

middle between the two like we

25:34

need the melody, we need the

25:36

rhythm, but we need Vulnerability, we

25:38

need expression. It was a dialogue

25:40

between all of us and we

25:42

went there little by little. So

25:44

you had a your favorite song

25:46

didn't make it in the film,

25:49

wasn't it? Quattro Agnes, which was

25:51

the auditioning a piece. Godline, we

25:53

love that song because it was

25:55

so dramatic. Well, actually, it was

25:57

very melodromatic. It's similar to spassa.

25:59

What do I use where they

26:01

kind of reconna- four years later

26:04

and this is after you know

26:06

the deed has been done and

26:08

they pulled it off and and

26:10

Manitas becomes Amelia and Amelia is

26:12

there you know and and Rita

26:14

is this reinvented version of herself

26:16

and in London and all of

26:19

a sudden you know they come

26:21

together and And then Rita does

26:23

concede, because she's just such a

26:25

lawyer, but she has a soft

26:27

spot for Amelia. There's just a

26:29

fascination that she has for Amelia,

26:31

even though she's really scared of

26:34

her, as she should be. And

26:36

then they get to Mexico, and

26:38

the kids are there, and all

26:40

of a sudden, for Rita, like

26:42

her point of view is that

26:44

this, last time she saw, you

26:46

know, Amelia was in the form

26:49

of this antagonizing figure. That was

26:51

so scary. And now, she's a

26:53

revelation and she's a mom yearning

26:55

to reconnect with her family. And

26:57

so that kind of helps her

26:59

to lower her guard. But that

27:01

song was really beautiful. And I

27:04

kept asking Jack, I'm like, do

27:06

you want to bring that song

27:08

back? And he would go, no,

27:10

no, no, no. I'm like, OK,

27:12

fine. We needed to be scared

27:14

at that point. Yeah. I mean,

27:16

you mentioned those, the two characters

27:19

that Carla plays in this in

27:21

this, in this film. And Jack,

27:23

you know, did it take much

27:25

persuasion and encouragement for Carla to

27:27

take on these two, you know,

27:29

extraordinary roles and performances that we

27:31

get from her. And no, I

27:34

don't care. It's really kind of,

27:36

I don't care. Well, I mean,

27:38

I've, I've, I've, I've, I've, I've,

27:40

a, a, a, I've, a, a,

27:42

a, a, a, a, a, a,

27:44

a, a, a, a, a, a,

27:46

a, a, a, I thought I'd

27:49

like to convince a comedian, a

27:51

male, three, three grand comedian, many

27:53

task for the role of composition.

27:55

It's not a... Yeah, I had

27:57

some doubts, you know, some doubts,

27:59

like I wasn't sure about asking

28:01

her to go back. And at

28:04

the end of the day, like,

28:06

you know, for an actress as

28:08

she is, you know, such a

28:10

great actress as she is, where

28:12

it is, you know, a character,

28:14

you know, it is a challenging

28:16

character to play. Before we finish,

28:19

I guess, you know, this idea

28:21

that the freedom you give everybody

28:23

from here and everybody talk tonight

28:25

of, you go work on that,

28:27

Your expectations of when you started

28:29

this project of what you wanted

28:32

the film to be, to what

28:34

we've witnessed tonight, is it what

28:36

you imagined at the start? Well,

28:38

we've, we've, we've, we've, we've, we've,

28:40

we've, we've, we've, we've, we've, we've,

28:42

we've, we've, we've, we've, we've, we've,

28:44

we've, we've, we've, we've, we've, It's

28:47

the film that I've imagined, done

28:49

I've done a lot of intuition,

28:51

or two, two, two, two, debut.

28:53

And a lot of film, a

28:55

lot of, my, my, my, my,

28:57

my repel, and I'm impression, that

28:59

We're at some moment of nautuition

29:02

and some moment of the projection,

29:04

and we're not obligate, we're creating

29:06

some great swamm-de-stop stock, because it's

29:08

not a require, it's true, but

29:10

it's not a require, it's a

29:12

true facetious, and it's a lot

29:14

of things that we've even, it's

29:17

a approach to nautuition that we

29:19

have a, a common sense travel.

29:21

Yeah, so it happens to a

29:23

few of my films. What I'm

29:25

seeing, you know, here is it

29:27

corresponds to the intuition I had

29:29

about this film, but in between

29:32

there are all those screens and

29:34

all this digestion, all these challenges

29:36

that we make ourselves probably to

29:38

be sure about, you know, about

29:40

this. But then at the end,

29:42

yes, it is. It's commission de

29:44

ves, sufyr and a me monk.

29:47

Yes, I have to have to

29:49

have to, you have to suffer

29:51

a lot for it as if

29:53

you had to. Well, you suffer

29:55

and you get 13 nominations for

29:57

awards. That's what happens. Yeah, congratulations.

30:05

Yeah. From

30:37

a soundtrack to Amelia Perez that's

30:39

Desire alternate version performed by Camille

30:41

rounding off this latest episode of

30:43

soundtracking thanks to our Soundtracking Everyone

30:45

Film Club. My huge thanks to

30:47

Jacques Zoe Clémont and Camille for

30:49

taking the time to join us

30:51

on stage. Also to the Netflix

30:53

team for really supporting us on

30:56

this particularly Kai and Tiffany and

30:58

also the Everyman team, Amy, Darcy,

31:00

Nick and everybody, Ted as well.

31:02

for your continued support on this

31:04

really exciting project. Amelia Perez is

31:06

available to watch right now on

31:08

Netflix and is well worthy of

31:10

the success it will inevitably achieve

31:12

during the Oscars. Now Zoe's already

31:14

joined me on the podcast to

31:16

discuss in detail her role in

31:18

depth and you can find that

31:21

interview at Edith bowman.com or wherever

31:23

you get your podcasts. Please do

31:25

follow us on our socials. We're

31:27

at soundtrack in UK. And please

31:29

subscribe to our YouTube channel too,

31:31

which is soundtrack and extra. In

31:33

fact, if you keep an eye,

31:35

a close eye, on our socials,

31:37

we have some fantastic signed Amelia

31:39

Perez vinyl to give away. So

31:41

make sure you're up there following

31:44

us for details on how you

31:46

can be with a chance of

31:48

winning that. Next up, it's another

31:50

of our live shows. This was

31:52

such a treat, Jesse Eisenberg joined

31:54

us to discuss a real pain,

31:56

which he wrote. He

31:58

directed and he

32:00

starred in. in. He

32:02

He was such company.

32:05

I company. to I can't wait

32:07

to share it with you. I

32:09

very much look forward to

32:11

the pleasure of your company. company. You