Musical references

By Ignacio Oliva

Nobody´s rose is a dark film of cloudy feelings, hidden information, double lives. It is also an urban film of personal labyrinths, about power of destiny. The sound setting should help to enhance behaviors tension. Nobody´s rose  is a quiet film. I think it can travel along a single music concept in regard to orchestration and tones.

I would imagine a distant metal damper for environments, supported with other metals as echoes, sound fog, volatile, subtle and ethereal. A reference can be the aural environment of Mark Isham in the films of Alan Rudolph.


I also find interesting the musical concept of Badalamenti in recreating environments for Lynch: ominously, simple, even repetitive, but involves and evokes.

I see music space as fog spread over the surface of things and emotions, disclosed and undisclosed at the same time, contributing to confer an certain air of mystery. I also see a piano, minimal, atmospheric, projecting into the drift of the characters.  


I love the musical universe of Arvo Pärt, I think it is a good reference for  “Nobody´s rose”. Furthermore, I am interested in the component "Spanish" in the musical background, which is not very clear or I am not sure, but I would like to express to be at this moment. Talking about film music is playing mistakes, these references only serves as echoes, such as shadows, as examples, but “Nobody´s rose”must have "their" own voice. 


Ignacio Oliva, scriptwriter and director