romeo and juliet soundtrack assignment

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Soundtrack Project

I.1—“ghost in this house” by allison krauss.

Below is a sample of the song.

Additionally, a video on YouTube is available as are the lyrics to the song

Example Paragraph

Both Romeo and the speaker in the song attempt to shut out the pain by shutting themselves in their own homes. For example, in discussing the situation with Benvolio, Montague explains that

Away from the light steals home [Romeo, ]my heavy son, And private in his chamber pens himself, Shuts up his windows, locks far daylight out And makes himself an artificial night: (I.1.128-131)

Romeo’s heartbreak has caused him to retreat entirely from society. He is unable to deal with everyday life, and in doing so, shows himself something of a slave to love. Emotion rules Romeo, and he has become something like a ghost in his own house. Similarly, Allison Krauss’s words echo something that Montague is thinking, but they are more aptly from Romeo’s point of view. Like Romeo, Krauss sings of “keep[ing] the lights down.” They are so emotionally devastated that even the light hurts their hearts. Retreat is the only answer for both of them. Finally, both the song and the play use metaphors of smoke as well. Romeo speaks of his unrequited love for Rosaline: “Love is a smoke raised with the fume of sighs; / Being purged, a fire sparkling in lovers’ eyes.” (I.1.187, 8) Krauss speaks of a similar feeling: “I’m just a whisper of smoke / I’m all that’s left of two hearts on fire / That once burned out of control” In her case, the love was returned but eventually died out. For Romeo, however, there is only the longing.

Notes and Thoughts

Notice that this is a Schaffer model paragraph, but I am using very simple sentences to highlight that. Additionally, notice that one element of the Schaffer model is inadequate or even missing: which element is it?

I don’t pick up the mail I don’t pick up the phone I don’t answer the door I’d just as soon be alone I don’t keep this place up I just keep the lights down I don’t live in these rooms I just rattle around

I’m just a ghost in this house I’m just a shadow upon these walls As quietly as a mouse I haunt these halls I’m just a whisper of smoke I’m all that’s left of two hearts on fire That once burned out of control You took my body and soul I’m just a ghost in this house

I don’t care if it rains I don’t care if it’s clear I don’t mind staying in There’s another ghost here He sits down in your chair And he shines with your light And he lays down his head On your pillow at night

I’m just a ghost in this house I’m just a shadow upon these walls I’m living proof of the damage Heartbreak does I’m just a whisper of smoke I’m all that’s left of two hearts on fire That once burned out of control And took my body and soul I’m just a ghost in this house Oh, I’m just a ghost in this house

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Six of the best: musical settings of Shakespeare's Romeo and Juliet

We choose the best musical settings of Shakespeare's legendary play Romeo and Juliet

BBC Music Magazine

1. Prokofiev's Romeo and Juliet music

While the ‘Dance of the Knights’ may be more widely known as the theme from The Apprentice these days, there’s significantly more to Prokofiev ’s 1936 Romeo and Juliet ballet than Alan Sugar. Romeo i Dzhuletta is a dramatic score that strips all sentimentality from Shakespeare’s tale of young love - odd for a piece that was originally intended to have a happy ending.

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In the end, Prokofiev - with a small amount of guidance from Communist party officials - decided that such plot meddling was an insult to Shakespeare and stuck with the miserable ending instead.

Galina Ulanova and Yury Zhdanov in Prokofiev's Romeo and Juliet

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2. Berlioz's Romeo and Juliet music

Hector Berlioz ’s Roméo et Juliette was completed in 1839. A combination of symphony and opera, the piece remains essentially symphonic in construction - the orchestra deals with the drama of the plot, while the vocal parts are used comparatively sparingly until the finale, when they come out in force.

Berlioz was first moved to compose the piece in 1827 after attending a performance of Garrick’s Romeo and Juliet in London. Juliet was played by the actress Harriet Smithson, with whom Berlioz (who spoke barely any English) fell instantly and deeply in love - a pair of star cross'd lover indeed. They married in 1833 (until Berlioz started an affair and the marriage broke up).

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3. Tchaikovsky's Romeo and Juliet music

The love theme from Tchaikovsky ’s Fantasy Overture is one of the most recognisable and often borrowed ever, featuring in everything from The Jazz Singer to SpongeBob SquarePants .

Yet the Romeo and Juliet work received a decidedly lukewarm reception when it first premiered in 1870. A Viennese performance of 1876 was actually hissed by the audience.

Ever passionate, Tchaikovsky reworked the overture three times. A third and final version dating from 1880 is the one that is used today.

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4. Gounod's Romeo and Juliet music

Despite a few teething problems (difficulties in sourcing an appropriate Romeo, and the composer’s last-minute re-composition of the entire final act), Roméo et Juliette proved to be one of Gounod’s most successful operas.

The opera remains largely true to the plot of the original, apart from the final scene in the tomb: in Gounod’s version, the doomed couple share a moment of consciousness long enough for a final duet, before Romeo succumbs to his poison and Juliet stabs herself. Cheery stuff.

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5. Bernstein West Side Story music

Leonard Bernstein ’s West Side Story is one of the most well-known modern musical reworkings of Shakespeare’s Romeo and Juliet .

Librettist Stephen Sondheim transposed the action to a poor neighbourhood of 1950s New York, with the Polish-American Jets (Montagues) pitted against the Puerto Rican Sharks (Capulets) in a gritty emulation of real-life gang violence.

Dancing aside, the production’s commitment to realism was admirable: in the original 1957 Broadway production, the performers playing Jets and Sharks were kept apart backstage so they’d have no chance to socialise.

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6. Rota's Romeo and Juliet music

The soundtrack for Franco Zeffirelli’s Romeo and Juliet received nearly as much critical praise as the film itself, receiving nominations for BAFTA and Golden Globe awards in 1968-9.

Although it incorporates a number of musical forms - songs, anthems, dances, and even a piece for a strolling trombone player - the most well-known element is undoubtedly the Love Theme (AKA ‘What Is a Youth’, AKA ‘A Time For Us’, AKA ‘Ai Giochi Addio’).

It’s a tune that has been variously described by critics as ‘brilliant’, ‘moving’, and ‘lush’ - and by the BBC Music Magazine team as ‘heart-rending’, ‘poignant’ and ‘saccharine’. Love it or hate it - it’s one hell of an earworm.

Christina Kenny

• Classical music inspired by Shakespeare

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Vague Visages

Movies, tv & music • independent film criticism • soundtrack guides • forming the future • est. 2014, soundtracks of cinema: ‘romeo + juliet’.

The Romeo + Juliet soundtrack includes music by Radiohead, Prince and Garbage. This info article contains spoilers and song details for Baz Luhrmann’s 1996 movie. Check out Vague Visages’ Soundtracks of Cinema section for more music guides.

Now streaming on Hulu and Paramount +, Romeo + Juliet  features a soundtrack designed for moody outsiders and hopeless romantics. Baz Luhrmann’s 1996 William Shakespeare adaption stars a pre- Titanic Leonardo DiCaprio as Romeo Montague, while My So-Called Life’s Claire Danes co-headlines as Juliet Capulet. Back in the fall of ’96, the soundtrack caught my attention as a 16-year-old high schooler, thanks to music from alternative rock bands like Everclear and Garbage. Twenty-five years later, I appreciate the film’s overall pop culture value, and certainly the chemistry between the two leads. Here’s a Soundtracks of Cinema breakdown of Romeo + Juliet ‘s  songs and how they are used.

Read More at VV — Soundtracks of Cinema: ‘Where the Crawdads Sing’

Romeo + Juliet Soundtrack: Every Song in Baz Luhrmann’s 1996 Movie

• “Pretty Piece of Flesh” by One Inch Punch (00:03:00):  The Romeo + Juliet   soundtrack song  plays as Sampson Montague (Jamie Kennedy) teases a group of nuns by licking his nipple. The character’s punk rock vibe aligns with the lyrical message, while the alternative sound matches the modernity of Luhrmann’s adaptation. The scene quickly takes an ironic turn when Sampson is frightened by the arrival of Abra Capulet (Vincent Laresca).
• “Talk Show Host” by Radiohead (00:09:00): “Talk Show Host” kicks in as Caroline Montague (Christina Pickles) wonders about the whereabouts of her son , Romeo, who appears in a wide shot at the beach. The lyrics capture the mentality of DiCaprio’s character, who struggles with his place in the world shortly more meeting his beloved Juliet. The Romeo + Juliet   soundtrack song plays later on in the movie at 01:32:00 during a mash-up with Garbage’s “#1 Crush.”
• “Angel” by Gavin Friday (00:19:00): As fireworks explode on the evening of a Capulet party, Juliet stares into the sky as “Angel” scores the moment. The character’s costume reinforces the thematic message, and the song continues over a transitional sequence at Sycamore Grove.
• “Young Hearts Run Free” by Kym Mazelle (00:19:00): Juliet’s idealism and innocence is contrasted by a party sequence at Sycamore Grove. Harold Perrineau’s cross-dressing character, Mercutio, boogies to the opening sounds of “Young Hearts Run Free” and entertains various members of the Montague family, with Romeo citing his “soul of lead” as an excuse not to dance. The Romeo + Juliet   soundtrack song picks up at 00:23:00 during a slo-mo sequence, and then ramps up when Romeo and company enjoy some ecstasy.
• “Kissing You (Love Theme from Romeo & Juliet)” by Des’ree (00:25:00): In one of the film’s most poignant scenes, “Kissing You” plays when Romeo spots Juliet while attempting to sober up. As Des’ree performs the song at a Capulet party, the star-crossed lovers gaze at each other from opposite sides of a fish tank. “Kissing You” scores the entire sequence, which concludes with a first kiss between Romeo and Juliet. The instrumental also functions as a musical motif throughout the film.
• “You and Me Song” by The Wannadies (00:45:00): When Juliet says good night to Romeo from her balcony, “You and Me Song” works as a transitional number for a cityscape montage. The Romeo + Juliet   soundtrack song  drowns out as the camera zooms in on Pete Postlethwaite’s Father Laurence, who delivers a telling soliloquy about plants and poison.
• “When Doves Cry” by Prince (00:48:00): A choir sings “When Doves Cry” as Father Laurence agrees to marry Romeo and Juliet. The lyrics align with the modern flavor of Luhrmann’s adaptation, evidenced further as a church scene shifts to the streets of Verona beach.
• “Local God” by Everclear (00:52:00): “Local God” underlines Romeo’s community reputation when he meets his group of “capital punks” at the beach. It’s a fitting choice by Luhrmann, as Everclear’s lyrics reference Shakespeare’s Romeo and a group of friends who feel poetic while hanging out together. In the movie, DiCaprio’s Romeo jokes about his “pump” being “well-flowered,” a comedic moment that plays out as the song volume boosts.
• “Lovefool” by The Cardigans (00:53:00): As Romeo promises to marry Juliet, “Lovefool” complements a close-up visual of DiCaprio’s face. Luhrmann then shifts to a bedroom sequence featuring Danes’ character, with a red-pink color palette thematically aligning with Romeo + Juliet   soundtrack song’s warm lyrics. Moments later, Juliet receives good news yet loses some of her innocence upon learning about Romeo’s romantic intentions.
• “Everybody’s Free (To Feel Good)” by Quindon Tarver (00:56:00): Immediately after Juliet learns that she’ll soon be married to Romeo, “Everybody’s Free (To Feel Good)” scores a wedding sequence. Thematically, the lyrics underline the fact that the young lovers deserve to be happy together, even if some of their relatives don’t necessary approve of the union. The moment marks the end of innocence for both Romeo and Juliet, as their romance becomes especially complicated soon after.
• “Little Star” by Stina Nordenstam (01:07:00): “Little Star” plays softly during Juliet’s “Come, Gentle Night” monologue after Mercutio’s death. The song’s title correlates with the character’s wish that Romeo will become the face of heaven after her death. Juliet remains an idealistic teenager in this moment, a young woman who fully intends to live a long life with her beloved husband.
• “#1 Crush” by Garbage (01:32:00): Moments before DiCaprio’s character learns about Juliet’s death, the Romeo + Juliet   soundtrack song plays during a musical mash-up with Radiohead’s “Talk Show Host.” DiCaprio’s character writes about his cheerful thoughts, with Garbage and Radiohead fusing together as Jesse Bradford’s Balthasar Montague arrives with heart-breaking news.
• “Exit Music (For a Film)” by Radiohead (01:53:00): As Romeo + Juliet  concludes, “Exit Music (For a Film)” plays over the end credits. The song is the fourth track on Radiohead’s 1997 album OK Computer ,  and the lyrics tell a story about doomed lovers whose relationship is affected by familial conflict.

Read More at VV — Soundtracks of Cinema: ‘Elvis’

The Romeo + Juliet   soundtrack also includes:

• “Whatever (I Had a Dream)” by Butthole Surfers
• “To You I Bestow” by Mundy.

Q.V. Hough ( @QVHough ) is Vague Visages’ founding editor and chief film critic.

Categories: 1990s , Drama , Romance , Soundtracks of Cinema

Tagged as: Baz Luhrmann , Drama , Q.V. Hough , Romance , romeo + juliet

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Baz Luhrmann’s Romeo + Juliet  is filled with evocative songs that enhance its mood and aesthetic. The film came out in 1996 and stars Leonardo DiCaprio as Romeo and Claire Danes as Juliet. Luhrmann’s adaptation takes place in the modern era but uses the original script of Shakespeare’s play. The cast of Romeo + Juliet also includes actor and comedian John Leguizamo and Paul Rudd of Marvel’s Ant-Man movies.

The soundtrack for Romeo + Juliet was released a few days ahead of the film itself, and the film’s original scores, composed by Craig Armstrong, Nellee Hooper, and Marius de Vries, were published later on. The movie album was immensely popular, making hit singles out of several of its featured songs. Romeo + Juliet ’s soundtrack was even nominated for a Brit Award for Best Soundtrack/Cast Recording. 

Related: Romeo + Juliet's Hair Stylist Was Kidnapped During The Shoot (Really)

The music in Romeo + Juliet strengthens the emotional impact of the film, with intense love songs and mournful tracks that foreshadow its ultimate tragedy. Luhrmann’s flashy modernization of the Shakespeare play is underscored by contemporary rock and alternative tracks, including songs by Radiohead, Garbage, and Butthole Surfers. The soundtrack is such a central part of the film that silent segments convey an equally strong message, such as the scene in which the young lovers take their lives. Here is every song on the Romeo + Juliet  soundtrack and the scenes in which they appear.

“Pretty Piece of Flesh” by One Inch Punch - The Montague boys sing “Pretty Piece of Flesh” during the film’s opening scene when they confront the Capulets at a gas station.

“Talk Show Host” by Radiohead - “Talk Show Host” plays during Romeo’s introduction scene, as he hangs out at the beach in an angsty mood.

“Angel” by Gavin Friday - “Angel” plays for just a few seconds before the Capulet party as Juliet watches fireworks from her balcony, clad in a set of symbolic angel wings.

“Young Hearts Run Free” by Kym Mazelle - “Young Hearts Run Free” accompanies the scene in which Romeo and his friends prepare to crash the Capulet party, and resurfaces for a trippy dance number when they arrive.

“I’m Kissing You" (Love Theme from Romeo + Juliet ) by Des’ree - “I’m Kissing You” is performed at the party in Romeo + Juliet  as the title characters first meet through the fish tank, and can be heard again later in the film when Romeo goes to meet Juliet after killing Tybalt.

“You and Me Song” by The Wannadies - “You and Me Song” transitions between the end of the altered balcony scene and Romeo’s visit to Father Laruence, alongside a montage of the city skyline.

“When Doves Cry” by Quinton Tarver - Originally a Prince song, “When Doves Cry” is sung by the church choir when Romeo first meets with Father Laurence.

“Local God” by Everclear - “Local God” plays when Romeo returns to his buddies after seeing Father Laurence and the nurse comes to deliver a message from Juliet.

“Lovefool” by The Cardigans - In Romeo + Juliet , “Lovefool” leads into the scene in which the nurse conveys Romeo’s message of the wedding to Juliet.

“Everybody’s Free (To Feel Good)” by Quindon Tarver - A version of Rozalla’s song is performed by the choir when Juliet meets Romeo at the church for their wedding.

“Little Star” by Stina Nordenstam - “Little Star” plays softly in the background following Mercutio’s death scene, as Juliet delivers her “Come, Gentle Night” monologue and dreams of her future with Romeo.

“#1 Crush” by Garbage - “#1 Crush” plays in a mashup with “Talk Show Host” in the moments before Romeo learns of Juliet’s death.

“Exit Music (For A Film)” by Radiohead - The melancholy ballad “Exit Music (For A Film)” fittingly plays over the film's closing credits.

The soundtrack for Romeo + Juliet also includes the bonus tracks “Whatever (I Had a Dream)” by Butthole Surfers and “To You I Bestow” by Mundy .

More: Kissing Booth 3 Soundtrack Guide: Every Song

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Romeo and Juliet - Entire Play

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The prologue of Romeo and Juliet calls the title characters “star-crossed lovers”—and the stars do seem to conspire against these young lovers.

Romeo is a Montague, and Juliet a Capulet. Their families are enmeshed in a feud, but the moment they meet—when Romeo and his friends attend a party at Juliet’s house in disguise—the two fall in love and quickly decide that they want to be married.

A friar secretly marries them, hoping to end the feud. Romeo and his companions almost immediately encounter Juliet’s cousin Tybalt, who challenges Romeo. When Romeo refuses to fight, Romeo’s friend Mercutio accepts the challenge and is killed. Romeo then kills Tybalt and is banished. He spends that night with Juliet and then leaves for Mantua.

Juliet’s father forces her into a marriage with Count Paris. To avoid this marriage, Juliet takes a potion, given her by the friar, that makes her appear dead. The friar will send Romeo word to be at her family tomb when she awakes. The plan goes awry, and Romeo learns instead that she is dead. In the tomb, Romeo kills himself. Juliet wakes, sees his body, and commits suicide. Their deaths appear finally to end the feud.

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BLOG: Season in Focus: Romeo and Juliet 

November 2024 will mark the fourth time in its 62-year history that Minnesota Opera has staged Charles Gounod’s masterpiece of French grand opera, Romeo and Juliet . One of the most famous love stories ever told, the tragic tale of two young lovers first appeared on the Ordway stage during the 1989-1990 season and most recently in 2016. That adaptation, stage directed by Matthew Ozawa, was noted for its minimalistic yet evocative design that featured visual elements such as huge roses and swords hanging behind the singers. Lydia Lunning of Twin Cities Arts Reader noted how this choice highlighted “the conflict between the idealism of young love and the reality of worldly violence.” 

In 2019, Cincinnati Opera re-staged Romeo and Juliet after coming onboard as a co-producer, hiring Ozawa and his design team to expand upon their concept by adding multiple scenic elements throughout the show while remaining committed to the understated elegance that drew audiences to the first iteration. This resulted in the richer and even more immersive version of the production that has become a highly sought-after rental production by opera companies throughout the United States. 

The development process of Ozawa’s Romeo and Juliet serves as an excellent example of MN Opera’s commitment to both the present and future of the art form. Whether it is by reimagining core pieces of the inherited repertoire in ways that are both fresh and respectful of their origins, providing invaluable training and stage experience to the next generation of singers through the Resident Artist Program, or shepherding in the classics of tomorrow through the New Works Initiative, MN Opera remains dedicated to building a sustainable future for opera in the Twin Cities. 

Join us for Romeo and Juliet , on stage at the Ordway November 2-10! 

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Choreographer Benjamin Millepied's stunning ballet about the Bard's star-crossed lovers is coming to Sydney (and Australia) for the first time.

"For never was a story of more woe," said William Shakespeare of Romeo & Juliet. To be accurate, he had the iconic play announce that itself in its second-last line. In the four centuries since the famed tale was first penned, never was there a tragic romance that's better known, either. Few works have been adapted and performed as much as this story of the warring Montague and Capulet families, and the heartbreak that ensues when their children fall in love — but Benjamin Millepied 's Romeo & Juliet suite still stands out.

Sydney audiences can now discover why for themselves, with the world-famous choreographer's take on Shakespeare's star-crossed lovers making its Aussie debut. Playing exclusively at the Sydney Opera House from Wednesday, June 5–Sunday, June 9, the ballet is filling the Joan Sutherland Theatre and other spaces with a mix of dance, theatre and cinema that defies genres, as well as a modernisation of the narrative that sees love first, not gender.

Three versions comprise the suite, each with a different couple. On the production's first night and its Saturday matinee, an all-male pairing will bring Romeo & Juliet to life. On the second evening and the Saturday night, two female dancers will play the lead parts. And on the Friday and Sunday, a male-female duo will take to the stage.

Millepied's Romeo & Juliet hails from the LA Dance Project, which he co-founded and acts as its Artistic Director. The company's ensemble are performing on the opera house's stage and also throughout the building, which is then broadcast live back to the audience inside the Joan Sutherland Theatre. So, the Romeo & Juliet suite plays with form, too — and even if you think you've seen every iteration of R&J before, this one is unique.

Bringing the ballet Down Under for the first time marks Millepied's latest project in Australia. His last: making his film directorial debut with Carmen , which starred Melissa Barrera ( Abigail ) and Paul Mescal ( All of Us Strangers ), reimagined Prosper Mérimée's novella and Georges Bizet's opera, and shot in the outback New South Wales town of Broken Hill.

The dancer, choreographer and filmmaker's resume before that spans joining the New York Ballet as a teen, choreographing and co-starring in Black Swan , a stint as Paris Opera Ballet's Director of Dance and creating the sandwalk for Denis Villeneuve's versions of  Dune .

Images: Julien Benhamou, Paul Bourdrel and Josh Rose.

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Madrid Co-Pro Market ECAM Forum Awaits 300+ Delegates: ’We’re Experiencing a Post-Cannes Effect,’ Says Head Alberto Valverde (EXCLUSIVE)

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Programmers from Sundance, Cannes’ Directors’ Fortnight, Toronto, and Rotterdam, sales agents such as Goodfellas and Coproduction Office and U.S. distributor Magnify Pictures are among 50 top international guests expected at the inaugural ECAM Forum co-production market in Madrid, which is due to unspool June 10-14.

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In this exclusive interview, ECAM Forum ’s coordinator Alberto Valverde maps out the full program of the latest industry initiative of Madrid’s ECAM film school, after its renowned Incubator lab.

You have an impressive lineup of 37 film and series projects as well as more than 300 top local and international professionals who’ve signed up for ECAM Forum. Were you expecting such a catch for your first edition?

We are experiencing a bit of a post-Cannes effect! Many producers and professionals have been told during Cannes that this will be a must-attend event, and they are asking us until the very last minute to register. We’ve just received for instance a request from MK2 in France, so it’s good sign!

ECAM Forum was never conceived as a massive market but rather as a carefully-curated and friendly co-production showcase, where talents and professionals from Spain and beyond, could network with international decision-makers and present their projects. We are very happy with the numbers of accredited professionals but in particular with the quality and profile of people attending. It does exceed our expectations.

Did you send your invitations with a wish to attract potential co-producers and financial partners beyond the natural and usual partners from Latin America, Portugal or France?

We did look for new European territories, like Scandinavia, and we hope in the future to widen our catch to the Baltics. Beyond Europe, we focused on Latin America and North America and are extremely happy with the number and type of professionals who’ve signed up.

Could you reiterate why the film school ECAM decided to launch this very targeted co-production showcase and who is backing you?

We are grateful to the Comunidad de Madrid [Autononous Community of Madrid], our main financial partner. We also collaborate with key cultural centres in Madrid-Matadero and Cineteca, as well as Madrid Film Office, Film Madrid and the copyrights entity DAMA.

ECAM being a Foundation, it enables us to be more than a school. This is why we also have a literacy department and an industry department. Our mission is to educate, train young talent, as well as promote them. Going a step further, we’ve connected the school and Spanish talents and professionals with the global industry. This was the reasons why we set up the Incubator, and now ECAM Forum. It was in response to industry needs.

We are a facilitating tool to bridge the gap between the Spanish audiovisual sector and the international community, and here to help producers and talent hone their international skills.

Could you detail the program and how the full event will unfold in Madrid?

We have four main sections: ‘After’, for short films, ‘Series’ for series in development, taking part in a mini-lab, ‘Last Push, dedicated to screening of advanced films with international potential, and ‘Films to Come’ – for features in development, both Spanish and international. Those four sections combine presentations, screenings, and one-to-ones meetings. Then of course being in Madrid, we’ll bring the people together around lunches and happy hours!

90% of the showcase will take place at the Cineteca Matadero in Madrid. We will have a masterclass at another place, and the series training will be at the school. Having everyone under one roof for four days will be very unique.

Could you say a few words about your program of masterclasses, including with the legendary indie U.S. producer Ted Hope and French cinematographer Hélène Louvart most recently attached to Karim Aïnouz’s Cannes entry “Motel Destino”?

Having two film talents and professionals of such stature is a dream come true for this first edition. We could have gone for directors, but we wanted to invite an inspirational indie film mogul like Ted, and a technician and artist like Hélène.

We will also have inspirational conversations between Spanish luminary-philosopher Ernesto Castro and Oscar-nominated filmmaker Nacho Vigalondo (“7:35 de la mañana”) as well as journalist Marta Peirano, a world renown expert on copyright issues and technology, and academic Elena Neira, specialised in audiovisual distribution models.

In the coming editions, we will expand those inspirational conferences and masterclasses, that are perfect add-ons to the pure-business meetings and pitches.

Going back to the Forum’s “pièce de résistance,” the films and series in development and post-production looking for international partners. How was the selection process?

We had a total of 470 submissions across the four sections, which was massive considering the very short selection timeline we had – three weeks. It was crazy!

In the Films to Come, on top of the five ECAM Incubators projects, we could only select another five titles, which was very frustrating as we could easily have picked 15-20 projects of very high standard, all originated in Spain.

The same goes with the Last Push films. We were thinking of picking only six projects and ended up with eight.

Series was perhaps the most demanding selection process. We received around 150 projects in development for only seven spots, although we were asking for a completed first episode. So there are basically over 100 series ready to go in Spain these days.

We had top selection committees for each section, made up of experienced programmers, producers, scriptwriters and other industry experts. Amongst the selection criteria were the quality of materials presented, the trajectory and track record of the creative teams, the financing viability and international potential of the projects. We were looking for projects that really needed our support – either young talent with a brilliant project or with consolidated names, as ECAM has always focused on assisting emerging talent and weighing in to make a difference.

Were you surprised by some projects – the genres or singular visions?

Absolutely. I’m always aware of us, not becoming boring, not repeating ourselves. But what we received was an explosion of ideas. In the Last Push, there is a real love for storytelling, for deconstructing and reinventing genre codes. This is clear with the films “Hanami” by Denise Fernandes, “Ariel” by Lois Patiño, “Gods of Stone” by Iván Catiñeiras Gallego, set either in Galicia, the Azores Islands, or Cap Verde. The directors express their love for legends, myths, fables and blur the lines between fiction and reality. Then “The Whale” is deconstructing the thriller, the film noir, with elements of fantasy.

We also have road movies, horror, sci-fi, and eco-thrillers. This diversity in views, gazes, the way the stories are told is super exciting.

I’m particularly happy to have Filmin supporting the Films to Come, via a minimum guarantee worth €30,000 ($32,700) which will go towards the best Spanish film in development. Then we have La Comunidad de Madrid and its €15,000 ($16,350) award to be handed out to the best Last Push project; and Madrid Film Office supporting both the Films to Come and After sections or short films, with €7,000 ($7,630) and €2,500 ($2,725) cash prizes respectively. Then we have a pool of friends/partners in Rotterdam, Series Mania and Serielizados who are also backing our competition programs. The last six months, we’ve already been working on some new partnerships for 2025.

What are your views on the current state of Spanish cinema and TV shows?

Spain has an amazing wealth of storytellers and we are enjoying a great momentum and visibility worldwide, especially with TV series. With film, we won a Golden Bear in Berlin [“Alcarràs” in 2022], and in Cannes this year Jonás Trueba came home with the Europa Cinemas Award-best European film from the Directors’ Fortnight for “The Other Way Around”. There is definitely a growing appetite for Spanish stories and talent.

Besides that, a new generation of internationally-minded producers is steadily finding its feet, which is why we’re having the Forum. The biggest challenge, however, is to avoid homogenisation of content. And through this interview, I’d like to forward a message to experts, buyers, producers, creators: please, don’t be afraid to be radical, to avoid standardisation.

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