Tilda Swinton (as Martha)

I mean, it is, as anybody listening to that can attest, incredibly moving. And there's something about the cello, which I find so sensitive to the film. It's like, I don't know, I haven't talked to Alberto about it specifically, but it feels like... There's this pulse of intrigue in that music. It's like something's going to happen. It's like a secret in the middle of it.

I mean, it is, as anybody listening to that can attest, incredibly moving. And there's something about the cello, which I find so sensitive to the film. It's like, I don't know, I haven't talked to Alberto about it specifically, but it feels like... There's this pulse of intrigue in that music. It's like something's going to happen. It's like a secret in the middle of it.

I mean, it is, as anybody listening to that can attest, incredibly moving. And there's something about the cello, which I find so sensitive to the film. It's like, I don't know, I haven't talked to Alberto about it specifically, but it feels like... There's this pulse of intrigue in that music. It's like something's going to happen. It's like a secret in the middle of it.

Like, what's going to happen? And there's the cello. It's like a sort of bass note. It's almost like saying to us, you know what? It's going to be quite heavy. Just keep breathing. And then you've got the strings saying it's also going to be quite light. There's going to be something to amuse you along the way. But we're just going to get started. through it.

Like, what's going to happen? And there's the cello. It's like a sort of bass note. It's almost like saying to us, you know what? It's going to be quite heavy. Just keep breathing. And then you've got the strings saying it's also going to be quite light. There's going to be something to amuse you along the way. But we're just going to get started. through it.

Like, what's going to happen? And there's the cello. It's like a sort of bass note. It's almost like saying to us, you know what? It's going to be quite heavy. Just keep breathing. And then you've got the strings saying it's also going to be quite light. There's going to be something to amuse you along the way. But we're just going to get started. through it.

It's such beautiful and brilliant music. He's an extraordinary composer. And the marriage of the two of them is, you know, unparalleled, I think, in current cinema. I mean, it brings to the fore the ways in which Pedro is a poet. His film is poetry. When people talk about the language in the film, and I know that for some English speaking audiences, it may seem a

It's such beautiful and brilliant music. He's an extraordinary composer. And the marriage of the two of them is, you know, unparalleled, I think, in current cinema. I mean, it brings to the fore the ways in which Pedro is a poet. His film is poetry. When people talk about the language in the film, and I know that for some English speaking audiences, it may seem a

It's such beautiful and brilliant music. He's an extraordinary composer. And the marriage of the two of them is, you know, unparalleled, I think, in current cinema. I mean, it brings to the fore the ways in which Pedro is a poet. His film is poetry. When people talk about the language in the film, and I know that for some English speaking audiences, it may seem a

And there's a moment when you start watching the film and you go, OK, so people are speaking in a slightly formal way. This is no mumble poor. This is not vernacular in a sort of modern American idiom, even though we're set in America. That is the way he writes. He writes in a sort of slightly poetic style. I always say he writes in high heels and he does it even in Spanish.

And there's a moment when you start watching the film and you go, OK, so people are speaking in a slightly formal way. This is no mumble poor. This is not vernacular in a sort of modern American idiom, even though we're set in America. That is the way he writes. He writes in a sort of slightly poetic style. I always say he writes in high heels and he does it even in Spanish.

And there's a moment when you start watching the film and you go, OK, so people are speaking in a slightly formal way. This is no mumble poor. This is not vernacular in a sort of modern American idiom, even though we're set in America. That is the way he writes. He writes in a sort of slightly poetic style. I always say he writes in high heels and he does it even in Spanish.

People don't speak Spanish in the way that people speak Spanish in his Spanish films and they don't really speak English in the way that they speak English in his films. And I think one of the reasons he writes that way is because he knows that Alberto Iglesias is going to be there with the poetry of the music underneath and around. It's like he's dealing with these very clear gems.

People don't speak Spanish in the way that people speak Spanish in his Spanish films and they don't really speak English in the way that they speak English in his films. And I think one of the reasons he writes that way is because he knows that Alberto Iglesias is going to be there with the poetry of the music underneath and around. It's like he's dealing with these very clear gems.

People don't speak Spanish in the way that people speak Spanish in his Spanish films and they don't really speak English in the way that they speak English in his films. And I think one of the reasons he writes that way is because he knows that Alberto Iglesias is going to be there with the poetry of the music underneath and around. It's like he's dealing with these very clear gems.

And Alberto is making the setting for the piece of jewelry. But that means that Pedro can keep everything very clean and crisp and clear and sometimes a little bit hard. But that's because he knows he's got this sort of amniotic fluid of Alberto Iglesias all around the edges. It's so beautiful.

And Alberto is making the setting for the piece of jewelry. But that means that Pedro can keep everything very clean and crisp and clear and sometimes a little bit hard. But that's because he knows he's got this sort of amniotic fluid of Alberto Iglesias all around the edges. It's so beautiful.

And Alberto is making the setting for the piece of jewelry. But that means that Pedro can keep everything very clean and crisp and clear and sometimes a little bit hard. But that's because he knows he's got this sort of amniotic fluid of Alberto Iglesias all around the edges. It's so beautiful.

Yeah, yeah. It is a tango. Exactly right, Terry. It is a tango. And you know what? It takes two to tango. And that's what this film is about. It's about a partnership. It's about a fellowship and particularly about friendship between women. One of the things that's beautiful about the story is that these women were very close a very long time ago and they've had a couple of decades off.

Yeah, yeah. It is a tango. Exactly right, Terry. It is a tango. And you know what? It takes two to tango. And that's what this film is about. It's about a partnership. It's about a fellowship and particularly about friendship between women. One of the things that's beautiful about the story is that these women were very close a very long time ago and they've had a couple of decades off.