Inhalt: "It was mostly about choosing songs that were on the radio," says music supervisor Lynn Fainchtein, who worked closely with Cuarón, mining his childhood memories, as well as her own, and doing meticulous research into what different Mexican radio stations of the era were playing during the actual months represented in Roma. "All of the music is embedded in the story," Fainchtein tells Billboard. "It's part of each scene." Much of that music comes from the radio, playing in the house, and in cars. "When a song comes on you also hear a radio station ID, and you hear an announcer and you hear a commercial because it's part of the experience," says Fainchtein, the Mexico-City supervisor known for her work on The Revenent, Birdman and The Butler, among her many film and television projects, which also include 11 international shows for Netflix just this year. "It's getting you into that moment so you feel the temperature of the film and of the scene in which it's happening." Roma, which won the Golden Lion at the Venice Film Festival, and has already been shortlisted for the Oscars' Best Foreign-Language Film (it's in Spanish, with dialogue between the domestic workers in Mixtec), is based on Cuarón's experiences growing up in Roma, an upscale Mexico City neighborhood. It highlights the parallel stories of two women, Cleo (Yalitza Aparicio), a live-in domestic servant, and her employer, Sofia (Marina de Tavira), mother of four children. During a pivotal year, set against a backdrop of political unrest in Mexico, Cleo's central role in the family becomes apparent. There are 38 musical pieces in Roma, which range from a song by Juan Gabriel's first album to "I Don't Know How to Love Him," sung by Yvonne Elliman on The Jesus Christ Superstar soundtrack album, to British band Christie's 1970 hit "Yellow River," songs by José José and Javier Solis, and a track by Mexican rock group La Revolución de Emiliano Zapata: "It's the colors of what we were listening to as kids in Mexico in 1970," says Fainchtein, who pr