INTERVIEWS WITH FILMMAKERS
In 2014 I started writing about cinema for Jot Down Magazine, a prestigious culture publication from Spain, and from 2015 onwards I mainly did interviews with filmmakers, which can be read here. My other pieces can be read here: Jot Down and Miradas de Cine (only in Spanish).
The Oscar-winning Polish filmmaker talks about his last masterpiece, Cold War, with which he won the Best Director award in Cannes, and sheds some light about that combination of formal rigor and poetic beauty that makes his films so special.
In a long and friendly chat, we submerge with Isaki Lacuesta into his extraordinary film Entre dos aguas, follow-up to his already legendary La leyenda del tiempo and winner of many accolades, including the Golden Shell at the San Sebastian Film Festival.
The winner of the Goya award for Best Picture discusses his latest film, Petra, after presenting it in Cannes and San Sebastian, and leaves us with thoughts as powerful as this one: "the artist advances like a blind explorer who doesn't know the path he has to take. We don't advance with certainties, but tentatively, through trial and error."
After winning Best Director in Cannes, Assayas discusses his film Personal Shopper and the entity of the film image: "the cinema is more than one of the multiple possible images, it's the only image that has the true capacity of seeing the other, of really tackling otherness."
The British filmmaker explains the secrets of his fascinating debut feature, Lady Macbeth, which won the Fipresci award at the San Sebastian Film Festival and the European Discovery award of the European Film Academy (EFA).
Director. Screenwriter. Producer. Voyeur. Misanthrope. Cynic. Social Pornographer. Provocateur. Pessimist. Humanist. All of these tags have been used by critics to define this Austrian filmmaker, who discusses here his latest controversial documentary, Safari, which was presented at the Sevilla European Film Festival.
"The main question that every filmmaker asks himself, be it consciously or unconsciously, is how to capture the mystery with moving images" - says Laxe in this very long Skype interview from Morocco to Barcelona about his most recent mystery, Mimosas, with which he won Best Film at the Critic's Week in Cannes.
A friendly chat about Love & Friendship in which Stillman concludes that, although most of the things I praise in the film hadn't been planned that way, "if you have done your job well enough, people will praise you for ideas that you didn't even know were in the film".
François Ozon faces the giant Ernst Lubitsch in this unusual (and extraordinary) remake which adds layers of complexity to the marvellous original: The Man I Killed (1932). We sat down in San Sebastian to talk about the audacity of such a project.
"Thinking you are superior to your own work, or even the author of your own work, is the first symptom of decadence". This is one of the many illuminating thoughts that fill this interview with the enfant terrible of Spanish cinema.
After being awarded the Golden Bear in Berlin for this striking and formally impeccable documentary about the Mediterranean refugee crisis, Rosi dissects his own filmmaking and explains his theory that every single shot should have a well-rounded dramatic arc.
In a sunny terrace in San Sebastian, after presenting his latest film El hombre de las mil caras, Rodriguez discusses his trajectory and his future projects and confesses that he is "better at watching films than at making them".
In the rush of San Sebastian press junkets, I manage to steal 30 minutes of Davies' time to ask him about the marvellously sensual camera moves of his latest film, and his profound and detailed explanations prove why he is one of the masters of movement in today's cinema.
"Shooting a film always comes with a certain feeling of defeat. Once you call 'action!', you have already done most of the work. You have taken so many decisions, thought of so many things, shaped so many aspects of that shot, that you can't do much more than abandon yourself to whatever happens in front of you."
"The main question of cinema is always the same one: what shot are we doing, how is this shot, what does it mean, and how will it associate to the shots that precede it and follow it. Time inhabiting a space."
"It's very strange, because as soon as I finish a film I feel as if it had nothing to do with me. Once they're finished, the films we make are gone for good, they are not ours anymore. And whether they will live or die is entirely up to their own merits."
Sergi Pérez made his first feature with virtually no budget, shooting with friends over weekends and producing all together in a cooperative manner. But the result was an absolute wonder that shook the scene of Spanish independent cinema and ended up winning Best Picture at the Gaudí Awards. In this interview, Pérez discusses his directing and influences.