- hace 6 meses
Luc Besson, director de "El Quinto Elemento", revela los secretos de su Drácula: "Quería crear una nueva versión de la historia que se enfocara en la historia de amor". El filme explora un conflicto espiritual.
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00:00Hola, y gracias por estar con
00:08nosotros en M2. Tenemos, ahora
00:11sí que a dos de los grandes,
00:13en cierta manera, en sus
00:14categorías, y mi querida Ivette
00:16Salgado, sé que tu categoría
00:17favorita en la vida es el cine.
00:20Exactamente, Susi, ¿Cómo estás?
00:21Muy bien, ¿Y tú? Emocionada por
00:23presentar esta entrevista,
00:24porque platicar con Luc Besson,
00:26y sobre todo en la versión que
00:29nos ofrece de Drácula fue una
00:30cosa bastante interesante.
00:32Contextualicemos un poquito, ¿No?
00:33Porque Luc Besson, pues, lo
00:34conocemos por películas como
00:35Nikita. El quinto elemento. El
00:37quinto elemento. Lucy. Lucy, o sea,
00:39sí son películas que funcionan muy
00:41bien en cierta forma a nivel
00:43comercial, pero realmente son
00:44películas de festivales.
00:46Exactamente. Y y y tiene de las
00:48dos, entonces ahora decidió, pues,
00:50taclear una de las grandes.
00:52Abraham Stoker, precisamente, y
00:55una versión que probablemente
00:57Coppola había hecho un poco esto
01:00con la misma versión. Con Gary
01:02Oldman. Ajá, y un Drácula
01:04enamorado, porque eso es lo que
01:05estamos viendo, y él se tomó la
01:07libertad, precisamente, de
01:08ofrecernos a un Drácula que es
01:10capaz de esperar por siglos para
01:12encontrarse con el amor de su vida,
01:14dejando un poquito más allá la
01:16parte del terror que la misma
01:17novela ofrece. Y eso es lo
01:19interesante de lo que nos puede
01:21contar un cineasta como él, que
01:22ya se puede dar la libertad
01:24después de todo el cine que ha
01:25hecho, de ofrecernos algo
01:27diferente. Me encanta, pues, veamos
01:28tu entrevista.
01:31Conde Drácula.
01:38Por cuatrocientos años esperé su
01:41regreso.
01:44No puedo evitar sentir que que no
01:47pertenezco a este tiempo.
01:48¿Por qué era importante para
01:51crear una nueva versión de esta
01:54historia que se enfocó en este
01:56tiempo en una historia?
02:00No estaba tan interesado por
02:02Drácula, o el horror
02:06film. Mi main concern, cuando
02:09read el libro, fue este hombre
02:12able to wait
02:14400 años porque
02:16he just wants to see his
02:17wife again.
02:19And I think it's so
02:20romantic
02:21that I want
02:22to make
02:24an entire movie
02:25about that.
02:26So, I use
02:27Drácula
02:27more as a
02:28background
02:28and,
02:29you know,
02:30and,
02:30yeah,
02:32sometimes you
02:32scare a little bit,
02:34but not too much,
02:35to be honest.
02:36But it's really about this
02:37romantism.
02:38So, there have been so many
02:40versions of Drácula on screen.
02:42What do you feel was missing?
02:44What do you want to add with yours?
02:47Oh, no, no, it's not a,
02:50I think every artist has his own
02:52vision.
02:53So,
02:54if you put a,
02:55if you put a little cat in the
02:57middle of the room and you ask
02:59four painters to paint the cat,
03:03none of them will do the same.
03:04Picasso won't make the same cat
03:06than Modigliani.
03:08Yeah.
03:08So,
03:09it's my,
03:11my vision
03:12and,
03:14and I have a lot of respect
03:16for the visions of the others.
03:17It's no,
03:18not the problem.
03:19This version is really
03:21the version of,
03:24of me,
03:24of Luke.
03:25Absolutely.
03:26So,
03:27you have said that
03:28Caleb was in your mind
03:29even before the story
03:30came together.
03:31What made you feel
03:33that he was the right one
03:34to play this character?
03:36I mean,
03:37I,
03:37I work with Caleb
03:38on,
03:38on Dogman
03:39and
03:41I've
03:42never met an actor
03:44as talented as him.
03:47So,
03:47he gives you everything.
03:49He always tries to understand
03:51what you really want
03:52and he tries to serve you,
03:54serve the purpose of the film.
03:56He's very generous.
03:57For the next one,
03:58I will try to find something
04:00to do with him.
04:01That's awesome.
04:03And also,
04:04I find it very powerful
04:05that Dracula
04:06loses his faith
04:08and falls into darkness
04:09after,
04:10after his wife dies.
04:11So,
04:12how important was it
04:13for you to explore
04:14that spiritual conflict?
04:17It's important
04:18because every,
04:19you know,
04:20you have two categories
04:21of people,
04:21the believer
04:22and the one
04:22who don't believe.
04:23but the believer
04:25always,
04:27they always confront
04:28to the faith.
04:31There is always a moment
04:32where you don't
04:33trust anymore
04:34or you don't understand
04:36what's the message.
04:38You know,
04:38because you say,
04:39is it,
04:40God is still there?
04:42You know,
04:42sometimes I watch the news
04:44and I say,
04:46where is God?
04:49And,
04:49and then you realize
04:51that man's,
04:54kills man
04:55in their own name.
04:57You know,
04:58so when they,
04:59when they kill
05:00in the name of God,
05:03it's fake.
05:04They don't kill
05:05in the name of God.
05:06They kill
05:07on their own name
05:08and for their own purpose,
05:10which usually is
05:12money
05:13or power,
05:15but it's their own name.
05:17They use the name
05:18of a God.
05:19It doesn't matter
05:20which God.
05:22So I think it's,
05:24it's important
05:25to talk today
05:26to talk about that,
05:27like to confront Dracula.
05:30Dracula believes in God.
05:31He thinks he's fighting,
05:32he's killing
05:33in the name of God.
05:35And then suddenly
05:36he doesn't understand
05:37why God killed his wife.
05:39And then now
05:40he don't believe anymore.
05:42So I think
05:43it was interesting to,
05:45you know,
05:45it's a fantasy,
05:47it's a love story,
05:47but also to tease people
05:49about that,
05:50like,
05:50okay,
05:51do you believe,
05:52don't you believe,
05:53you believe in what exactly,
05:55how,
05:56how much you can believe.
05:58Yeah,
05:59absolutely.
06:00The last one,
06:01Luke,
06:01after so many years
06:03working
06:04in a different genre,
06:06what is something
06:07that is still challenging
06:09as a filmmaker?
06:10usually it's,
06:14it's really about
06:15the,
06:15the storytelling,
06:16the story,
06:17like in one line.
06:19Sometimes I'm,
06:20I'm struck
06:21just by one line.
06:22Like,
06:23for example,
06:23when I read
06:24the book of Dracula
06:25from Bram Stoker,
06:27the line for me
06:29was like,
06:29a man is able
06:30to wait 400 years
06:32to see his wife again.
06:34And that's it.
06:36I can make an entire movie
06:37just with one line
06:38because I think
06:39it's so romantic
06:40that I want to follow that.
06:43I want to follow
06:44these men
06:44through centuries
06:45because I know
06:46some,
06:47some one,
06:47sometimes he will be
06:48full of hope,
06:50sometimes he will be
06:51totally desperate
06:52and,
06:54yeah,
06:56one line,
06:57one line is enough.
07:00Pues una historia de amor,
07:01la novela es una historia de amor.
07:03En sí,
07:04mezclada con esta parte
07:05de terror,
07:06¿no?
07:06Pues que muchas veces
07:06las historias de amor
07:07son de terror de por sí.
07:08De por sí.
07:09De por sí.
07:10Aquí a este Drácula
07:11no le va muy bien.
07:12Hablemos de la inmortalidad,
07:13¿verdad?
07:13Exacto.
07:14Ok,
07:14eso es Drácula
07:15y ahora vámonos con
07:16pues alguien que también
07:17parece tener una vida eterna
07:20o varias vidas.
07:21Exacto,
07:22exacto,
07:22y llena de talento
07:24y conocer a Madonna
07:25desde esos inicios
07:27en los clubes
07:28de Nueva York,
07:29volviéndose esta aliada
07:31de la comunidad LGBT
07:33a una edad tan temprana,
07:35antes de convertirse
07:36incluso en solista.
07:37Esta es la etapa
07:38que está retratando
07:38el documental
07:39Becoming Madonna.
07:40Becoming Madonna,
07:41convirtiéndose en Madonna.
07:42Fíjate que yo me acuerdo
07:43de Madonna
07:43pues cuando yo era muy chiquita
07:46y ella ligeramente más grande,
07:47bueno,
07:48algo más grande,
07:48pero la veíamos
07:49y decíamos,
07:50¿cómo se atreve?
07:51No podíamos creer
07:53que alguien públicamente
07:54se atreviera a hacer
07:54esas cosas.
07:55Hoy en día quizá
07:56es muy natural,
07:57pero el haber hecho eso
07:58cuando lo hizo,
07:59en el momento que lo hizo,
08:01ni siquiera creo que ahora
08:02sea tan natural
08:04por lo que ella representa,
08:06incluso ahora
08:06en el tema del feminismo,
08:08¿no?
08:08Así es.
08:08Pero conocer ese origen
08:09y ver de dónde surgió
08:10esta mujer llena de fuerza
08:12y llena de una filosofía
08:14de vida bastante clara
08:16y definida,
08:16tiene que ver
08:17con este documental
08:18y Michael O'Gian
08:19precisamente es el cineasta
08:20a cargo de ella.
08:21A ver.
08:21I've always felt like
08:22such an outsider,
08:24like I could never fit in.
08:26Come here, brother.
08:27This is my brother Christopher.
08:30She was our mother's name,
08:31it either crushes you
08:33or elevates you.
08:35I didn't just make it in music,
08:37I think,
08:38I mean,
08:39she shaped pop culture,
08:40so what do you think
08:41made that rise possible?
08:44Oh, that's,
08:45yeah,
08:45I think it's true,
08:46I think she's,
08:46you know,
08:47she's more than a pop star,
08:48isn't she?
08:49I think that's without doubt.
08:50I think it's,
08:51I think it's partly
08:54that she was an outsider
08:57and she saw herself
08:58as an outsider
08:59that didn't fit in
09:00and she found a culture
09:01like the New York queer scene
09:04that worked for her
09:05and she found women
09:06who had the same views as her
09:08and she found herself
09:10in a very,
09:11very conservative America
09:13and felt that she had to,
09:16you know,
09:17had to just be herself
09:18and be honest.
09:18One of the things
09:19that stands out
09:20in the documentary
09:21is how Madonna
09:22takes control
09:23of her own story,
09:25especially in an industry
09:27lead by men.
09:28So,
09:29were there moments
09:30in the documentary
09:30where that felt
09:32especially clear to you?
09:34Yeah,
09:35I think so.
09:35I think it's like a prayer
09:37is the key moment
09:38where,
09:39you know the bit,
09:41I mean,
09:41it's that moment
09:42and it's one of my favourite
09:43bits in the film
09:44where,
09:45you know,
09:45where it's sort of like
09:47at that moment
09:48is one of the most expensive
09:49music videos in history
09:51or is intended to be
09:52and the men are saying
09:55you can't do this
09:56and you can't do that,
09:57it's too expensive
09:58and also this is outrageous
09:59and she goes,
10:01we can do it,
10:02it's my money.
10:03So,
10:04Madonna's connection
10:05with the LGBT community
10:06goes way beyond style
10:08or performances.
10:10So,
10:11it's very,
10:12very political.
10:12So,
10:13how do you use
10:14that relationship
10:15showing up in her journey?
10:18I mean,
10:18over the years?
10:20I think you see it repeatedly
10:21don't you in her music videos
10:22if you look at Vogue,
10:23if,
10:24you know,
10:24it's there.
10:26If you look at all her,
10:27you know,
10:27lots of her music videos,
10:28you're seeing,
10:29there's a queerness
10:30to lots of her music videos.
10:31I think
10:32there's a sexuality
10:34that's pushing boundaries.
10:36There's a masculinity
10:38to her femininity.
10:39I think she,
10:40she reveals a way of life
10:43that you could live.
10:45I think
10:45a provocation
10:47was
10:48or is
10:49today
10:50one of her
10:50strongest tools.
10:53So,
10:53but it was also
10:54a form of resistance
10:55in that time.
10:57So,
10:58what do you want
10:58to explore
10:59about her use
11:00of sexuality
11:01as a political
11:03and social statement?
11:05What's really interesting
11:06talking to the people
11:07who worked with her
11:08at that time,
11:09they say
11:09for them
11:10it wasn't
11:12about being outrageous.
11:13It wasn't about
11:15being controversial.
11:16It was just
11:17how we felt.
11:19And,
11:19you know,
11:19we were women
11:20who felt like this
11:21and we didn't think
11:22it was a problem
11:23to put that
11:24into the music.
11:25You know,
11:25it was about a feeling.
11:26It wasn't,
11:27for them,
11:27it's how they lived
11:28their lives.
11:28Yeah.
11:28And the last one,
11:30after making the documentary,
11:31what would you say
11:32about the way
11:33that Madonna
11:34understand art
11:36and time?
11:38I think,
11:39I just think she,
11:40for me,
11:41what Madonna's gift
11:43is,
11:43is the gift of evolution.
11:45Because she's always
11:46accused of,
11:46you know,
11:46of stealing from people,
11:48I think,
11:48or she was.
11:49But actually,
11:49no,
11:49she was good,
11:50smart at collaborating
11:50and finding the right people
11:52to sort of work with
11:54to create a new sound
11:55and a new vision.
11:57And,
11:57you know,
11:58and that's art,
11:58isn't it?
11:59That's,
11:59you know,
11:59ever evolving,
12:00ever changing,
12:01ever moving
12:01is the only way
12:03you can be
12:03if you're,
12:04if you're an artist,
12:06I guess.
12:07Querida Yvette,
12:08solo resta preguntarte
12:09dónde podemos ver
12:11primero el documental
12:12Becoming Madonna?
12:13En Universal Plus,
12:14se estrena ya precisamente
12:15esta semana.
12:16Perfecto.
12:16¿Y dónde podemos ver?
12:17Y Drácula,
12:18por favor,
12:19vayan a las salas de cine
12:20y gocen,
12:21gocen esa fotografía
12:22también que ofrece
12:23el equipo de Luke Persson
12:24porque está bastante,
12:27bastante interesante
12:28la forma en la que también
12:29está retratando a Drácula.
12:30Claro,
12:31donde colocas la cámara,
12:32donde te cuentas la historia
12:33de una manera muy distinta.
12:35Exactamente.
12:35Entre muchas cosas más.
12:36Gracias,
12:37Yvette.
12:37Un gusto,
12:38como siempre.
12:38Y gracias a ustedes
12:39por acompañarnos aquí en M2.
12:41Nos vemos pronto.
12:41M2.
12:42M2.
12:45M2.
12:50M2.
12:52M2.
12:53M2.
12:54Gracias.
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