- 5 days ago
Tim Roth y Michel Franco, protagonista y director de Sundown: Secretos en Acapulco, responden a lo que todos en Internet preguntan, desde la creación del guion, hasta los secretos detrás de la filmación y la escena más difícil de la película.
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00:00It was a five-week shoot. Very, very crazy. It was his first feature.
00:05It was in the blazing sunshine, made it for very, very little money,
00:10covered in fake blood, which basically is syrup that boils on you.
00:17And I was laying in a lot of it.
00:19Hi, I'm Tim Roth, and this is Michel.
00:23What's that mean?
00:24It's really me. This is who you really are supposed to be.
00:27It's him.
00:30Well, let's see what the people of us say on the internet and talk about.
00:40Okay, so this one says, what do I do to prepare my characters?
00:45Okay, so it depends on the character.
00:47This is actually a much more complicated question, I thought.
00:50What did we do?
00:51We just lived.
00:52You ended up drinking a lot of beers.
00:53We drank a lot of beer, unfortunately.
00:56When you start the script process, we start talking.
00:58We start talking about character, who is this person?
01:01I don't do, I'm not a methodist actor, method actor.
01:05I don't live and breathe the character.
01:07I like to, once the day is done, I switch off.
01:10How does Michel Franco build a scene?
01:13I build the scene when I write the script, obviously.
01:17That's the first step.
01:18But when filming is very different.
01:20I ask the actors to do it.
01:23They do it.
01:24And according to what they show me, although it's written in a certain way, they interpret it completely from another angle.
01:33I film it according to what the actors do.
01:36And if we don't like it, we film it.
01:38In my finished movies, sometimes there are reshoots that we did for the third or fourth time.
01:44Okay, this is from possibly Twitter.
01:47This is, what character's been the hardest to play?
01:49The hardest ones to play, there's two versions of that.
01:54The hardest ones to play are the ones you don't want to do.
01:58Sometimes, crap is the most fun.
02:01But generally, they are depressing.
02:04Then there are the ones that you really want to be involved in, the films that you really want to play these people.
02:11Or you want to work with a director, like I did with Michel.
02:14But generally, as hard as they may be, characters like that, you love doing them.
02:21And so it makes them easier.
02:23I can't say the hardest characters are the ones you don't want to do.
02:26But you do out of necessity so that you can do the ones that you love, if that makes sense.
02:31It does.
02:32Okay.
02:33What is the next step, once I like a quote?
02:37Twitter.
02:38I go immediately to search locations and think about what actors or no actors they can interpret.
02:45I mean, I'm going to produce it before I'm looking for money.
02:48Like money is never the most important thing.
02:51Okay.
02:52You?
02:53You're very succinct.
02:54Me?
02:55I ramble.
02:56Okay.
02:57The Legend of 1900 is a masterpiece.
03:00What memories or anecdotes does Tim have of that film?
03:03Okay.
03:04That was a complicated one.
03:05I can't play the piano.
03:07I can't play chopsticks.
03:08I cannot do any of it.
03:10And I had to be a genius piano player.
03:12So I had, I think, about 21 different sections of piano work that I had to learn the fingering precisely.
03:23And then just the general feel of it and the look of being a jazz pianist.
03:29It's funny.
03:30Now it's Twitter.
03:31Michelle Franco has caused polémica por la crudeza en sus películas.
03:35¿Cree Michelle Franco que esa forma de retratar la realidad es parte de su sello como director?
03:41Nunca busco la crudeza y no estoy persiguiendo la violencia.
03:45Creo que al ser mexicano y he vivido toda mi vida aquí y me encanta mi país.
03:52Sería muy falso como director ignorar pues que es un país que se ha tornado muy violento y que es parte de nuestra vida diaria.
04:01The important thing is that violence in my movies is never something you enjoy.
04:06I always film the violence in a realistic way,
04:09and how to deal with it, or why not react to violence as we normally should.
04:31For an actor, it's quite poetic in a sense.
04:36It was a five-week shoot, very, very crazy. It was his first feature.
04:40It was in the blazing sunshine, made it for very, very little money,
04:45covered in fake blood, which basically is syrup that boils on you.
04:52And I was laying in a lot of it.
04:54One of my happiest, and there were many happy experiences on that,
04:59but one of my happiest was, at the end of the day, when we wrapped,
05:02when we finished our work,
05:04as gradually, one by one, as a larger group, covered in blood,
05:08as the film progressed,
05:10we would get taken outside of the location and hosed down,
05:14with very cold water.
05:16And that's one of my fondest memories.
05:18I don't think I've ever shared that, so there you go.
05:21Why did Michel Franco choose Acapulco for his new movie Sundown?
05:25The Facebook question.
05:27I've always wanted to film a movie in Acapulco,
05:30especially in Caleta,
05:32because I think there's no other place in the world that it looks like him.
05:37In some way, Sundown is a book of love for Acapulco,
05:40which is one of my consenting places in the country.
05:43What was it like working with Quentin?
05:45I think I covered that a little bit, in that with Quentin...
05:49Oh, this was not on Facebook.
05:52The energy that Quentin had when I first met him,
05:55and it was before he officially became a director,
05:57which was before we started shooting,
06:00is the energy that he has now.
06:02The difference that I find, even over the years that I've known him,
06:06is that he just has more resources now to tell his very strange and wonderful stories.
06:13When you get his dialogue, you learn it and you do it,
06:16and he moves you around.
06:18It's unusual, I think.
06:20He has a huge amount of energy.
06:22He laughs a lot,
06:24which sometimes makes the camera judder.
06:26So we have to do another take.
06:28Determined, strong-willed,
06:31but bizarrely and surprisingly flexible, I would say.
06:36Great, great director for actors.
06:38How was Charlotte Gainsbourg in Sundown?
06:41And the question is on Facebook.
06:43Possibly.
06:44Possibly Facebook.
06:45Possibly.
06:46We'll never know.
06:47Charlotte Gainsbourg is,
06:50ni siquiera me atrevo a decir que es una actriz,
06:52es algo más que una actriz,
06:55es un artista increíble que su presencia,
06:59solo ponerla enfrente de la cámara ya hace maravillas.
07:02Es muy profesional y se aprende todos los diálogos
07:05y sabe exactamente,
07:06es muy sencilla y muy fácil para dialogar y trabajar,
07:12pero siempre está metida en su cabeza, en su universo,
07:16que es muy vasto y muy especial y no se parece a nadie a Charlotte.
07:21What was the challenge for Roth?
07:25I like that.
07:26That reminds me of school.
07:27In playing Neil in Sundown.
07:30Was to seemingly do nothing.
07:37which under the circumstances that you put me in,
07:40in Coletta,
07:41in Acapulco,
07:42is really hard to pull off.
07:45Doing nothing is very hard for actors,
07:47I would say.
07:48Or seeming to do nothing is very hard for actors.
07:50Does that make any sense?
07:51Yeah, it does.
07:52Especially for this guy.
07:53¿Cuál es el proyecto soñado de Michelle Franco?
07:56He tenido suerte de filmar todo lo que he querido.
07:59Nunca ha sido fácil porque siempre es con menos dinero de lo ideal.
08:02No idealizar proyectos y a filmar cada película
08:06como se va presentando según las circunstancias.
08:08Y he tenido suerte de trabajar con Tim, por ejemplo.
08:12Crecí viendo películas de adolescente.
08:15Reservoir Dogs y Little Odessa y películas de esa época.
08:20He tenido más suerte de lo que imaginaba
08:23y después pude hacer Nuevo Orden que se antojaba imposible.
08:27Una película sobre el colapso de un país
08:30y lo logré hacer, escribir, dirigir, producir.
08:33Entonces me siento afortunado en ese sentido.
08:37What character would you like to play?
08:39This is definitely not on Instagram though
08:41because I'm looking at it now.
08:42It's not Instagram.
08:43As somebody...
08:44Yeah, it's not.
08:46Wolverine?
08:47No, that was a joke.
08:49But kind of a good one.
08:50And you know, maybe they should come to me for that.
08:52What would I like to play?
08:54I don't know because they are out there.
08:57Something that's out there that's extraordinarily challenging
09:01and difficult and when I've finished it
09:04I walk away feeling that it's part of a film that I love.
09:10So there's that and Wolverine.
09:13Both.
09:14Oh, both.
09:15And it could be the same.
09:16Could be the same.
09:17Directed by...
09:18Okay, Wolverine.
09:19No.
09:20Directed by him.
09:22Yeah, that one.
09:23No music.
09:24Black and white.
09:25With no music, black and white.
09:26And barely any dialogue.
09:27Yeah.
09:28What are the three films?
09:31Oh, here we go.
09:32You have to see in this life.
09:34That's for both of us.
09:35There's a film by...
09:40Directed by Ken Loach called Kes.
09:44His first film.
09:45K-E-S.
09:46Yeah.
09:47It's the beginning of an extraordinary filmmaker.
09:50British filmmaker.
09:51And such a beautiful and difficult story about growing up.
09:58I'd say Los Olvidados by Luis Buñuel.
10:01There you go.
10:02Which is not far from Kes.
10:03That's not far.
10:04Yeah.
10:05I like Eight and a Half.
10:07You do?
10:08Fellini.
10:09Of course.
10:10Roma then.
10:11If we're going to go down Fellini Road.
10:12Where do we go with that?
10:14That's tricky.
10:15Okay, you get a Fellini.
10:16I got a Fellini.
10:17You get a Fellini.
10:18Tons of Italian movies.
10:19I would say The Seeker.
10:22I would go with...
10:24Which one though?
10:25That's a tricky one.
10:26Umberto?
10:27Yeah.
10:28Umberto.
10:29Yeah.
10:30I think Umberto is my favorite.
10:31Because of what he did.
10:32Yeah.
10:33Okay.
10:34Your turn.
10:35I'll continue with the Italians.
10:36One more.
10:37You get one more.
10:38I had to say.
10:39It's Salò Pasolini.
10:41Oh, wow.
10:42Salò.
10:43Yeah.
10:44Heavy but...
10:45Wow, yeah.
10:46Special film.
10:47I want to go somewhere.
10:48Uh...
10:49Triumph of the Will.
10:53Triumph of the Will?
10:54It's a joke.
10:55It's a joke.
10:56What?
10:57Or is it a joke?
11:01I'm Jewish.
11:02It has to be a joke.
11:03It has to be a joke.
11:04It has to be a joke.
11:05Well, I don't know.
11:06You could be a very...
11:07Okay, never mind.
11:08I'm going to go to an Alan Clark, I think.
11:11Good call.
11:12Because he started me on my road.
11:14So I'm going to say a film called Scum, which is about the juvenile prison system in Britain at the time, and he was commissioned to do it by the BBC.
11:29He completed it, and he shot it, and then the BBC themselves banned it when they saw it.
11:35So then he remade it as a film.
11:37But the original version of it that was done for the BBC, which you can track down, is by far the better.
11:42Anyway, very interesting.
11:44I'll add Made in Britain by Alan Clark, starring Tim Roth.
11:47Which is the one that started me.
11:48Fantastic movie.
11:49Yeah, thank you.
11:50Oh, this is for me again.
11:51Favorite project?
11:53That's hard with Michelle sitting right next to me.
11:57Yeah, you've got to lie.
11:58Definitely, his are right up there.
12:01And I would say, going back, Alan Clark, because it was day one.
12:04So you go to...
12:06There were things that I did.
12:07One I did with Alan Clark was Made in Britain, swiftly followed by a Mike Lee film called Meantime.
12:13Then a Stephen Frears film called The Hit.
12:17So one, two, three, and that got me started.
12:20And then your stuff, because it's unique and individual, and that's not a flattery thing.
12:26That's just a fact.
12:28Because I feel like I'm actually making films as opposed to paying the rent.
12:35Okay.
12:36Well, you're not paying the rent with our films.
12:38Definitely not with his films.
12:40What is the scene that most worked for Michelle Franco and why?
12:45Well, there are many scenes.
12:46The chronic end was difficult.
12:49No spoilers.
12:51No spoilers, but I see why.
12:53And also because it was an emotional conversation.
12:56Yeah.
12:57Whether to or not.
12:59Yeah.
13:00That was a big...
13:01Okay, never mind.
13:02Very hard.
13:03It's a good one.
13:04The ending.
13:05The end of After Lucía.
13:06Después de Lucía también fue complicado de filmar.
13:09Y muchas escenas de nuevo orden.
13:11Yeah.
13:12It's very difficult.
13:13La interrupción de la boda.
13:14Muy compleja.
13:15Twitter.
13:16¿Cuál es mi director favorito?
13:19Pasolini.
13:20Pasolini.
13:21Oh, really?
13:22Yeah.
13:23That's why I renamed the company Teorema.
13:25Ah.
13:26Okay.
13:27Fair enough.
13:28I think Pasolini is the best.
13:29Like very free and unusual.
13:32Yeah.
13:33And he paid with his life.
13:34Oh, completely.
13:35Yeah.
13:36They murdered him.
13:37Yeah.
13:38And Fass Binder.
13:39I love Fass Binder.
13:40Yeah.
13:41But...
13:42But...
13:43But if I have to choose a director...
13:44Buñuel.
13:45Luis Buñuel.
13:46Yeah.
13:47Buñuel is the best.
13:48If...
13:49Yeah.
13:50But we can keep running.
13:51So let's get to the next.
13:52Yeah.
13:53All right.
13:54Oh, what was it like working with Michael Haneke on Funny Games?
13:56I didn't want to do it.
13:58I read the script and went, I do not want to do this film.
14:01My agent type person called me up and said, you need to watch the original version.
14:06I watched it and went, oh my God.
14:07Okay.
14:08I have to do it.
14:09I have no choice.
14:10It was very difficult just because of the subject matter and also because we were, we
14:14were shooting the exact same shots.
14:19We were reproducing them, but doing them in, in, in the English language.
14:24Originally, Michael had wanted to do it in the English language.
14:26He felt that that was actually part of the story he was going to tell, but he didn't,
14:29he couldn't afford to.
14:30It was a very, very difficult time.
14:33It was very hard to reproduce those sequences and get them right for him.
14:38And I thought I was going to be the one that was in tears, but that was just generally
14:42during filming on camera.
14:44But for Haneke, it was one of the, it was, I think, one of the most stressful times that
14:49he'd had as a filmmaker.
14:51So, one of my fondest memories and, and loveliest memories is of him weeping on my shoulder
14:58and me having to walk, walk him.
15:01What's your favourite pop fiction memory? I have loads, all of it. I met with Quentin.
15:18We'd finished doing, we'd finished the Reservoir Dogs thing.
15:21And we were talking about what, you know, what do you want to do?
15:23What next? What do you want to do next?
15:24And I was Amanda Plummer's date.
15:27And I made sure I was for a premiere of Fisher King that she did with Terry Gilliam.
15:33And the reason I said I was going to be her escort was because I knew that she would forget
15:37that it was happening that night.
15:39So, and sure enough, she did, but I made sure that the car came and picked me up first.
15:43So then we could go and round her up and get her to the cinema.
15:46Sure enough, she forgot.
15:47So we had to throw a frock on her and, and ruffle her hair a bit and chuck her in the car and get moving.
15:51So we got to the cinema, did the, she did the press line and then she sat through the film, whatever.
15:58Afterwards, we were talking, Terry Gilliam was there and Quentin came up and said, you know,
16:04we were talking about, you know, we were actually, this, this question, maybe Quentin wrote in.
16:08It might be that.
16:09He said, what do you want to do yet next?
16:11I said, whatever it is, I want to work with her, with Amanda Plummer.
16:15And I want you to put a gun in her hand because there's nothing more dangerous than the,
16:20the, the notion of Amanda Plummer with a gun in her hand.
16:23And he went away and wrote it.
16:24And that's, um, Honey Bunny and Pumpkin.
16:27That's all I got.
16:28I think that's it, isn't it?
16:30It is.
16:31We finished it on a, an interesting note.
16:35Is it Q, is it Q, G or GQ?
16:37GQ.
16:38GQ.
16:39Yeah, thanks.
16:40Possibly.
16:41Yes, I think so.
16:43Yeah.
16:44Thanks, QG.
16:45If you want to see more content,
16:47go to this link.
16:53Perfect.
16:54You have to leave.
16:55Cut.
16:56Okay, cut.
17:01I'll see you next time.
17:02Bye.
17:03Bye.
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