00:00Sam, you have worked before with Martin, so I don't know if you gave him some advice to getting into
00:06his world or something.
00:08I taught him everything he knows.
00:11No, we had a lot of fun, yeah.
00:15We talked about some of the stuff I'd done with Martin a little bit.
00:21Martin is a really good writer, obviously, really good filmmaker.
00:27But he's also not a dick, which helps, you know, he's an empathetic man.
00:32He's kind and he has manners and he also has social skills, which sometimes, surprisingly, can be rare, yeah.
00:42Yeah, he's really, and he's funny.
00:45I think in every film it's very important to find the right tone, but I think in this one, maybe
00:52especially more,
00:52because your characters could be too much excessive or being too low.
00:58I don't know, how did you find or how did you work with Martin or with both of you, the
01:01exact tone of your characters?
01:05Well, when in doubt, be real, right?
01:07I mean, I guess it's the main role.
01:10That's what a director has to decide, how much is too much, how much is not enough.
01:17There, I think in all of our scenes, when they argue, which they do quite often,
01:26there are arguments that are taken to a very, very high level.
01:33But Martin has to choose which one to use, because a lot of them are quite different.
01:42There are things where their arguments are kind of petty and childish,
01:48and then there are things, there are takes, whole takes, where their arguments are very, very explosive.
01:55And as a director, you have to kind of pick your way through that.
02:02Actors, all actors can do is give levels of it, really.
02:08Does he make a lot of takes of every scene in order to find the right take?
02:15Oh, I think so.
02:16Yeah.
02:16Yeah, he does.
02:17Yeah.
02:18Now, with digital, almost everyone does a lot of takes.
02:26It's very different, say, than it was with film, because you can't, you burn a lot of film doing a
02:34lot of takes.
02:35But with digital, it doesn't matter at all.
02:39The movie is set after Kennedy assassination and before the coup d'etat in Chile.
02:45We hear this sentence in the movie, good luck with democracy.
02:51I don't know, how do you think these events or that years shaped the way we see or we are
02:58living democracy nowadays?
03:02If we live in democracy, and I'm not wholly convinced about that, I think good luck with it.
03:16Because what is it, is democracy, what is it, and whose is it, and how is it decided, and I've
03:32asked you a few times today,
03:33in what country do the citizens believe what their government says, which country is that, I'm not sure.
03:42So, this is a situation which has happened over and over and over, this situation described both in November 1963
03:58and in Chile in 1973.
04:06It's happening all the time.
04:10In this way, I think the movie finally talks about the importance of memory, your character lose memory, and we,
04:18maybe as a society, are losing memory.
04:20I don't know if you think that this metaphor is the core of the heart of the movie.
04:24That's interesting.
04:25I think it is at the core.
04:29The other day I was watching something on television, it was young students, you know, college-aged kids, not a
04:36single one had an idea of what happened.
04:38And forget, forget if you would, Chile, September 11, 1973 in America, no one would have the slightest idea of
04:47what you were talking about.
04:48Less than a half of a percent would know what you were talking about that happened on that day, I
04:53would say.
04:53Maybe less than a quarter of a half of a percent.
04:58They had no idea what happened in New York on September 11, 2001.
05:05So, no idea.
05:07No idea what happened, the actual event, who did what, who responded how, et cetera, et cetera.
05:13So, to have a memory, a societal memory, a national memory, you have to have some degree of learning.
05:27You have to have absorbed something.
05:30And I don't always find much has been absorbed, no matter where you are, no matter where you come from,
05:40there's a lot of forgetting.
05:45And these days, people are talking about if Hollywood movies are not coming to festivals, but Martin McDonagh's movies used
05:52to come to Venice.
05:53Why do you think it's important to a film like this, or to, I don't know, to a tell, come
05:59to a film festival and show the movie with a public, with critics?
06:05Because I've always thought, and often said so decades ago, film is a worldwide thing.
06:18You have audiences everywhere who want to see something interesting, something that moves them, amuses them, touches them.
06:29If they watch Secret Agent out of Brazil, they don't like it, okay, I understand it's okay, but it tells
06:38you something.
06:40And there used to be a lot of films out of America in the 70s that did that.
06:49There are less and less out of America that do that, and that, that's, it's heartbreaking, but it's also an
06:58incredible area.
07:00An incredible mistake, and the, coming to a place like Venice, or San Sebastián, or Cairo, or Cannes, or wherever,
07:15Toronto,
07:17it connects you to an audience around the world, it's a big world.
07:29Thank you.
07:30Thank you.
07:30Gracias por ver el video.
