- 35 minuti fa
Categoria
🎈
DivertentiTrascrizione
00:00Natalia, Sam, we are ready to meet you here. It's a pleasure. So, Natalia, the first thing I wanted to
00:07ask you is when and how did you first come across Mario Bellatin's novel and the famous Bason and how
00:18did you adapt it for the screen?
00:20Okay. So, I found the book. I think someone gave it to me. And this was before COVID happened. And
00:32at that moment, I was already trying to find a story to make a film. And when I found this
00:41text, it was immediately, you know, like the desire to adapt it was there.
00:46And so I met the writer, Mario. And then we started like having these beautiful dialogues about everything. And then
00:55obviously COVID started happening. And we saw the world change. We also saw how the novel was even more relevant
01:05now than when it was written in the 90s.
01:09And then it started like this, yeah, this, I don't know. We were, I was writing first with him. Then
01:17I continued writing on my own. Then someone came in and helped me. And then, I don't know, it went
01:23on for like three years. And yeah, I feel like we saw like the sickness, the war, everything happening, this
01:32new paradigm that, yeah, happened just during COVID.
01:36And then, yeah, I don't know. And yeah, I don't know. That's how all started. And Sam, what stage did
01:43you come on board? And what was the process like for you, both during the preparation, then on set?
01:50Oh, I think I came quite late on board. No, I think the story was rather clear.
01:58Yeah. I don't know. I went to meet you in Ostend last year. Yeah. Yeah. Yeah. For me, it was
02:06very clear. When someone proposed Sam, I was like, okay, that's him. You know? Yeah.
02:12And then the process further on was easy. We met in Ostend, where I live. And it are these rare
02:21encounters that one can have. You meet someone and you go like, okay, this is normal. You don't have to
02:28do an effort. You don't pull on a facade or anything. You're just yourself.
02:32And it matches. So that was a big, big, big deal, I think. And then from there on, the rest
02:41of the process is that you get such a unique opportunity to work with a unique person, you know, on
02:49a unique story, you know.
02:51And then you just start longing to do that. And to realize, yeah, a piece of art.
03:04Yeah, it is. It is indeed. Natalia, this is your official director at the moment. But you come from a
03:11long, a long diverse career as an actress. What made you take this step?
03:16When did you first start thinking about moving behind the camera? And most importantly, do you see yourself continuing to
03:23direct in the future?
03:24I mean, the desire has always been there since, I guess, even from an early age, you know, like this,
03:33I don't know, I'm someone very abstract, very, the world is not my strength.
03:37So for me, the visuals, yeah, I knew I was going to end working in something visual. And then the
03:45acting happened by accident, which was a beautiful, yeah, one of the, yeah, destiny, you know.
03:52And working with, for example, I feel very privileged to have been able to work with the directors I have
04:00worked with and seeing their different processes because all of them have had like so complete, yeah, opposite processes.
04:10Learning from them, learning from them, observing because as an actor and you, you might agree, we wait a lot,
04:16no? All the time we are just waiting, waiting, waiting, waiting.
04:19And then you, you get to observe, you get to analyze how, yeah, the crew works, how, yeah, and then
04:29I was, at some point I was like, it's hard, I know it's super hard, but I think this is
04:34something I could do.
04:36And then, yeah, and then, yeah, I just found an amazing producer and, yeah, and then it happened, yeah.
04:44Sam, you're an actor, dancer, a singer, you dance with the Alain Platella and the Ballets C and the B,
04:50and you're performing with your band, Falling Man.
04:52And then, uh, at first glance, uh, this might seem like a rather static role, I mean, it's in the
04:57Vanessa, but in fact it's deeply physical, built around the body, the gait, and the way you move with them
05:04within a space.
05:05It's interesting, isn't it?
05:07Yeah, it's, it's, I think it's, I'm very happy to, to have been a dancer.
05:13And, uh, I, I danced in a short movie two days ago, and still it's fun, but the body is
05:21a bit old now, you know, like, but, uh, but it's very interesting, like in this character, of course, when
05:28you create a persona, um, you create emotion because of a physicality, like a certain walk, if you squeeze your
05:39buttocks a bit more, you're going to walk different than it is.
05:43If you, you know, if you exhale a bit different, it's going to work different, and then the, the positioning
05:49in a space is very, very, very important.
05:52But therefore, you need to work together, you need to have somebody that, like, uh, with Natalia, it's very nice
05:58that she, she also is an actor, so she understands, and, uh, she, she understands the importance of the detail.
06:06And we were lucky also to have a very good cameraman, who really knew, like, okay, this is not going
06:12to work with that persona, so you don't do it alone, it's really a cooperation.
06:17And about the cameraman, and I want to ask you, Natalia, um, how you work with the cinematographer Balthazar Lab
06:25and the production designer Nathan Parker to create this, I mean, a real space, a real space, and yet an
06:32unsettling one at the same time.
06:34Okay, it was very interesting how Balthazar came into the project because, um, I mean, the film was filmed in
06:43stages, you know, the first stage was, I actually worked with, uh, another very dear friend of mine, um, uh,
06:50Vincent, uh, a photographer that helped me, um, yeah, the first stage, we were, like, going in the streets, doing,
06:58like, a little research, uh,
07:00and he did all this in 16mm, you know, like, uh, and then at some point when we were supposed
07:07to start, like, shooting the, on, all the underwater, uh, yeah, uh, shoot.
07:14Shoot, see, cause he's shooting.
07:16Yeah, yeah, uh, then I needed someone that knew how to dive, and that's when I, I, I knew Balthazar
07:23was a diver, and then so I invited him just for that part of the, the, the shoot.
07:29And we did this, it was very easy to communicate with him without communicating when you are, like, in water,
07:36and I, I was just trying to express things to him, like, underwater, and I realized that our dynamic was
07:41so easy in that complicated, uh, context.
07:46But then I was like, okay, this is, uh, this is my guy, you know, and then he, someone extremely
07:54patient and extremely generous with his time, and, you know,
07:58I didn't know anything about the technical aspects of, uh, you know, how we were gonna do this film.
08:06So he came up with this amazing, and the ideas we had, like, a very, yeah, I don't know, we
08:11were really complementing each other in, in, in, in, in creating, like, this visual world.
08:15And same with Nathan, you know, Nathan is someone so, the same, so patient, so, so creative, like, all the
08:23references that he was approaching, uh, bringing to the project were, like, perfect.
08:28And he, he, he could understand, also, like, in this abstraction, uh, abstraction, uh, uh, of, uh, novel, uh, of
08:36the script, even, like, how he could, uh, implement all this, uh, elements in, in a very, I don't know,
08:42poetic way, you know, like, this, for example, need of having constant water all the time, you know, and how
08:49we were gonna manage to have this humidity, uh, on set, and, yeah, I don't know, he, he, he, he's
08:56amazing, you know.
08:57I'm very lucky to have worked with the team, uh, I've worked with.
09:01And specifically, how did you build the dichotomy between, between the inside and the outside, um, the stillness of the
09:09salon and the, the movement of the street, the death inside and the life outside, or perhaps the other way
09:17around?
09:17Mm-hmm. I mean, the inside was always contemplated, like, a space, uh, uh, uh, with no, uh, time-lapse.
09:27You know, like, where we don't know when it's day, when it's night, uh, there's no, you know, like, it's,
09:33it's, it's a, it's a capsule of time, you know, where the time stops.
09:37And also, it was the approach, like, this limbo between life and death, you know, a, a place where, uh,
09:45in between, you know.
09:47And the exterior was, like, quotidianity, like, today, you know, like, there, even, you know, it's not, uh, even if
09:53it's a dystopian film, you know, you, you don't feel like, uh, you know, like, the world is ending, you
10:00know, in the sense of, uh, I don't know, we don't see the, I mean, the violence is there, you
10:07know, like, we see that, but we don't see, like, uh, I mean, for me, the film is, it has,
10:13it's a contemporary science fiction, you know?
10:16Not in the way of space, uh, or technology, you know, but more, like, in the sense of surviving a
10:22dystopia, which, for me, I don't know, tells me a little bit of what we are going through right now.
10:29Um, and yeah, so, yeah, I feel like the contrast is there, and for me, it was important to, to,
10:35yeah, establish those two different worlds.
10:38Yeah, one is more fantastic, and the other one is more, yeah, real, more documentary, even.
10:44You talk about dystopia, and I want to, to ask you both, uh, whatever you think it's significant that, you
10:51know, in, in the world we live in today, a world marked by walls, by violence, by the rise of
10:58neo-fascism,
10:58a queer space, like, the saloon becomes perhaps about all, uh, a place of refugee, of freedom, uh, and welcome
11:08to those who are, we have nothing, uh, we have been abandoned, and we are close to death.
11:13I think it's a, it's a political mission. It's a real important one.
11:17Yeah.
11:19You answer this one.
11:21Yeah.
11:22Your question.
11:23I think, uh, if you, if you look at, uh, you talk about war, and the movie, and the outside
11:32world, inside world, you know.
11:33Uh, I would compare it to, to, to, I would go, I'll go a little bit further, or a little
11:40bit back if you want.
11:41You can, you can, uh, interpret it as front or back.
11:44But what, what there is, is, uh, uh, if we understand that every woman is a man, and every man
11:54is a woman, because we are.
11:56Yeah.
11:56You know, I'm just, I have a, just a little bit more beard than Natalia, and that's why they call
12:03me man.
12:05Natalia has a little bit more charm than I do, that's why they call her a woman, you know.
12:10But we both are men and women.
12:13And once you accept that, you don't find a reason for conflict and war, and you don't, you don't find
12:18a, a reason to, uh, discriminate and to say, like, hey, you're queer, you're this, you're that, you know.
12:25No.
12:26Because we all are.
12:28It's just, uh, the, the balance is a little bit different, but you, you will never make war to yourself.
12:33So why would I make war to somebody else because somebody else is different than I am, or things different,
12:41or whatever.
12:42So I think there, there is the, the main issue, which is hopefully, uh, a conclusion that might be drawn
12:50by, by, uh, watching this movie.
12:53By watching, you know, the, the, the senselessness of conflict and the openness of harmony.
12:59Yeah.
13:00Like just stupid fear of the, fear of the other, no?
13:03What, what are we fearing so much, uh, what is maybe a little bit different to us, but, uh, I
13:08mean, yeah.
13:09So, yeah.
13:10And in that sense, I feel like the, the, the film, we are not talking, it's not, uh, we're not
13:16talking about, about war itself.
13:17We don't see the bombs falling, but I feel like there's, uh, a lot of, uh, I mean, at least,
13:24there's some intention, you know, to, to talk about what is going on, you know, like the genocide, and like
13:32the, yeah, like this thing of, why this violence towards, uh, people that are like so completely, you know, like
13:42this stupid law of the, the most powerful, you know?
13:46er, a ve, lalei del mas fuerte.
13:49I don't know how you would say it.
13:51A leg of the fuerte.
13:52Yeah.
13:53Like, you know, like ah, ah.
13:55Some people can do whatever they want without any re, repercussion, you know?
13:59Uh, which is uh, incredible, you know?
14:02Like, uh, yeah.
14:03Mm, yeah.
14:05Indeed.
14:06Yep.
14:06Last one, I want to ask you of the skill to final see the film at the festival and what
14:17are the next steps for it? Will it go to other festivals? Will it be released in cinema?
14:23I mean, right now, yeah, it's going to a few festivals and it's going to be, to be honest, I
14:31will have to ask this to the sales surgeon. But I know it's going to have the first release in
14:37Mexico sometime soon, like before the end of the year. And then hopefully, yeah, in more places. It will be
14:44nice. It will be really nice.
14:47Thank you. Thank you guys. Thank you so much. Thank you.
Commenti