00:00Bueno, yo escribí la historia, y yo viví en los Estados Unidos, en un país extranjero,
00:10un tipo de situación diplomática, y Madrid parecía un lugar muy, muy lógico para la historia
00:22para la historia de Madrid, y Madrid estaba interesado, y yo estaba muy interesado en Madrid,
00:36porque se encaja en la historia, y yo nunca había hecho un filme en Madrid,
00:43yo trabajé en San Sebastián, en Barcelona, y muchas otras ciudades de Europa, pero nunca había trabajado en Madrid,
00:54y yo pensé que sería maravilloso tener una experiencia y una nueva experiencia para mi filme para trabajar en Madrid.
01:04Yo he estado aquí, he jugado música aquí, y he promocionado películas aquí, pero nunca he tenido el placer de
01:12estar aquí
01:13por mucho tiempo para hacer un filme aquí.
01:17Bueno, W.A.S.P.E.S.P.E.S.P.E. stands for Woody Allen Summer Project.
01:27So, that's all that that means, it's temporary. I won't have a title for this movie until it's finished.
01:37When the film is finished, you look at it, and depending how confident you feel about it, you give it
01:44a title.
01:45If you're confident about the picture, you give it an aggressive title.
01:50And if you're frightened about what you've done, you give it a tentative title.
01:58So, it's not titled yet.
02:01I was working on the script before the concept of Madrid came up.
02:09I was working on the idea.
02:11And then when someone mentioned some of the world cities that it might work in, you know, Madrid was among
02:22them.
02:23And then I heard from the people that produced that Madrid was interested.
02:29And they were working out some kind of a deal with Madrid where Madrid would be willing to have me
02:38make the picture here.
02:39So, then it became more exciting for me because I had memories of Madrid and it fit in exactly what
02:48I wanted.
02:48But I had started the script before I knew it would be Madrid because I could have made the picture
02:56finally, you know, in Barcelona or Paris, that's possible.
03:02But Madrid was more perfect for it, actually.
03:05I didn't think of Madrid right away.
03:07But when someone mentioned that Madrid was interested, it crystallized it for me perfectly because Madrid is an ideal city
03:19for this particular story.
03:22And, you know, it gives my wife and myself a chance to live in Madrid for a few months and
03:29this is a great, great pleasure for us, a great treat.
03:33So, you know, I'm looking forward.
03:36I did say I was going to retire and I want to retire.
03:42It's grueling to make films.
03:46It's hard work and it's difficult and, you know, the cinema has gone to television.
03:52You make a movie and they put it on television so quickly.
03:56It used to be you make a movie and you put it in the cinema and it lasts in the
04:01cinema for months or a year and it had a different dynamic to its presentation.
04:09Now the presentation is you put it in the cinema for two weeks and it's on television.
04:15You're never here for it again.
04:18So, I'm not as enthused about making a movie, but the idea of this story and Madrid was, you know,
04:31I couldn't turn it down.
04:33It was too, too exciting for me.
04:37I'm always concerned with any fascist rise.
04:43Always.
04:44I think it's terrible.
04:45I think the world is in a very critical phase at the moment and I'm always vehemently against
04:55the rise of fascism in any form, whether it's in government, of course, in theater, in censorship, in literature, in
05:06any way.
05:07I'm very concerned and very much against it.
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