Well, I am very happy, and very grateful to the festival.
Well, I am very happy, and very grateful to the festival.
It's a big boost for the film, for me and for the team.
I am so happy for everyone. This is such a beautiful city.
I am so happy for everyone. This is such a beautiful city.
The city is really involved in the festival. The first few times I came here was
when I was a student and when making a film was absolutely impossible.
Everything is being very special to me. In addition, we have come with this film
that I feel has come closer to me, and I am very happy.
I don't know. I like it a lot. It's special. It feels like coming home. I feel very loved.
I don't know. I like it a lot. It's special. It feels like coming home. I feel very loved.
Lately my career has been like this and now people know me more.
Lately my career has been like this and now people know me more.
But here, at the festival, I have always felt very loved.
Especially loved by the people at the festival and by the people on the street, in San Sebastian.
I don't want to see him.
Clara, he's your father.
Father? I haven't had a father since I was twelve.
Well, it so happened that I detected that the origin of all this
that we wanted to share with Óscar has to do with two things
that happened to me in a very short time:
My father died and, two or three months later, my wife and I found out
that we were going to be parents for the first time. I felt very weird,
I had a lot of mixed feelings and I had a fear that I think is shared among people.
I was afraid of doing it wrong or doing it right. I'm fortunate
that my father had a lot of virtues and some mistakes as well,
which is the result of belonging to the generation to which he belonged.
He did his best. We are always tempted to do better that our parents,
or just as well, at least. We were terrified to face our first parenthood.
Then, Óscar and I began to detect that there was something we wanted to tell.
I'd say that's the beginning of all this.
Dad, what's going on now?
Scary, huh?
Soon I'll be like this. Or worse.
He represents a generation and a very diverse sector within that generation.
Among other things, he is an intellectual, a great intellectual,
he thinks highly of himself, he is a great hedonist,
someone who likes to enjoy life and talk about it. He couldn't see any further.
The issue about the children is as he says on the beach.
It's a thing that happens, and I didn't want to do that.
He's actually very honest. He says what he did.
I don't know if that helps much, but he says why he did what he did.
But I don't think he knows yet that this comes from a very deep wound on him,
the wound of having to be in a prominent place,
the place of writing the greatest work in the world...
That is to say, if you were a psychologist, you would ask him:
'What's the matter with you?
Do you have the need for everyone to admire and listen to you?'.
That wound has never been looked at and, in fact,
I don't think he gets to see his children until he gives up publishing
his great work and until he has a great weakness or a great fragility.
Then he stopped looking out for himself and was able to see others.
I think we tried to get this guy to show humanity
even though he said some really mean things about his children,
things that hurt, as you say.
The thing is that he has a very big wound. He's emotionally clumsy,
he doesn't know how to explain it well, and I think we've built him together.
Eduardo has been very generous with me, very patient
and has been a very good companion. I feel like we both built him
by chatting and talking. We would arrive at the shooting saying:
'Well, we'll see, but this is more or less what we wanted'.
Yes, I remember always telling you something that matters a lot to me.
We have to build the physical image first:
mustache yes or mustache no, white hair... Now I look similar
But, we were quite on track before the shooting began.
Then it was a matter of getting to the set and in each sequence they would say:
'What about sitting here?'. And I would say: 'I can't get up from here'.
'Then, how do we shoot this?'. It's very nice when that happens.
In other words, filmmaking requires teamwork.
And then, we pushed forward with the film very gently.
You have done it too, and that's not easy. It's a great merit of Roberto.
He pushed forward with everything very gently and with the whole team.
It was like: 'come on, come on, come on...'. The process has been beautiful.
Sometimes I think I should just stop trying to become a mother.
And stop adding to this family of nutcases.
I think the script is very well written. When you have a good script
you are already very confident and say: “Damn, I can build on this”.
Things don't fall to the void, they fall to where the script is. Everything settles down.
I think we have evolved in a very beautiful way in the shooting
of the film from the beginning. A lot of balancing had to be done.
A lot of balancing had to be done.
He also had to do it. I had to risk people disliking me.
I watch the film and I say: 'Damn, how unpleasant, man'. But that's the role.
As an actor, we generally try to justify our roles and not say anything.
But it's okay to go out in a limb and say: 'He's truly unpleasant',
and then say that he must have other layers too.