The original idea was to write a screenplay
for a fantasy film.
Specifically, a time loop film, which is a genre that I like.
Then, while writing,
I realized that what I was writing
wasn't exactly a time loop film, but rather an apocaliptic film
because, well, that's what I ended up writing,
but at no time did I have the intention to write
a specific genre. I wanted to find an interesting and demanding premise,
and develop it to the greatest of the consequences
in order to make a story with few characters.
I let myself flow through what was happening in the story.
Actually, I didn't judge whether what I was writing
was a thriller, a comedy or a fantasy film.
I feel like the film is a mix of everything. It has no complexes.
I think that the sense of humor grew in the process of going from the screenplay
to the film that we are going to watch.
I remember that the screenplay was rather one of a fantasy film.
Yes, it was rawer.
When we were deciding who would be the main character,
even Berto didn't see himself as the protagonist.
That idea was... -It was imposed by the director.
It was imposed by the director
I wouldn't say that, it wasn't that hard.
And, then...
He complimented me a little bit and I fell for it.
We had a dinner or two...
But then, in the process of creating, when we go from paper to screen,
it's true that in the DNA of the four of us
the sense of humor is really important.
We embraced it as it appeared.
Possibly, it's a very dark and extreme humor
that is always present in the situations that the characters experience.
Nothing was structured.
Although we still haven't watched it with an audience,
today we will,
according to different reactions, people laugh a lot.
They're having a great time.
That wasn't our intention at first.
But we embrace it and we’re grateful for it.
Because I love movies that blend genres.
Look at him.
Let's hope that this isn't the typical «masía» with people partying
and that I don't have to stand a rave all through the weekend, Toni.
You'll see that time stops here.
I think that's what mirrors real life the most
because we try to put things in order in fiction,
a thriller has to be very serious,
and dramas have to be very dramatic.
However, I think that things are much more mixed in real life.
The very dramatic moments of my life are full of jokes.
It's also very typical to comment on the fact that there're things that happen
in funerals that make you laugh your head off.
The opposite happens too. Pathos appears in solemn moments.
When the moment is
that must be carved in stone because important things are happening.
Suddenly, it becomes pathetic.
Ridiculous things happen and, to me, that's far more similar to real life.
We express our feelings from empathy,
and we build a healthy space for communication.
It's been very different from the typical way of shooting a film.
I think that's one thing that made this project appealing,
besides the screenplay, the story, everything,
the way it was going to be done...
We all pulled together,
there was no one behind the camera, you know?
Usually, you reply.
You take your shot, and then you reply.
Sometimes you have time to relax a little bit
or to, I don't know, help each other. We're always there.
But here there was no stop.
The camera spinned in every direction.
The technical team had to be very careful not to appear on camera,
not to be heard. They had to follow us. in that walk, that race, that escape.
So, it was very interesting because we weren't alone.
We weren't mere actors doing something in front of the camera,
everybody was doing something all at once.
Yes, you said that there was hardly any difference
between the artistic and technical teams that we usually see.
In this film, the artist is not just the director or the actors,
it's also the cameramen, for example. They were true artists.
You had to shoot a close-up, move away from it, get into it,
sense that the movements in another shot could be different...
The grip, the focus,
everything had to be quick.
It was very interesting because we had to choreograph,
and everybody had to be implicated.
We would rehearse in the mornings.
It wasn't easy, but it was very pleasant.
It wasn't easy, but everybody had to pull together.
Javi has done something very difficult in this film.
Moreover, he did it in such a natural way and so masterfully
that it goes unnoticed. -Absolutely.
This was a very difficult film to shoot, and when we
were considering it, it was a problem, a big problem.
How do we shoot this?
We have no idea how to do it.
We had to square the circle.
It's square the circle, right? -Circle the square.
circle the square
It was really complicated.
We had to come up with a way of doing it.
Making this film was a very difficult mountain,
and Javi has achieved that, when we talk about the film,
everything that comes out of our mouths is tranquility and easiness.
Javi has proved with this film,
has expressed all the skill he has accumulated through all these years as a director.
I mean it because it is very well done.
This is a very good film technically speaking,
and it has technical feats that should be taken into account,
and that may go unnoticed.
That's the best thing, that they go unnoticed.
We thought of making a long take film
that lasts five minutes, not a single second longer, which is difficult.
At the same time, I hear that it was a pleasant ride for them.
That's very important because there is a lot of technical preparation.
We experimented a lot, the team had never done anything like this,
and they didn't notice
the precision and the work behind it. At the same time,
we had to keep their acting natural.
We had to tell them to be here or there in this or that moment
because the camera was constantly dancing around,
but they had to feel that they could change the dialogues
and say the things in different ways.
We all were conscious about that work,
but that was the great challenge of this film.
A very precise technique and a naturalness
that you can only achieve with actors of the caliber
of these three people here. Others systematise the text
in the fifth or tenth attempt, and not in the twentieth, like we did.
Every time they said it the text felt new.
Also, something to be grateful for is its commercial spirit,
I mean, its spirit... -Holy Spirit!
The aim of wanting the audience to enjoy this film.
And to receive a message,
to be punched in their guts
when it comes to how you would face that situation.
But, I mean, I, as a spectator
of the film that I've made,
I couldn't stay still in my chair, and I had made that film.
Then, when I was watching it, I was like, what is going to happen now?
So, I enjoyed it as a spectator.
I think that's the best way to summarise it.
I have made the film, I know all the secrets about it,
I know what happened, I know what shots were selected,
I know that every shot lasts five minutes, and I know that the setup is supposedly simple,
although I know it wasn't, but I've seen it.
The only time I've watched it,
and now I'm willing to watch it with an audience,
I enjoyed it like a spectator. I watched it all,
I really enjoyed it, and I said,
we've made a really, really good film.
We're here at a festival because someone has watched it like I have.
We're so lucky to be here with this film.
Absolutely.
It has this commercial thing, it has really been made for the audience.
Disconnect. This is the philosophy...
To me, it's very exciting that
the San Sebastian International Film Festival
is trying to break the prejudice that a film like this might have
because a festival of such pompousness supposedly
deals with important, dense, brainy films.
It's true that sometimes there's a prejudice against fantasy, against comedy,
against films that intend to be commercial,
but I think that interesting films with deep messages can be made too.
Personally, that thrills me a lot.
I'm very grateful that the festival not only has
included us, but we're also competing,
and that says a lot about Rebordinos' and his team's bravery.
74SSIFF | We Are Naza Too
03:52
74SSIFF | Weichen (Dust) - kafea
21:03
74SSIFF | Body of Glass - kafea
22:27
74SSIFF | El mal hijo - kafea
17:14
74SSIFF | Esta soledad - kafea
22:45
74SSIFF | La ilusión de un verano sin fin - kafea
20:26
74SSIFF | Jaleos - kafea
28:25
74SSIFF | Tender Loving Care - photocall
01:32
74SSIFF | 5 minutos más - photocall
01:40
74SSIFF | Heart of the Beast - photocall
01:48
74SSIFF | 7h40 ce matin-là / Milo - photocall
01:17
74SSIFF | El castillo - photocall
01:21
74SSIFF | Jurado Oficial - photocall
00:59
74SSIFF | Gala del cine vasco - alfombra
02:01
74SSIFF | Brad Pitt - alfombra
02:28
74SSIFF | Naomi Watts - alfombra
01:43
74SSIFF | La bola negra - alfombra
02:33
74SSIFF | Gala de Clausura - alfombra
01:17
74SSIFF | Gala de Inauguración - alfombra
01:27
74SSIFF | Geister - entrevista
08:17