Angel Caballero / Look at the camera never forget the night I met Felix Sabroso. It was at the premiere of the film was directed with Ayaso Dunia, "The island within." When I presented it and it was time to speak with him did not know what to say. That movie had touched me so much that he was unable to release two words together. I came home with the feeling of having been like a complete idiot. Now I can confess that when we were to do this interview I was terrified of returning to look like a jerk. Luckily I met a director of actors, ready to confide their stories, from the affection and generosity.
camera Look: While preparing this interview I have come to mind that song Francoise Hardy French , listening over and over Alberto San Juan in "inland island." I get the feeling that the music is always present in all your films.
Félix Sabroso, Dunia A and I both love music and have a very wide spectrum of musical tastes. English songs we hear from the most pop up Anthony and the Johnsons, through the songs of the sixties, the rate of Francoise Hardy or Juliette Greco. During the process of writing our scripts, there is usually a series of music you are listening, some by chance and others because they are great sources of inspiration for the story I want to tell. We tend to make us a CD that becomes a soundtrack that background we have at home. Of all the songs always end up selecting one for the film. Even when we send the script to the producers, in some cases, we have enclosed a CD with a note reading "music atmosphere for the reading of the script." The truth is that we should do a musical ...
Mac: Well, I did in theater.
FS: Yes, with the company Ques Quis Pas. We did two functions that brought us great satisfaction, because they were very good. Now let's return to acting.
Mac: Can you pass some of that project?
FS: We have written a function to Bibiana Fernández and Loles León. It is the story of two women, two friends and their friendship. They are two characters who are reunited after ten years and is written in the key of comedy. We have done some reading with them and in late January to begin the trials. It is entitled "The Great Depression" and it is likely that we release in April in Madrid.
Mac: say that comedy is one of the riskiest genres.
FS: is possible, because you have to find the right measure for the characters to be credible. I think it is more difficult to make a good comedy than a drama. It's a genre where you have to respect many guidelines for work and people can laugh and get excited. We have always faced it from a bitter point of view, and a personal touch. We also had the good fortune to have a very good comedy actors.
Mac: All your works are suffused with a large dose of humanity. Would you dare with a blockbuster science fiction?
FS: the end, put up a job always requires the same: knowing how to be a good runner and stay up as long as possible. The advantage of working on a blockbuster is to have a big budget, a larger team and longer. Particularly, I feel more comfortable with the stories we've had so far. The nature of our work has much to do with how we see the world around us. We like meeting new people, chat and experience through them. Dunia and I talked a lot about people, and that is our main source of inspiration. We had a hard time to devote to we like, because they come from a family that encouraged our creativity, our studies pay, or even support us morally. That always makes you a pulse by lying to yourself, to be able to get a way. In the end we realized that we feel safer talking about things we know.
Mac: What do you think before the premiere of a movie?
FS: I love brand. I look forward with great gusto, but also very nervous. I'm very fragile public reaction. We highly applauded few releases, but I always go with the responsibility of that showed a lot of work on behalf of people.
Mac: Do you trust the praise that makes you people about your movies?
FS: For that I'm pretty gullible. We have tasted success and failure. For example, "fuss" was a movie that appealed to a very specific audience, but there were many other people I did not like, and I did notice. Several producers, colleagues and critics crucify us for this work and then we took a lot to overcome.
Mac: Is it difficult to earn a second chance?
FS: The Americans always say " You are worth what it's worth your last film. " The figures weigh heavily in this industry. I've never put my energy into it. I have worked with total freedom without thinking about whether it will be a blockbuster.
Mac: Your latest film, "The inner island" was never intended for a very commercial, but has received very good reviews from media and peers.
FS: With "The island ..." I feel like a father who has had a premature child, sickly and, finally, get out ahead. Wrote the script in a very difficult time for me, it was the death of my father, and all the consequences that this family brought. It's a film that was born from a very close emotions, and it was important for me to do it. The script walked by all producers, but no one trusted the registry change that we proposed. It took six years lifting. Theirs had been putting it in a drawer and do not do it, but decided to go for it and begin to move by broadcasters and seek grants. We come to get enough funding and, finally, the production "Facility" decided to go for it. After this long process, are much more exciting that we are all reaping rewards.
Mac: however, was the most overlooked in the latest edition of Goya. Did it hurt not having the support of The Academy?
FS: We made the mistake of submitting the film to the shootings last year before being released. We did it with the enthusiasm shared by us, producers and distributors, thinking that as he had received very good reviews, and awards at the festival in Valladolid, was to have a good effect on the Academy. The film had seen only those who were at the festival and no one else, so it was impossible for the voting. Moreover, competition with other candidates also very powerful as "Cell 211" or "Agora." Perhaps if we had this year, would dawn.
Mac: Do not hit the release date of a film can affect the operation of this evil at the box office?
FS: course. Your luck in terms of distribution, festivals that present or release date, is a very important factor. To this we must add that the English films are a very delicate, because every day in theaters last less is not always supported by the public and are not shown in theaters too.
Mac: Can you make a movie as hard as "The Island ..." and be enjoying it at the same time?
FS: During filming there were times when we cry and suffer much, because this movie has some very close. In addition we were filming in locations that have to do with our personal pain with what has taken us this far. We shot at school where we studied Dounia and I, in the hospital where my father died, on the beach where we grew up ... suffer, enjoy, and it served to exorcise many ghosts of our past. It was also very exciting to be so close, seeing the great job they did such wonderful actors.
Mac: "The cinema can be good medicine?
FS: I think so, because it is a good mirror of life. Many times we need to put that mirror in front to make an introspection and realize who we are and where we are. It is a good medicine to acknowledge our history, our past, our fears and our limits, through other characters. There are aspects of my life that has been reconsidered after seeing a good movie. On the other hand, being evadiéndote hour and a half of your problems and enjoy the lives of others, can be as relaxing as giving a massage. I love film, because it represents something magical humans.
Mac: Have you ever finished writing a script and read it again you realize that it was not as good as you thought?
FS: Yes, I have thought. And send scripts to producers and no answers. I've seen it all. It is very frustrating when this happens, because writing a screenplay is a very long process.
Mac: How did you feel when you decided to broadcast the series "Women" and was a success after having spent a year in the drawer?
FS: is as if your efforts are valued. It was a project I thought, get involved and work hard. So it was very painful when Tve decided to keep it in a drawer. The die was when he saw what was the director of La 2 and decided to rescue her. I am humble and do not like reading the book who was my opponent at the time, because I assume that their reasons would be, but it was a great joy when we had public support. They were the reason we ended up giving.
Mac: you not given the opportunity to continue the series after this reception?
FS: is something that was raised, but it was very difficult. A year had passed since its recording, the sets were destroyed, had to re-build everything, and most players were already in other projects.
Mac: I had Inma Cuevas in his interview that on one occasion asked him to forget the text and improvising. Not usually the stuff of someone who has written the script ...
FS: Scripts are generally respected. What happened on this occasion, is that he left one of the characters had changed the lives of others. In turn, it was also the departure of actor who left the series. Inma and Oriol Vila had very good chemistry from the beginning, they were very dear, and that I knew. When she said what I was writing I realized I needed something more, because I knew so little. I knew that the actress was sad that day because his friend left the series, so I gave her free rein to express their emotions.
Mac: Does every actor needs to be addressed in a different way?
FS: Absolutely. There are so many different actors as human beings in the world. Dunia and I presume to try to meet the actors with whom we work to see what their strengths and work from there. Spoil much the actor to feel safe and can give us the best of himself. Some work from an emotional point from another site and other technical. It takes a little psychologist.
Mac: "When you see some of your work you know recognize what parts are which are Felix and Dunia?
FS: We are very mixed. When you see movies we do recognize some element of another. I worked more with the actors because the script is mine, and was responsible Dunia over planning, working with the cinematographer and the technical part of the film. Gradually we have been mixing and have been integrated in the process of the other.
Mac: What projects do you have to look at?
FS: A film to be titled "The front door, with Loles Leon Lolita . The story of two women living in a working class district of Madrid. We have also written a film that has many key thriller . The suspense is present throughout the script, but has a similar background to "The island within." Talk about how we grow with the family heirlooms. We have translated the script, because we would shoot it in English. The idea would be to shoot outside Spain, but for now is a dream, and that is not yet supported by any producer.
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