00:00:00: Hi, Fernando and Gil.

00:00:01: I'm happy to have you here at San Sebastián... ...to talk about your new film, Mosca!

00:00:05: How does it feel for you to come back?

00:00:07: Well thank-you very much.

00:00:08: It's like a no, the first time was with Temporal Pathos Dog Season The second time was Club Sandwich The third time was Olmo And this is like the fourth time.

00:00:16: I know that last time we won the Golden Shell.

00:00:18: actually

00:00:19: Yes, with Club Sandwitch.

00:00:20: It's a festival that i really love.

00:00:23: This festival is important because Last year We won the Work in Progress San Sebastiano.

00:00:28: We went.

00:00:28: this year the film finished.

00:00:30: We did it!

00:00:30: It has premiered earlier this year at Berlinale, where you also got a prize?

00:00:35: I remember.

00:00:36: how does that feel now when we get all these prizes here and all of them?

00:00:39: Isn't that from pressure

00:00:40: too?!

00:00:41: No no...I think old prices are good for the promotion of films.

00:00:45: Our most big desire is to present our film not just in festivals but also with audiences.

00:01:08: This film

00:01:14: you headed in a draw for the

00:01:17: twenty-five years?

00:01:27: TV series.

00:01:28: So I wrote this story and then there was like a differences with the tv station, The script was on my computer And then...I don't remember it but i think when i was in Berlin.. ..i changed the computer and found that file When i read it ,and i found out very interesting stories.

00:01:45: so i wrote to Alejandro and said Alejandro can you use it?

00:01:48: He told me of course its yours!

00:01:50: Then i worked already with Vanessa Garnica who wrote Olmo to work on that and he said, yes of course.

00:01:58: So we wrote like a... We had the dramatic structure as you know first act second actor with the law structure.

00:02:05: And then what we worked with Vanessa was emotional structure Interesting thing about film script.

00:02:12: so it's very joyful process for working with Vanessa.

00:02:16: The title is allegedly inspired by Shakira song.

00:02:19: Yes I love pop music started.

00:02:22: my first works were in music videos music videos for Natalia LaFurca, de Fórmulo Tó.

00:02:30: For a lot of bands.

00:02:30: never for Chakira but I was a fan of Chakirra.

00:02:33: so when i was writing the script twenty years ago or something like that... When I was writing..I always took five minutes to take a rest and then went into my CDs And looked for inspiration.

00:02:44: Then found the record of Chacirra and used it to skip songs since I find something that could inspire me.

00:02:51: So I found this song The original song like a love story.

00:02:56: And I found, like the story about Olga singing this song to his lost child.

00:03:02: so it was very, very inspiring that song.

00:03:04: Did you have chance bring film and use of the song for her attention?

00:03:08: No no...I would love if she could be able see the movie but ok..it's difficult.

00:03:13: But i think once you mention how the thing is Chakira making here in Spain now in Madrid to how music is traveling between Spain and Mexico, Latin America and Europe.

00:03:31: But there's something missing in the films.

00:03:34: it very difficult that a Spanish film could make it in Mexico and vice versa.

00:03:38: so I think we should try find why thats happening.

00:03:42: We're so open to music.

00:03:45: what is happening on films?

00:03:46: And also with Germany or United Kingdom or Italy or France?

00:03:53: We are not on a good way.

00:03:55: It comes very difficult times, but I think that these kind of films like to be open to film from other countries help... ...to be more open to things.

00:04:06: it's the premise of this film To become an uninvited guest like Christian.

00:04:11: Is there

00:04:11: also something you experience at European Film Festivals?

00:04:15: Because in big European Film festivals like Venice, Cannes and Berlinale is true that South American cinema is underrepresented.

00:04:23: Yes, I was really concerned with Cannes and there were not so much Latin American films.

00:04:31: And that's really sad because we had an amazing production in film very high quality films.

00:04:38: you can talk about Lila Viles, Tatiana Hueso or Elisa Miller but also a lot of filmmakers.

00:04:46: So yeah, it will happen.

00:04:48: I think that we are in a very very healthy situation is the terms of filmmaking.

00:04:53: so It'll happen.

00:04:55: characteristic

00:04:56: for this films also its black and white visuals And you have used like an a wide in the past?

00:05:02: How do you decide if you make something in color on like and why?

00:05:06: I

00:05:06: love like a wife personally but when they're making a film It doesn't matter what you like personally, it's about the need films.

00:05:12: So in my previous films after a doc season that was some black and white I always asked myself could be Black & White no?

00:05:17: And then with this one i ask the question... ...and I didn't have an answer.

00:05:21: so I called Maria the DP.. ..and I asked Maria What do you think of Black&White?

00:05:25: She said ''I love it''.

00:05:26: I think she really wanted to know why because it will cut essence off childhood!

00:05:31: And its true also.

00:05:32: the Black&white worked perfectly well with sense of humor we were looking for.

00:05:37: very dry humor like Gax works much, much better in black and white.

00:05:41: And you can see it in Master Charles Chaplin the black-and-white really worked with a humor .And also creates this sense of rigidity ,like a very static world for Olga.

00:05:52: so do have these aesthetic work with Olga Bastian with his face, hands and fingers.

00:06:01: His actions were at some point of the film.

00:06:04: so it makes sense to black away.

00:06:06: The actors brought something individual into this story especially as a child after changing course of direction.

00:06:15: would you like to tell about that?

00:06:16: Yes

00:06:16: they transformed everything.

00:06:19: Bastien changed everything in the crew.

00:06:22: he changed my way of making films asked for a lot of actions.

00:06:28: We had very beautiful dialogues in the script, original script and then he didn't care about the dialogue.

00:06:33: so I called with Vanessa and told her we need to put more action on this film.

00:06:38: So it really made us better screenwriters.

00:06:42: And then... He forced us be aware To be open to improvise!

00:06:47: We planned alot With Maria.. We did like shooting list with everything.

00:06:51: We planed everything.

00:06:52: Then we arrived at set Once we were there.

00:06:54: ok bring Bastia into this and everything changed.

00:06:58: Everything!

00:06:58: So we need to be very, very open.

00:07:00: but I was very lucky because i work with Maria Seco.

00:07:03: She's a very respectful and subtle person.

00:07:07: she is not like an invasive you know?

00:07:09: Sometimes there are dps around the lights and everything... Maria is super soft so she taught me let's observe Let see what is happening.

00:07:17: We adapt ourselves And Teresita..she´s a well known actor in Mexico and all over the world.

00:07:22: She has lots of studies and she helped us a lot with the character of Bastille.

00:07:28: I think that as filmmaker, i don't have this kind of rich imagination like Guillermo del Toro... No!

00:07:34: I'm fascinated by Guillermo.

00:07:35: I love it.

00:07:36: Labarinto al fauno is huge inspiration on my filmography but I really admire them.

00:07:42: And I am not able to write those kinds of universes.

00:07:46: Mines are very simple almost nothing.

00:07:51: We found in shooting process.

00:07:53: we adapt ourselves And we started to find things that were happening on the set or in the street.

00:08:00: We started building scenes and it was this little boy, a nine-year old boy who told us okay... This is the way guys!

00:08:07: Are your films more built by improvisation?

00:08:10: Or by everyday occurrences that inspire you?

00:08:13: It changed for example in Doc Season our first film.

00:08:16: You can see them because of one take.

00:08:18: since there are no intercuts I wanted like what i consider a perfect shot.

00:08:24: So we do one, two three four and one shot!

00:08:27: And in this one the first day I realized it would be possible so i needed to cut...to tell the scene in different cuts.

00:08:33: okay how many shots?

00:08:35: I need to make these things work..and I have only five hours because with a kid you're not able to work more than an hour.

00:08:41: ..so It was to think very quickly.

00:08:43: ...and trust into the editing process.

00:08:46: no?!

00:08:46: It was a very interesting process.

00:08:48: The editing process of this film is very organic And I learned that in my previous films.

00:08:55: It was afraid, and it wasn't afraid to cut.

00:08:57: Not very good at syntaxes filmmaking... ...and In this film i was forced To be really aware of the syntax.

00:09:02: What happened if I caught This shot with this one?

00:09:06: The

00:09:07: architecture is an essential element Of the story.

00:09:10: How did you find these brutalist buildings?

00:09:13: And what do they bring into their whole narrative?

00:09:15: It's amazing your dear man, until You know her After a dog season That he was on a building huge Building of this building in the Kupa.

00:09:24: When I was, when I was in Berlin and read a book called Marzan Monamur... Do you know

00:09:28: it?

00:09:28: No but no Marzan.

00:09:30: Yes!

00:09:30: I live there.

00:09:31: The book is beautiful.

00:09:32: It's about reading please because it was huge difference on this film.

00:09:36: Marzan mon amour yes And i remember that went to those places To see these huge buildings with old lady with shoes carry.

00:09:44: So

00:09:44: we actually went into this Marzan neighborhood In berlin.

00:09:47: You are aware That This Was Like A Lower Class Neighborhood Where Nobody Wanted Live

00:09:51: And

00:09:51: only really... I shouldn't say that now, since i'm doing this interview with you.

00:09:56: It's just a poorest people list.

00:09:58: Yes yes so I used to go there because I was fascinated by the buildings Because it was very similar to those of the buildings when I did Duxison.

00:10:06: Then in that moment they realized that the character of Olga is an universal character.

00:10:10: Its about these old mid-age women in a certain way afraid Of their world.

00:10:16: So living in those spaces You are isolated.

00:10:20: So it's about opening.

00:10:22: those windows to let the chaos goes in.

00:10:24: It was a big, big inspiration.

00:10:26: Marc-San won one of my favorite

00:10:27: books.".

00:10:27: So we already have to rush through.

00:10:29: end this interview.

00:10:30: but do you have any project your working on?

00:10:33: Yes Vanessa Garnica and I found that beautiful novel.

00:10:38: it's an English Novel so we adapted to Mexico.

00:10:41: We're working with that script finished trying figure out their financing.

00:10:46: That is why prices are also important.

00:10:49: The prices aren't for film, but for the next film.

00:10:52: they helped to find money in a certain way like closing the interview without idea.

00:10:57: I found it kind of absurd that you put films to compete.

00:11:01: this is not football ,but its ok!

00:11:02: It's again.

00:11:03: all of us we accept to play helps films to be made.

00:11:06: Then fingers crossed for San Sebastian and hope see you with your next film.

00:11:12: thankyou very much.