NewsEuropeAlbert Serra: “The film director doesn't have a reason to direct others”

Albert Serra: “The film director doesn’t have a reason to direct others”

Albert Serra (46 years old, Banyoles), one of the most influential Catalan (and Spanish) film directors at an international level, is going to flood the Cannes Festival with his sixth last film, Pacificion. The next film of hers will end in the world of bullfighting, and take advantage of the time between one and the other two to talk.

Ask. Als seus rodatges indueix chaos amb an artistic intention. Com s’ha manifestat això in the de Pacificion?

“The area of ​​the Teatre Lliure de Montjuïc inspires me”

P. a book?

R. The greatest free writer on politics is Lucien Lewen, d’Stendhal

P. A series?

R. Chap. At the beginning I vaig veure some capitols of those who were good to know what anava tot plegat, but now it has become a stupid thing, in journalisme d’imatges banal.

P. A raco of Barcelona?

R. The area of ​​the Teatre Lliure de Montjuïc. inspires me

Reply. The first five minutes of filming showed that the actress who had to play a leading role would not work. She had a contract and she was going to pay, but she was going to take her away from her. Later I didn’t know who to try, and I was going to see an actress from Liberte. She is going to arrive, she is going to see three or four molt bones scenes, she is going to discuss with the producer and she is going to Marx. It was the 18th day of 26 days of filming. I aleshores are going to improvise a whole plot that has remained somewhat abstract, but which, evidently, is better than the previous ones, much more original. What the camera records is invisible to all humans, and therefore can accept chaos with a certain indifference.

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P. He has improvised what tothom said is the second most narrative film of his?

R. That I did finish sent narrative is a coincidence. The only thing that hi had to the guide was the purpose of fer a romanesque thing: lleugeresa i peripècia. That all you finish quallant and hi make an evolution of the plot and the relationships is a miracle. For me, narrative is a production issue. I always work the same way: if every day I go to a different place with all the available people, I will do the one I always have, but with the simple change of space, it will create a narrative sensation.

P. Això changes the idea that we had a director with demiürg that ho organizes all

R. The classic way of working does not serve only the finer people, who are accustomed to all kinds of images. It is massa predictable and gives a childish result; It is not produint res màgic davant de la càmera. The director himself is responsible for the images, the director doesn’t want to direct others, the director could destroy them. There are phrases and attitudes of the protagonist who, face it, if you decide to say if it is a movie or a stolen image, he would affirm the second option. The grace is that it is not one thing or the other. It destroyed the possibility that the actor is consciously communicating with the camera. Jo mateix could not get to penetrate the faces of the actors in molts moments of the film.

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P. If everything is so mysteries, how is it that so many interviews start from the film with political declarations, how are you worried about inequality or colonialism?

R. It is a certain cynicism. The reason for being of the opinions that I express is the seva artistic utility. If I go to Tahiti, what do I know about the indigenous people, if they are a very pure people and the Westerners have been to paradise? Probablement sigui veritat, but I don’t know, I don’t care. I went there and began to hate these people, I look for flaws and I sincerely hate them. It is nothing more than a strategy but it does not cause the clixe and why the use that I will make of the seu mon escapes but I hate it! It is also cynical to think that the political opinion expressed in works of art could have consequences. It is evident that it is not aixi. These people are so ridiculous that they make films with “missatge”, who must feel that they are with their mateixes.

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P. But, in order to get subsidies, the seve author films need the political commission to approve the missatge

R. Evidentment, jo estic against tot això. That you can’t make a bullfighting movie because it’s dolent, or that because you’re a donut you have to have some sort of identity of your own? They are not aesthetic criteria. Això s’acaba transformant in self-censorship: not consciously accept the risk of certes aesthetic decisions. Jo, miraculously, I am always at the limit of self-censorship, sense of belief. Carrying the last consequences tot plegat I would say that in a movie I can’t sort out sick people. Això is especially passionate in the cinema: the actors are so close to real life, that the fan could have consequences. Qui et diu que quan two actors is a fan un peto no hi troben gust?

P. Why not stay politically correct?

R. Perquè no te grace. As I gave a character in the film, you have to be able to create a foreign language, which serves to enlighten more than to clarify.

Source: EL PAIS


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