Tue. Apr 7th, 2020

Andalusian “cowboys” arrive stomping on the Goya

Director: Benito Zambrano. Script: Pablo Remón, Daniel Remón, Benito Zambrano (Novel: Jesús Carrasco). Interpreters: Luis Tosar, Luis Callejo, Jaime López, Vicente Romero, Manolo Caro, Kandido Uranga. Spain, 2019. Duration: 103 minutes Drama.

In the desert landscapes of Granada, after the Civil War, a child fleeing abuse and abuse of a powerful man, determined not to let him escape. A movie reminds of the classics of the far west and will move the viewers in every minute of the adventure.

The movie it is based on the book of the same name of Jesus Carrasco, published in 2013, its director, Benito Zambrano, tells us how it was to adapt the novel to the big screen:

They say that books are always better than movies, do you think you did justice to the novel with your art?

– “Well, it is very difficult to take a novel, like this in every way, to a movie. A novel, only in pages, even if it is a short novel, can have two or three hundred pages full of letters from beginning to end. A script at most can have ninety pages and the pages are not full, that is, nothing more than removing words, and one realizes that a novel in a movie is unbeatable. What you have to find from a book is which movie contains that novel and that can be told on screen. ”

Why did you decide to adapt this book to a movie?

– “The decision to adapt the novel” outdoors “can not be granted to me, it was a very wise decision by the producers, by Morena Film, by Juan Gordon and Pedro Uriol, who are responsible for the project and they were the ones who bought the rights to the novel and saw that there it was.

The quite advanced project comes to me, in a fairly closed version, advanced in every way. I saw in the script and then in the novel, a strong, powerful film that had to do with my world, I am from Andalusian people, I have seen the damage caused by drought in very poor rural environments in this world. we have worked in the field[él y su familia], in rural settings. Then there were many elements that came close to my reality, where I came from and then the story that in itself tells me that it is the most important, all that was what attracted me to accept the project. “

Did you get help from Jesús Carrasco, the author of the novel?

– “No, I didn’t receive it and I don’t think the writers either, I think that Jesus Carrasco, the writer of the novel, was very intelligent, he knew that he had already done his work, nobody was going to take away his work. He accepted that his novel adapted to the cinema was aware that he had to leave his work in the hands of other authors who were going to create another work. I believe that in that sense Jesus was very wise and did not get there, because after all they are two different worlds, one thing is literature and another thing is cinema. ”

The main characters in this story are “the pastor” (Luis Tosar), “Foreman” (Luis Callejo) and “the child” (Jaime López). Luis Callejo’s acting as a villain has led him to a nomination as “best supporting actor” in the Goya, the actor tells us how it was to personify evil in the film:

“He is a mentally ill person with horrible tastes, psychologically as a disturbed, a sick person, someone without empathy, a psychopath, and a character that only hopefully existed only in fiction or even in science fiction. Although unfortunately there are such characters in the life. A disgusting. It is NOT very psychological what I said, but it is a disgusting.

Well, let’s see, the movie, I think there is a great success of Benito that is to turn it into a genre, into a western so that it is not necessary to enter in a profound way about this character, it was rather to play Indians and cowboys but knowing that my character does something that is very, very ugly and very harmful and that is the origin of the movie, the damage that it does to a poor man who logically escapes and fights against authority, against the power that is my character . “

How did you get close to him?

– “With Benito we work on what is said in art“ less is more ”that was the idea, a sober thing, three or four very clear indications and work with the eyes, with the eyes. And there was something, look at you, just as with, for example, a female abuser, if the profile that there is usually and there we have taken it this time, is of men who in addition to being abusers they, justify it by the fact that they feel mistreated or little loved by their women, which is amazing but that justifies their performance. For the same thing happens to this man as we have played him, he thinks that he has done many things for that child and yet that child does not return it with the same currency but is an ungrateful, ungrateful one. ”

What do you feel about the character, do you think the public will come to love him?

– “Something happened to me with the character, as much as not to love, I think that is impossible, but I have received as, people coming out of the projections, people who did not know and has happened to me several times, like that Once he had generated so much disgust, so much rejection, but at the time it seemed to them that he had done well. which is that it is like “you disgust me richer” or something, I do not know very well, as that the character symbolizes something that for them was well done and that thanks to the evil one, to the evil side, that also helps empathize with the benign side, with the good ones of the movie, the characters like that or contribute to love more the good characters that are the ones who have to love, not me. but thanks to me they love those characters, something like that would be. Thanks to me no, thanks to the bad characters in the movies, of course. ”

And we also had the opportunity to speak with Manolo Caro, the interpreter of the “cripple”, a moving character that gives rhythm to the sequence and is marked in the minds of the spectators by the incredible human reality that it transmits. Caro makes us think:

– “Well, my character, the cripple, is like an abandoned dog in the middle of nowhere, from the countryside. A very needy, very fragile character, who needs help, who needs to go to the city, is a character who has abandoned his family there and is surviving and apart with his physical disability, so he cannot go to the city. He is a character with a striking fragility.

He has a disability and is in a chair, in very neglected conditions, which, between his disability and between his situation, his circumstances, he does how, and his characterization also, because he has mange, is dirty, you see what more similar to a dog now you go down the road and you see a dog on a moored farm and there, then see a human being in those conditions, I think that creeps, you have to have very little heart to not pity and at the same time panic because he’s a character you don’t know where he’s going to come from, it’s disturbing. ”

How would you describe the movie in a sentence?

– “Between the Western and the Iberian Thriller, with a touch of terror and with men who care and neglect and abuse, with a masculinity between caregivers and caretakers, the contrast.”

And how do you describe the experience of working in a western?

– “Working in a western was very fun, really. Hard, because of the hardness of that place, the orography of Orce, of this town on the top of Granada, between Murcia and Granada was hard and a western itself is hard, because you are all day outdoors and eat sand, literally , you eat dust. I brought fleas, so the whole team was with fleas. But it has that which is between the thriller and the western, the adventure, the action, the restlessness that something can happen at any moment, is happening all the time. A western truth is that it is beautiful and I personally get in touch with nature and the countryside and that as I am urban and I live here in Madrid, I like molt, I like it very much, to see and dawn, to see the sunset, everything; you see the sky, you smell the earth. ”

More anecdotes of filming?

– “The shooting was very hard and I was only two weeks apart, spaced, by the landscape that, by the heat of August in the north of Granada and the team was a loyalty and a perseverance and a striking integrity, the days were very hard with a beastly heat and from the first or first to the last or last, they were all one.A film that if the equipment is not connected, it is very difficult in these conditions to be able to have, culminate.

As an anecdote, I would say that in this extraordinary heat that we all suffered, the torrential rains that were, that is, storms that were there, that suddenly put the whole team in tents, with aluminum, with plastics and cars stayed in middle of the road, four times four. The storm, it seemed that the sky occasionally hit a honk and changed radically, from a terrible heat to a storm. “

The team tells us their expectations with the Goya Awards to be held in Malaga this weekend:

Benito Zambrano (director)



– “I expect in the Goyas, I have them as dreams, it is desirable that dreams come true, that’s why we compete. But I think that this year the jackpot is going to be nominated, winning as such I see it very complicated, I think this year there are wonderful and great movies with incredible directors, I see it very difficult that at least we get better film. We can have more options as “best song”, I also hope that Luis Callejo could take it, I would love Manolo Limón very much for the direction of production. But in principle, I think it will be a night to see how they give the prizes to others. ”

Luis Callejo (actor, nominated “best cast”)



– “Well, in this third one I feel integrated in a family, dear, integrated, in a professional family, obviously, in which we also have partners and more than partners, friends and friends. Above all I feel loved.

I would take advantage precisely, since I do not have social networks, to say a couple of thanks, obviously to the people of the team, but also to some other people who have supported me in my career and that have to do especially with family and friends , because it is not a Goya of honor, we are not going to talk about everyone who has clothed you in your life, obviously, we are talking about a specific job. Nothing, it would be an immense joy, the truth, yes, and being nominated is fine, but that they give it to you is a step above and already appears forever in your history, it would be a very great illusion.

You have a bad time being nominated, I don’t know how it sounds, it’s because of the nerves, you get nervous, because it forces you to analyze yourself, at what time you are in your life, what you want to talk about, who you want to thank, you question, to what extent it is fair that they give it to you or they don’t give it to you, sometimes you prepare the speeches and say “what for? if they are not going to give it to me, ”then it’s like going to a wedding, having a wedding date but not knowing if the bride will be there for you or not.

Manolo Caro (actor)



– “This year there are movies, it is true, what I have seen: the infinite trench, while the war lasts, what burns, are movies for me, what burns has nothing to do with while the war lasts, nor with weathering Curiously, while the war lasts, the infinite and weather trench have something in common that are those post-war years; somehow they walk around and they seem to me three very necessary films and what burns also seems to me a very necessary film, no only for its artistic value, but for its value of conscience, of taking historical awareness, of becoming aware of fires.

That is, the competition is tough, it is very difficult to value and give the prize to one. I would give him more weather nominations, why? because I have seen the work behind it, I see it on the screen and it seems to me that there is a lot to value: direction and many other nominations, the truth. Photography … that is, there is much, there is much to value there. Best movie I would love it to be, it is one of the films that I feel necessary and seems very round in what it proposes. “


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