The grandfather and the grandson of Spanish terror | Culture

The grandfather and the grandson of Spanish terror | Culture

Juan Antonio Bayona and Narciso Ibáñez Serrador, at Chicho's house on Tuesday afternoon.

Finish the interview. Video and photography equipment pick up and get fired. In the living room of the house of Daffodil Chicho Ibáñez Serrador they stay their owner, their son Alexander, Juan Antonio Bayona, the producer Bethlehem Atienza and the journalist. And Chicho, who has a hundred unpublished written scripts, launches the cry: "Look, we are here one day, which is a comfortable place, I tell you the story of my film and you of yours. We think without hesitation, but each idea belongs to each one ". "Ok, I accept", answers the director of The impossible. "Well look at your agenda, and I would be happy if you produced me." "Here my boss is her [dice Bayona señalando a Atienza]". "In agreement. This, Juan Antonio, do you have a good ending? "" The end is the most important thing, right? "" So, do you have a good ending? "The talk continues privately between the two. a unique dialogue, that of a master of television and cinema, Chicho Ibáñez Serrador (Montevideo, Uruguay), of 83 years, and the Spanish filmmaker who has broken boundaries, Juan Antonio Bayona (Barcelona), 43, who never He had been able to talk peacefully with someone he invited to the premiere of Jurassic World: the fallen kingdom and whom he considers one of his teachers.

An hour earlier, Bayona had sat in Ibáñez Serrador's office. On the walls, all the prizes imaginable for their television work, books and encyclopedias of eclectic themes; in the center, a table with photos and the Goya de Honor, that the director of The residence Y Who can kill a child? received at the party of the nominees on January 14. Bayona, admirer of his work, has been one of the promoters of this recognition, and to create the video that will be screened at the gala on Saturday has reviewed all the works of Chicho. On the iPad he has prepared the questionnaire. "I've never done this," he smiles shyly. They start talking about the multiple professions of the honoree: filmmaker, television director, screenwriter, theater director and actor. "With anybody I'm satisfied". Do you keep one? "With the actor." For Ibáñez Serrador, the Goya has been a joy: "Because I have been very separated from the world of cinema voluntarily, and although I have been invited to several galas, I have never been there, it was a joy that you were in the delivery, because I am an admirer of yours". "I am also yours."

Ibáñez Serrador began in the theater: "My great influences were my parents, theatrical actors of very opposite tastes, and books, good stories arise almost all in the 19th century, that is why I adapted so much". And the theater was the great basis of its subsequent success. It is clear when Bayona asks about the meaning for Chicho of the public, and the creator replies: "It's like a child of yours, in which you notice right away that he likes it or not, what he rejects, and that only the theater gives you, You have the spectator right in front of you, neither the TV nor the cinema offer you that immediacy, from the stage he studied his reactions, his laughter, his fear … He forces you to perfect yourself ".

Bayona is interested to know why the genius went from theater to television: "I saw the possibility of telling your story from many angles, and if you make a mistake, nothing happens, totally, it's a television program …" "For you," the interviewer emphasizes, "it was just as important that you told how the film was shot, that's why all your language is so cinematic." "Of course, that's how important it is." "You had a beautiful calligraphy." "And very similar to the movies, that's why they told me that they did not look like television programs, because the rest did not dare to tell a scene from so many angles, for me it's necessary."

Ibáñez Serrador misses having had a teacher. "It was a shame, so I relied on my imagination, like now, if I saw a camera and a friend, I first clarified if the friend was more important, and then I gave him a close-up, or the camera, so I chose a general plan. " But in good terror, Bayona points out, what is not seen is more interesting. "Undoubtedly, that's why it's very difficult to tell a horror story in the cinema in broad daylight. Who can kill a child? in a town burned by the sun. "That film was a shock in its premiere in 1976. "And that I missed children, I could only put together a fortnight, I would have needed a hundred."

From his leap to the cinema, the Goya de Honor explains: "Cinema has been, is and will be something that allows me to think more, to take a slower pace of production, on television the speed is imposed". Bayona remembers him with affection those very personal and humorous presentations of Stories to not sleep. "It would be better if they laughed at the beginning and not after, and this way they avoided censorship, in fact, the censor, who was the uncle of a kid who worked at TVE, anyway, I prefer that the public laughs at me and not of what I do, there is a very fine separation between fear and laughter, terror is almost born with us, maybe that's why babies cry. "

In the farewell in front of the camera, before rejecting each other, Bayona thanks him on behalf of his generation for all his work. "Oh, you're praising me too much." "But there are many directors that we mentioned to you as influence, you were a springboard for us to arrive here." Chicho's eyes sparkle: "The terrible thing is that you're talking to me in the past, I like you more, and when I go back to work it will be for the future, to create work that looks new."


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