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Bathory (SK/CZ/GB/HU)

Directed by Juraj Jakubisko
Bratislava (Slovakia), May 2006
Making of directed by Sakis Kontos

Juraj Jakubisko – Director
I decided to make this film because Countess Elizabeth Bathory is the most famous Austro-Hungarian aristocrat that lived in what is Slovakia today. She is so well known that she is also included in the Guinness Book of World Records as the world’s most prolific mass murderer, a legend I personally believe is not true. She supposedly murdered 650 people during her lifetime. I think this theory is absurd and thought of creating my own legend, which would show her in a completely different light, very tender, and tenderness is related to art… The film is essentially a mix of genres. What is interesting about this story is that it doesn’t even lack humour and it is also a kind of crime story as there are two monks investigating what is actually going on with Bathory. But there is also political intrigue, and the drama of an intelligent woman too weak to face all the odds she had to face… It is the story of a woman, Elizabeth Bathory, who, in short, was unfortunate to have been born at the wrong time in history…


Deana Jakubisková – Producer
Financing of the production is definitely the most difficult problem. The fact that we are actually filming locally but involved in an international co-production is increasing the budget: we have to keep certain production standards and criteria of an international production. The crew is working under different terms in an international production and this only adds to the total cost. Historical films are very demanding financially and that alone explains why our budget is so high. On the other hand, I believe that, in Europe, we are still committed to making films with reasonable budgets – if our film was to be shot outside Europe it might have cost $100-120m. We are filming in Slovakia and Czech Republic, but not in Hungary. Hungary is just part of the co-production. That is also because the story actually took place in what is today Slovakia, even if Bathory was Hungarian. As for the renaissance castle interiors, these are filmed in the Czech Republic but we had to re-create the underground part of Bathory’s castle in Bratislava’s Koliba Studios. It’s funny, but if we hadn’t done so our actors might have walked off and abandoned us. Because when the temperature outside is, for instance, 40 degrees, in a real castle, in the catacombs it can be as low as three degrees…


Kevan Van Thompson – Line Producer
Bathory is certainly the biggest international production made in the Czech Republic and Slovakia. It is a co-production with UK and Hungary and it is under the Eurimages banner as well. When you’re shooting entirely in the Czech and Slovak Republics it is quite difficult. But we have quite a few English-speaking people on board and of the leading four actors, three are English and one of them is Czech – Karel Roden, who is a great international star as well. In terms of how big it is really though, it is probably the most ambitious film that’s ever been shot here. The period and the fact that there a lot of international stars makes it much more difficult than shooting just a Czech-language film. We are also using a lot of Czech actors that have to speak very good English; otherwise we’d have to re-dub the whole film. We also have a dialogue coach from the UK for the main stars and we have a dialogue coach to look after all the Czech actors, so they’re here all the time, working night and day to make sure that the over 100 speaking parts all speak enough English to be able to keep it a proper English-language movie.


Anna Friel – Actress
I play Elizabeth Bathory, who is a real historical character, but we tell a very different story, we think she is very misjudged and she wasn’t guilty of all the crimes attributed to her. There is a lot of folklore and Bathory is a strong, warrior-like heroine who has a duty to her marriage and her country, which stretched from the borders over Moravia all the way to the Adriatic Sea, and she basically had to do it single-handedly. This is the first time I’ve ever made a movie with a director that doesn’t speak any English, but I’m enjoying it immensely. I think the entire Czech crew we have are the hardest workers I’ve ever come across. We’re doing mad hours, like 16 hours a day, and they’ve been so collaborative and so helpful and warm; and the translation has been fantastic. It is very complicated, the story spans over 25 years – in the morning we’re doing chapter one and in the afternoon we may be doing chapter three when she was 54 and we all have to stick together and I think the English blending with the Czech is working quite nicely. Europe is beautiful. I think the nicest thing is that they are still paying attention to making films look beautiful, which is quite rare these days.


Jiri Mádl – Actor
I play Cyril, a young monk who is taught by Peter, the older monk. He is still a boy looking for new beauty and exploring life – he’s more a boy than a monk. They’re like spies, they’re working for the monastery and arguing because I support Elizabeth Bathory and Peter is against her; but we work together. I still have to travel between Prague and Bratislava because I’m doing another film in Prague, so I always have to jump from one city to the other, from a contemporary film to a historical film, from Czech to English; so, it’s really difficult. I think this is a big chance for me, and a big challenge, because the roles I’ve played before have been absolutely different. And I’m also happy to play in a film “older” than my previous or present ones; it is also historical and in English so there’s the extra challenge. Maybe it’s more difficult because it is in English but we are still practicing and training. I hope it will help the film because it will be more international.


Lucie Vondracková – Actress
My name is Lucy like in real life, and I’m Countess Bathory’s maid. I like her very much and… I survive. From my point of view, from Lucy’s point of view, Bathory is the greatest person in the world… I like it because the script isn’t about the legend; the script is about how it could have been. This is the third film I’m making do with Juraj Jakubisko and in every film that we’ve made together I was crystal and pure in the film – just like here. So, if you can imagine the renaissance era and the evil things being done around Bathory – I’m absolutely the opposite. Here, what I find tough is that you’re around many people from the Czech Republic, they always speak our language, Czech, but I have to act in English, which drives me crazy…

Bal-Can-Can (MK/IT)

Directed by Darko Mitrevski
Macedonia, November 2004
Making of directed by Mario Canale

Darko Mitrevski – Director
The story of Bal-Can-Can is based on an urban legend about an old woman rode in a stolen carpet. I have heard about that story, like ten years ago maybe. And in those times I considered it like a true story that really happened to some people. And then I found the same story not only in Macedonia, but in Serbia, in Hungary, in Croatia, in Romania– all over Balkans. And at the end, I found an article written by Gabriel Garcia Marquez. In that article he mentions the story of a grandmother — that grandmother rode in a stolen carpet… the story he heard about in Columbia, France, Viet Nam. Of course, we did a little make up so I invented the background of it, actions that begin like fifty years ago and then in present times
I also use it to tell the story of the Balkan underground– criminal underground today. Like a comic version of (and not only comic because it ends pretty seriously) to tell the story about the corruption, the story of crime, the story of little people lost in the time of crime.


Giacobbe Gamberini – Editor
I immediately started to collaborate on the film. The script was not yet finished. I met the filmmaker here in Rome, he told me about his script project and then our collaboration started. I proposed to work as an editor to the director and the production and I then started to follow the project especially because it isn’t exclusively in Italian. It’s a film in several foreign languages, in Macedonian, Bosnian, Serbian, Montenegran… We could think indeed that there is only one language in the Balcans, the situation is however quite identical to ours regardind the linguistic variety, perhaps even more since there are distinct languages with totally different roots.
I asked them to be able to follow the shooting in order to be well-prepared for the editing. I handled a bit the publishing, I contributed to the “continuity” during the shooting, I became sub-editor. I appropriated each dialogue. They translated from Cyrillic to English and I translated from English to Italian and I then reached the editing stage while knowing each picture.


Sandro Verdecchi – Producer
It begun by chance. I have been invited to a film festival in Macedonia, in Skopje and I happened to meet this young Macedonian screenwriter, Darko Mitrevski. He told me his idea, he did not even handed over a script and I told him to write one. He did it in a few days time and I must say his originality and freshness convinced me. His script was different from those I usually get. I trusted him in the sense that I could not foresee what would have happened next but the script sounded to be a good project. As a director he was in the same wavelength than the script since the project is very original, it exactly reflects the script. It is grotesque, it reveals a historical and social period for Macedonia, Serbia, Bosnia, Albania and all the neighbouring countries involved in that war. It is a story which demystifies, a grotesque story as I already said, that strongly underlines the film originality.

Arrivederci amore, ciao (IT)

Directed by Michele Soavi
Rome, 10th and 23rd August 2005
Making of directed by Mario Canale

Michele Soavi – Director
I felt like working on this project because I have always liked fables, which is what this story is, since we are talking about our country. Our country is a big toy-store —we have Pinocchio, the Cat and the Fox, the Turchina fairy¬— so this is a zombie movie; eople disappear and seem lost forever but later come back as ghosts. This project was rather risky, for it deals with people abusing one another or trying to kill one another, which makes it difficult to find whatever humanity they have left. However, they are all human, have families, eat, sleep, and rob. This is a snapshot of our society.


Conchita Airoldi – Producer
We are at the beginning of week 7 —on eight plus one week shooting in Columbia, since the film starts in South-America because the main character, a terrorist, lives in Nicaragua and participates to the Sandinist guerilla. The total cost of this film is € 4,3M. I managed to get the French company Wild Bunch involved very early on. I showed them the book and no sooner had they read it than they told me they wanted to either co-produce the film or handle international sales —for that matter, they gave us quite a nice garanteed minimum as sellers. Then I relied on Italy and asked for a garantee fund; it took some time, because of the new law, but I eventually got it, after which Rai Cinema joined us as co-producer and broadcaster. I think Mikado will start distributing the film at the end of February or the beginning of March.


Gianni Mammolotti – Director of Photography
This feature being a noir, sometimes light had to vanish and turn into darkness. We used super 35mm so the atmosphere is crucial, which is why I really focused on it. The actor is generally the last thing towards which I point the light; we sometimes use Kinoflop, that is, fluorescent lights. Michele likes 360° so can see everything. Even though the lighting can seem vague, this is precisely what gives character to this type of movie; the light is not overworked but imprecise and therefore very realistic. In fact, moving characters do not need precise lights anymore, for everything starts moving with them, up to the smallest shadow under their eyes or the dimmest light…When everything is moving, light is what counts most, unless you modify this.


Alessio Boni – Actor
This is a genre feature, an action noir which I reckon is really tough and rough and sometimes mercilessly blunt. I was not interested in playing an archetypical evil character so we tried to make him more ambiguous and thus humanise him. It may sound absurd, but I believe every man, even the cruellest, who has just killed someone, still relates to humanity through his family and his love for his children. We invented ways to convey this schizophrenic duality which gives the characters a fascinating quality. The difficulty of Giorgio Pellegrini is precisely this humanity which persists as if hanging on to a transparent umbilical cord. Daily life gets in his way so he tries to jump over obstacles or ignore them but in fact keeps falling like a destructive avalanche which gets bigger and bigger until it crashes in a valley of perdition with no hope to ever get out of it. He has no willpower left after leaving Nicaragua —an extreme decision, a mad attempt at regaining independence. I am not trying to justify what he does, but his complete madness fascinates me as much as it confuses me.


Isabella Ferrari – Actress
Flora is one of the most beautiful parts in this movie. She is a provincial lady who runs a shoe shop —although I don’t think this really matters. She ends up selling her body to pay off her husband’s debts. She is a sacrificial lamb or, as Soavi calls her, an angel. I am glad this director who has esteem for me sees me like this. He is brave, creative, and surprises me whenever I get to the set. I have always respected Soavi, for he is straightforward and has this remarkably accurate vision which is what most amazes me in a director. I accepted this part because I really liked Carlotto’s novel and thought that Soavi’s art could but enhance it. There are many reasons behind this noir.

Alla luce del sole (IT)

Directed by Roberto Faenza
Palermo (Italy) July – Agust, 2004
Making of directed by Mario Canale


Roberto Faenza – Director
I reckon this story about a priest murdered by the Mafia, is kind of a continuation of my previous film, Prendimi l’anima (Take my soul), in the sense that both films focus on a character, then a woman, now a man, fighting against evil in the name of idealistic values, dreams, in the name of utopia, that is. Here, I am dealing with such a man, a man who wishes to teach children, from their youngest age, about a better world, safe from the fierce competition, arrogance, and violence which are what actually characterises best the Mob in the poor areas of Palermo. I developped a passion for this story based on the marginality of the character, his remoteness from fame and the medias, his complete anonimity while he was on the front line, not as an officer is but further in the battle, for his fight was a barehanded every day fight. What he did was the most threatening thing for the Mafia; he took the wind out of their sails, for his audience was the new strength, the future generations, that is, the children, the boys. Pugliesi knew this part of Palermo very well, for he was born in the very borough we are talking about, and he knew mafia talk, the language of the big bosses. He was born with these people and he grew up with them. Later, when he comes back as a priest, he meets them all again, grown-up too but grown in the opposite direction, unfortunately.


Elda Ferri – Producer
Before Alla luce del sole, which recounts Pugliesi’s story, Roberto had made several proposals I did not agree upon, because I did not really like them. I did not find a compromise, mostly because I felt even if Roberto and I agreed on a project, we would still have to make further compromise and if it did not work, the agreement would be worth nothing, and our collaboration would end there. Let me tell you something…you know how directors do…they have ideas, they want to try them now, yearning to work, but after a while, they let go a bit. I don’t. I say no right away, as if in passive protest, I just say I can’t afford it; at the end of the day I don’t think we made many mistakes. Roberto is in my opinion very isolated, in the sense that he is on his own a lot, does not interact with others, and spends all his energy working, while other directors with comparable talent take it easier. In this respect, I like working with him because I see in him a coherent and hard-working man who makes life a constant effort; and I am glad to work hard for him, to help him make this movie. Why wouldn’t I since my interests coincide with his?


Luca Zingaretti – Actor
Roberto read the story of Father Pugliesi a while ago, but he was still under the shock. This strong impression was in fact a desire which missed a shape, and he could not find it. Finally, once, that night we met, he said ‘this guy could be my Padre Pino Pugliesi’. As far as I’m concerned, I have to say I was really impressed and shy before Roberto, for he is one of the few authors in Italy who gets good recognition, and I use this word also because you can actually recognise Faenza’s style in his films which I always liked, I must say. Our meeting was a lucky one, because Roberto has a great gift, in my opinion, a fantastic gift for a director which is the art of collaborating easily with anybody, accepting occasional suggestions, interacting with the actors. He wants to know how you would do this or that thing, and for what reason, he asks what you think, etc. This however does not prevent him from guiding you anyway. While he gives you an opportunity to show what you can give —as if he let you pull stuff out of your bag— he never leaves you alone when it is time to decide; he says, well keep that, in my opinion that’s the most interesting way to do it, etc. I think this way of working is ideal for an actor because it allows you to express yourself, while providing for direction, so that you don’t get lost.

Anyway the Wind Blows (BE)

Directed by Tom Barman
Antwerp-Belgium, August 2002

Tom Barman, director
“I chose this title over the others because there’s a song by J.J. Cale that I’d loved to have used here, it’s called ‘Anyway the Wind Blows’, then there was this character I developed about twenty years ago at school. A cartoon character called Windman, a sort of Superman for ordinary people and ordinary problems.
He has a problem too, and I liked the fact that he suffered from a bad back and had to see an osteopath when the pain gets too strong: you can help others but are unable to help yourself. So I created the other characters around him. We follow “Wind Man” around Anvers for 32 hours. It’s very windy and there’s lots of music; two things I try to include (in the film). A sort of desire, boredom, paranoia… and wind.”


Matthias Schoenaerts, male lead
“Chouki is trying to discover the meaning of life and death, and the relationship between the two and also whether or not life and death really exist. He knows life exists but isn’t sure about death.
That is why he experiments so much; he is trying to prove the existence of evolution and that it is a continuous process that never stops and is always transforming itself. Looking for proof both fascinates him and keeps him busy. Certain people consider him to be an artist while others think of him as a scientist. He does what he feels he must do because what he feels is stronger than he is”.


Natali Broods, female lead
“For the last two year (Tom) has been asking me to act in this film, so I ended up reading several versions of it.
I think that Natalie (the protagonist) is the most normal person in this film, she is fascinated by people and I think that she is also fascinated by artists and people whose lives are different from her life.
I can say that she works with computers and organises a party and…”


Alex Stockman, Producer (Corridor)
“We were lucky enough to produce this film by chance. We met Tom Barman, the director, at a party and that is significant in itself because there is a big party in this film, and that brought us luck. We talked about films.
I had just finished directing my first film, which I also co-produced with “Corridor” and told Barman about the way we usually worked. We wanted to share this thing we had created with other filmmakers because it often happens that filmmakers are not free to do what they want in both production and the way they actually make the film.
We asked Tom to join us. For some time, he had wanted to make a medium-length film, about forty minutes long, and instead and very quickly, we developed the idea of a feature and that is how we came to work together.”


Renaat Lambeets, Cinematographer
“Tom wanted a film that was very energetic and a bit neurotic, an urban scene somewhat in the style of… Woody Allen.
We wanted to go the whole hog, we wanted to make it in 35mm because we’d made a videoclip ‘Turnpike’ in 35mm and wanted to take it further. So we said: why not use cinemascope and also, in the end, some 35mm?”

Adelmo torna da me (IT)

Directed by Carlo Virzì
Ansedonia and Roma, June 2005

Carlo Virzì – Director
I was offered to make a film on a book I had read and enjoyed very much. It just happened; I was made this proposal without my even asking. I was working around films but I never thought I would ever end up behind the camera —or maybe as a hobby, but not in a professional way. This is the story of a ‘non-love’, the sentimental adventure of a teenager from Rome on holidays with her family in Argentario in the 80’s. She leaves Rome with something in mind, giving her first kiss, and the chosen ‘victim’ is the young local who cleans the pool of her parents’ villa. He seems obedient and easy-going, which makes him a reasonable target. Thus, a seduction process starts on the part of thirteen-year old Camilla to conquer the young guy, called Adelmo. But I don’t want to spoil it for you…


Teresa Ciabatti – Writer
This book is clearly biographical; it is based on my own teenage years. It is difficult to describe how I felt about the character when I saw the film, for it was like seeing myself at age thirteen on a big screen. On the one hand, I was really moved, especially by her —but I had many other feelings. The novel aims at describing the life of a thirteen-year-old girl of the upper class in a realistic way. What appears then are weaknesses, lacks, and fears —three elements which I reckon are too seldom dealt with in relation with the upper class, maybe for fear of not escaping the classic cliché of the nasty superficial rich guy…in any case, it is necessary to transcend that and see a reality which is in fact common to everybody from whatever social background. At thirteen, there are girls who already understand everything about men and how to handle them (you need to be evanescent and mysterious), and others who don’t… I was part of the second group. I tended to obsess about the guys I liked. I would pick one and never give him rest, following him everywhere, making anonymous or silent phone-calls. Eventually, I was the victim of my own behaviour.


Blasco Giurato – Cinematographer
For me, it was easy. In general, creating a film implies that the team decides together how to do it, but for this film, I already had all the images in mind. We are using bright colours to imitate the kind of photography used in the 80’s. It was all very easy to put together. When ideas are clear, they serve the story. Nowadays, we use fast reel because it is more convenient. Unfortunately, we had big problems to work with the sunlight, so I decided to rely on an ‘antique’ formula less sensitive to the light. To allow the actors to use their eyes even in bright daylight, we had to use filters and lessen the contrasts; it helps them, for they are all beginners. The actress has particularly bright eyes, which makes it difficult to focus a light on her, so we softened the lights to allow her to express herself.


Gigio Alberti – Actor
The name Raimondo Florinelli Nardi says a lot about my character. He is a popular successful man, therefore has a specific way, as all important people, to relate to the others: he must have what he wants when he wants. He is used to having people below him and to being looked up to by them, which naturally makes him demanding and more difficult to approach. He is very self-absorbed. Success has this effect, if everybody praises one for this or that reason, that person will start to think he or she is superior, which will prevent him or her from having normal relationships, perceiving the others’ pains or difficulties, etc. Although this guy is writing a book about the education of adolescents, he has big problems with his own daughter and far from being able to solve this, he cannot even grasp it. He lives in another dimension, a couple of miles away from the surface of the Earth, and does not even notice it.


Gabriela Belisario – Actress
I had auditioned for Caterina va in città —in which I only got a walk-on part— and was filed amongst their videotapes. When they started casting for this film, they found the tape and thought ‘Let’s see if this Gabriela girl can act…’ 800 girls wanted the role, but they chose me… This family is not very happy and does not communicate, which is hard for this girl. There is a tragic moment when she makes up a lie (which is not really a lie) because she really wants Adelmo to understand of state of mind —and it is a good way to get closer to him. This moment is important; that is when Adelmo, out of kindness, takes her out. This moment is important because it is the first time Adelmo and Camilla share something.


Andrea Renzi – Actor
I am really happy about this first experience of comedy. This genre requires a lot of team work, trust, and light-heartedness I really like and enjoy exploring. I reckon Carlo and the Virzì family in general represent, for my generation, those who perpetuate best our great tradition of cinema. The main focus of the film is the adolescence of thirteen-year-old Camilla and her little friend Adelmo, after whom the movie was named. What convinced me was the fact that the script also developed the other characters in this 80’s context; indeed, the action takes place in 1987, at a time when Italy was more hedonistic and a little superficial. It is a universal human defect but was more pronounced then.

Amor idiota (ES/AD)

Directed by Ventura Pons
Sant Cugat (Barcellona), July 2004

Ventura Pons – Director
This film is based on a book called “Amor de idiota” by Lluís Anton Baulenas, a writer I like very much and whose work I’ve followed for many years. He published this novel which tells a fascinating, highly interesting story, but which above all has a universal content, namely the necessity for others, the different, in a context and through a story with great impact. It’s the story of a character who thinks he’s an idiot… OK, so everyone’s an idiot, but the difference is that this idiot is aware of it. At a certain point in the story he gets completely carried away by a woman and he does everything he can to get her. It seemed to me that this story was very funny, tragicomic, but at the same time it had profound and universal content and it was about one of the great common themes: how we relate to others, how we can talk about our desires, our frustrations and the necessity for others.
I like writing screenplays enormously, because what I enjoy most is finding the idea to make into a film. There are three things in a film: a good story, a good cast and above all a concept of cinema. The three things go together.


Aintza Serra – Director of Production
“Idiot Love” is the provisional title for the film. It’s an adaptation of the novel by Lluís Anton Baulenas, a Catalan writer with whom Ventura has already worked in the past on a number of film adaptations, like for instance Anita no piede el tren (Anita Takes a Chance), based on the story called Bones obres. So far as the production is concerned, this is a co-production between Spain and Andorra, with some of the cast and crew from Andorra. It’s a contemporary, character-driven tale, set almost entirely in Barcelona, with the exception of one or two scenes in Buenos Aires. We shot almost all the scenes in Barcelona, but also in Buenos Aires, in Argentina. There are some Argentinian characters and so we have Argentinian actors, too.
It wasn’t a very complicated film to shoot, or perhaps I should say it doesn’t look like it, but in fact there were some complications, since we had 84 scenes to shoot over almost 7 weeks. So we had many changes of set, many locations, a lot of moving around to do… and that’s only the logistics of shooting. Apart from that, this is a film with a lot of dialogue, very much cast-driven. I’d say it’s a love story, fairly dramatic but with a hint of comedy, bitter-sweet. Very beautiful and very interesting.


Mario Montero – Director of Photography
I’m the director of photography. My work is to do light and plan the scenes in accordance with the narrative codes set by the director, following what he has in mind. After which we work together and do the lighting for each scene, I think of the camera movements, etc. It’s the first time I’ve worked on a film of this special kind, where we’re working in 16mm, something we do a lot of for commercials in fact. We shoot on film then transfer to digital, we work on the video, do an internegative and then make a final print for screening.
The only advantage in all that, which is also the narrative code for this film, is how versatile the camera is. The whole film was thought out camera in hand. That’s nothing new in filmmaking, people are always going on about hand-held cameras, but in this case what’s involved is an aesthetic close to documentary and I like that a lot, it allows me to be very agile in what I shoot. The lighting for this film is very elaborate, but not as carefully planned as in other films.


Cayetana Guillén Cuervo – Actress
The girl in the film, she’s called Sandra. She’s from the suburbs, very radical. She’s going through a very serene and tranquil period in her life. She’s moved from Madrid to Barcelona, and three years ago she got married to a man who loves her. She’s perfectly OK until Pere Lluc, the character played by Santi Millán, bursts into her life, after which everything is turned upside down and complicated, and she has to begin all over again.
I didn’t seek inspiration in any particular model. One thing I do constantly is to observe people a good deal. Observing different types of girls I found details and ways of behaving that fitted Sandra, too. I’m very interested by visceral, spontaneous people, who say what they think whatever the consequences, who look at content instead of form, even if the way it’s expressed is simple. I’m interested by people who behave differently from those who control their emotions. Sandra is a girl from the suburbs and she does what she wants how she wants, without thinking of the consequences.


Santi Millán – Actor
He’s a strange guy because he’s pushing 35 and he realises he’s got no future either romantically or professionally, or in anything else for that matter. He’s practically brain dead. The situation is complicated even more when a friend of his dies in Argentina, someone he kept in touch with at a distance, but always saw once a year. He says that friendship made him feel less of an idiot, because he’s convinced he’s an idiot, you see. Pere Lluc is certain he’s an idiot, which makes him that bit more intelligent, because the fact that he realises he’s an idiot puts him a peg above the rest. We’re all idiots in the end, but the problem is that some of us aren’t aware of it. Pere Lluc is a guy without illusions. He works under his little boss in a professional consultancy office… OK, so he makes a bit of money, but he doesn’t care about his job. He doesn’t have a girlfriend, but things change when he celebrates, as it were, his friend’s death: he gets drunk, goes out and stumbles on Sandra’s stairway.
The truth is I work very well with Ventura. It was he who called me up, saying he had a story he’d like me to be in. And that, whether you like it or not, is something you have to be proud of. Ventura calling you up to offer you a part… then you wonder, hey, what’s going on? He gave me the script, I read it and I’ve got to say I liked the story a lot.

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