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IR Exclusive Print Interview: Pedro Almodovar (Director) For “I’m So Excited” [Sony Pictures Classics]

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Pedro Almodovar has traversed the entire world but creating unique singular motley landscapes with the sense of the absurd and distinct characters grounds his forte. With a long list of films that bear his signature from “Tie Me Up Tie Me Down” to “Volver” to “All About My Mother” to his latest “I’m So Excited”, there is always a sense of chicanery to his methods. Inside Reel sat down with the legendary director to his discuss his influences, genres and the aspect of notoriety.

Emmanuel Itier: So many people admire you. What directors do you admire?

Pedro Almodovar: Many directors and many writers. When I think of directors, I have hundreds of them. Since this business was invented, there were people that were full of talent. Because there were so many, I tried to think about this movie and this era—screwball comedy. I’m a big admirer of all the writers and directors of the 1930s and 1940s like Ernest Lubitsch, Billy Wilder, Preston Sturges, Mitchell Leisen, George Cukor…

EI: Any Spanish directors?

Almodovar: Yes, of course. I don’t know if you are familiar with Luis Garcia Berlanga. His “El Verdugo” (“The Executioner”) is an absolutely masterpiece.

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EI: For this movie (“I’m So Excited”), did you write the role of Norma especially for veteran Argentine actress Cecilia Roth? 

Almodovar: I didn’t think about her when I was writing the script. In fact, this was one very special character for which I didn’t get the right actress. Originally, it was written for someone older than Cecilia.

She was supposed to be around 63, good-looking and had undergone a lot a surgery. She was like the madams I had in mind in Spain. But I remember the type of actresses who used to work (in the late 1970s) when there when there was the sexual revolution. Censorship was lifted. I realized there were actresses in Spain that could play that role but they were not good. They had the physical requirements of the role but they were not right for the part. So I decided to adapt the role for Cecilia. Also, there was a phenomenon, after the dictatorship (was over) of an invasion of Argentine artists in Spain.

Cecilia was just the opposite of the type of actress I’d originally thought of.  She was just the typical model girl. She’d done important, very interesting movies in the early 1980s. This is an actress I’d admired very much. She grew up after living in Madrid in the 1980s. As we started (our careers) at the same time, I was very proud of her.

EI: You won an Oscar with her?

Almodovar: Yes. For “All About My Mother.”

EI: What was it like to win the Oscar then?

Almodovar: To win an Oscar is always wonderful. (chuckling) But there are so many things to do before that. I had to go to five different parties every day. By the time you go to the show, you’re exhausted! But it’s wonderful. I didn’t work just to get an Oscar. It was like this one: I just wanted to make a movie. For me, my ambition is for the audience to identify with the movie. For the good things and the bad things. Of course, (“All About My Mother”) is kind of unique. In Spain, before me there was only one other Oscar (winner).

[However] there is a moment when your mind just blows. You have a moment of extreme happiness, and then you just return to reality, as usual.

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EI: Do you like the translation of the movie to “I’m So Excited!”?

 Almodovar: We needed that translation, because here “Los Amantes Pasajeros” doesn’t have the same meaning as it does in Spain. It means someone is traveling and something is fleeting. In France and Italy, it had the same title but here [in the US], we needed a new title. I think “I’m So Excited!” is good for this type of movie. In Spain, to be “excited” also means to be “horny”.

EI: This film is much more of a farce than your previous movies. How was it having these straight actors playing over the top gay flight attendants?

Almodovar: The actors are not gay, I have to tell you. They trained very hard over a long period of time to get as flamboyant and “queenie” as they became in the film. The thing is, in this movie, is the first time I’ve had three very effeminate, queenie characters. In the past, I didn’t need to put in any specifically gay characters because for me being gay is something completely regular. That’s why I didn’t have obviously gay characters in my past films. For this specific movie, a light comedy, I think the queeniness, the flamboyant quality, was funnier. Also,  these characters serve as kind of “masters of ceremonies” of everything that’s happening. And I needed something very precise about these effeminate characters. So that was a result of their wonderful work.

EI: How would you describe this film in general terms? I’ve seen it described as political, sexual, bisexual…

 Almodovar: It depends on the audience. In Spain, everyone recognizes that this is a specific reality. The film is a clear metaphor of Spanish society [and] about the uncertainty we feel…the necessity that Spanish society needs. The emergency landing is very risky. We don’t know how it will come out. I’ve said in both Spain and France that they are close together and we need each other. I don’t say that here because I cannot expect people to know what is happening in Spain (economically and socially). I’m just trying to just make a fun movie. It’s like I’m doing burlesque.

The movie is a comedy but it’s also about fear and loneliness. The fact that these people are not connected to anything yet there is this contemporary loneliness. They are condemned—for better or worse—to be with each other. The best thing for them to do is talk. Talking is the best thing to entertain themselves so they can forget about fear. It’s a movie where death and sex is very present.

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EI: What was the inspiration of the bold bright colors in this film?

Almodovar: I do it based on my own intuition. I actually designed everything in the interior of the plane, except the floor and the glass. Everything else I designed myself. On the one hand, I wanted to make the interior look different from anything that existed in reality so no one could accuse me of making something that resembles a real airline, which would never permit sex, drugs and all the stuff that goes on in this aircraft. I don’t want anyone suing me. But I think the actual interior of planes are hideous. They use the worst hues of browns and grays. I didn’t want those colors for my movie.

For example, there is a development of gray and it’s way onto blue, and then there is a brown on its way down to orange. Then there’s a red hue that sort of serves as a highlight on the seats and on the signage—the arrows and the things that form the interior of the plane. To make all this I do it like a painter. I have many fabrics and then I put the different combinations together. I’m like a painter working in three-dimensions. That takes into account the actors in the foreground and background.

EI: Can you talk about the inception of the screenplay? Did any of this come from your own personal experience flying?

Almodovar: I didn’t have sex on a plane. I dream of that sometimes, but not lately. I didn’t do drugs on a plane. I think it’s the only place that I didn’t. (chuckling) It was very popular in Madrid in the 1980s.  I also don’t drink. This is something I never did, even in the 1980s. But the main thing is all these things are prohibited. The comedy here is meant to betray the rules. Basically, in this case, these people are frightened, nervous and becoming crazy, and so they drink alcohol to relax. All of this is linked to the ways in which they can let go of their inhibitions to some level because of the drinking and the state of excitement. But it also is because they’ve forgotten what’s at the base [of their tension] which is fear. For these bunch of passengers who are facing death, this is the one way to celebrate life—to turn to the senses, specifically, sexuality and sex to say goodbye to life.

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EI: Did you hesitate to have anything about the King of Spain in the movie? Do you have any comments about the scandal that currently is rocking the royal family? (Spanish Princess Cristina has been indicted on charges of complicity in fraud, tax evasion, money laundering and embezzlement in connection with charges filed against her husband.)

Almodovar: I don’t want to give more problems to the King than he already has. My opinion of them has changed in the past two years. It started to change when a book about the King (“The Solitude of the Queen” by Pilar Eyre) came out a few years ago. The queen was so discreet (about her husband’s alleged infidelity over the years), which we used to think was because she was intelligent. I was disgusted to discover his homophobia and opposition to gay marriage.

I’m very unsatisfied with that as well as the case of corruption that the royal family now has. The Spanish people are mature enough to talk about it now. Everyone talks about it every day. What we need is more collaboration in what happens in our lives. I think we should have a right as Spaniards to ask for a referendum regarding what the opinion is about whether we should have a parliamentary monarchy or not. I have an empathy for the King, though. They were very nice to me, always. I don’t want to give them a problem with this but everybody thinks that the king has had many love affairs, so I felt it was OK that I could imply it in the movie—though no one actually says it.

EI: What do you think Mexican audiences will think of this film?

Almodovar: I hope the Mexican audience isn’t offended by this movie that the killer-for-hire is Mexican. (chuckling) I don’t think Mexico is full of killers-for-hire. No one should take the film literally, not even the Spanish King. I hope, because we share the same language—obviously this film’s not going to be subtitled in English in Mexico— I hope that audiences there have a lot of fun with it. I hope they don’t come into the film prejudiced against it in some way. I also hope for the homosexual men, who have never left the closet or the bisexual men who will never admit it, that they’re also not offended by the way I deal with these situations in this film.

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EI: How did you come with the idea of Antonio Banderas and Penelope Cruz for the opening sequence of this film?

Almodovar: I wanted good actors for all of the characters. It was also because I wanted to be with them. We enjoyed working together even though it was only for one day. Also, this is my return to a genre that is familiar to me. My earlier movies were comedies so I came back to that genre. My idea was to have two actors that belong to my family. They’re part of my artistic and emotional family and they’re basically welcoming the audience to our new movie of Pedro. He’s going back to comedy. It’s kind of like a feeling of something familiar.

EI: Were you angry with Antonio when he came to Hollywood several years ago?

Almodovar: No! Absolutely not! Always, Antonio and Melanie (Griffith, his wife) were for me like my American family. I only was angry once with a Mexican actor. That was the only case. I’m not going to say who. That’s in the past. Antonio always has invited me and I stay with him when I come here.

EI:  “I’m So Excited” opened the Los Angeles Film Festival. How exciting is that for you?

Almodovar: I love it because it’s a good venue for the movie. We’ve only previously had two screenings with an American audience in New York so for me it’s very important to listen to how people breathe during the screening. Thatwill give me a lot of information how this movie is going to be seen by the American audience, because I don’t know (yet).  This is an American audience, which is something very new. I’m excited because I’m here with three of the actors. It’s always fun to have a party and celebrate a movie with people

By Emmanuel Itier

IR Exclusive Print Interview: Fredric Lean (Director) For “The Wind Of Al-Amal” – Part II

With his moving new documentary “The Wind Of Al-Amal” following several refugees from Iraq in the US, director Fredric Lean offers a completely different perspective about this monstrous war. Smartly using the textures of b roll and gorgeous animation, Mr. Lean takes us on an “edge-of-your-seat” journey. By the end, you really want to join the freedom fighters of democracy anywhere around the globe!

Emmanuel Itier: Tell us about some of the other Iraqi refugees you were able to interview for the film.

Fredric Lean: The second person I met was Haider. He’s my hero! He is a humanitarian and a pacifist with a knock-out kick! He’s a black belt in taekwondo. He’s like a Jedi in “Star Wars” for me. Do you remember the 80’s song “Alive and Kicking”? That’s him! His story is incredible. He spent 7 years in one of the worst refugee camps at the time at the border of Iraq and Saudi Arabia. His application to be resettled to another country kept pending for years and years. After all the trauma he went through in his camp and the horrible things he saw there, he kept his sense of humor. He now lives in the US and has a son who, ironically, was born on September 11th.

His story is very important because (like Laith) he’s helping Iraqis in his own way. Haider and his friend, Kathy Murphy, an humanitarian activist, have created a humanitarian organization which ships medical supplies, water filters and other things that Iraqis from Basrah need desperately (which is shown in the movie). He was the only Iraqi I found who was willing to go back to Iraq and film.

EI: Why didn’t you personally go and film in Iraq?

FL: To hire private security staff over there is very expensive and I did not have a budget. Iraq is still one of the most dangerous places for foreigners. I would have had to have a budget for my security, the security of people helping me over there and then be accepted by the locals. It is very complicated…even today.

EI: Tell us about Alaa,

FL: Alaa was introduced to me by a friend of mine, Melissa Wrinkler. Alaa is an amazing woman; A real inspiration! The first time I met her I knew she was special. She has so much charisma and is so strong but, as the same, she is so fragile. After the first few minutes of our first interview, it all became very emotional. I was moved not only by her tragic story but also by her amazing kindness and devotion to other people. At the time, she was a case manager at The International Rescue Committee (THEIRC) and I saw a lot of refugees considering her almost like their personal guardian angel. I needed a woman’s voice to contrast Haider and Laith in the film. She was perfect.

EI: Was “The Wind Of Al-Amal” a feature project from the beginning?

FL: I did not want to make a 52 or 45 minutes doc. The relationship between the audience and the characters needs time to grow. There’s so much information on the subject like this that I felt a shorter doc would have not been enough.

EI: You have other people involved (like the famous American intellectual and activist:Noam Chomsky] as well as diplomats, scholars, and journalists. All these people were against the invasion from the beginning. However, why didn’t you include pro-war people?

FL: I don’t like to trick people when I film them. Unlike some other filmmakers who make you feel you’re a friend at the beginning of the interview then become aggressive just to get tension moments for their film, that’s not me. I always explain to my subject how the interview will progress before the shoot and how it will be connected in the film. I did try to get pro-war people on screen. But guess what? They all turned me down.

EI: What do you want the audience to remember from your film:

FL: I guess I’d like them to see “The Wind of Al-Amal” as a film about underdog stories, and a film about change, struggle and hope. Because of Saddam’s relationship with the rest of the world, people in the West have been bombarded by negative images about Iraq. Saddam was suppressing the voices of his own people yet somehow, the media focused only on Saddam with the wars, the oil crisis, violence and genocide. However, we very rarely heard the perspective of the Iraqi people themselves. These people went through a lot of terrible situations. They went through a dictatorship. They went through the Iran/Iraq War. The First Gulf War. The economic sanctions in the 90’s (which probably killed more children than the 2 invasions combined). Then the war with the West and now the sectarian violence.

Can you imagine how to survive all this and not go nuts? I’d go nuts! For me, I;d say the message is that we are all refugees. These stories are simply stories of hope and rebound after being abandoned and losing almost everything. Alaa, Laith and Haider’s stories can speak to anyone, regardless if you are a refugee by necessity or by choice,.It is a story about change, struggle and hope.

By Emmanuel Itier

IR Exclusive Print Interview: Fredric Lean (Director) For “The Wind Of Al-Amal” – Part I

With his moving new documentary “The Wind Of Al-Amal” following several refugees from Iraq in the US, director Fredric Lean offers a completely different perspective about this monstrous war. Smartly using the textures of b roll and gorgeous animation, Mr. Lean takes us on an “edge-of-your-seat” journey. By the end, you really want to join the freedom fighters of democracy anywhere around the globe!

Emmanuel Itier: This is a very compelling film. You’re French with Italian & Sicilian roots. You’re not Iraqi..and you’re not an American. So why this for your directorial debut?

Fredric Lean: Good question! I am still wondering myself. More seriously, this is not a film about Iraq or the war per se. It is neither a documentary/news report type of film nor a political or intellectual analysis. These films can be found on television. I wanted to tell the story differently. I wanted to do a film from a human perspective, especially from a refugee’s point of view without having a voice-over telling us why or what we are looking at.

The idea for this project came very simply. Back in 2007, I was looking for a story that talks about immigration: the feeling of abandonment and loss, and about exiles who rebound and start a new life from scratch. [This is sometimes] by force or by choice, [but it is] finally about hope for a new beginning. [This is] something that my family went through but it is nothing as dramatic as what Iraqi people have been going through over the last decades.

I had many different ideas about the film. The main one for “The Wind of Al-Amal” became clear back in late 2007 [when] I had a conversation about refugees and immigration with a girl I was dating at the time. She was working for an important Think Tank in Washington D.C and she told me the type of humanitarian crisis she was working on, which was the Iraqi Refugee Crisis. I asked her “What Iraqi refugee crisis?!” I mean I knew there were Iraqis fleeing Iraq mainly because of the sectarian violence but I had not realized, at the time, the nature of this crisis, and that it had become the largest refugee crisis in the world since 1948. There very little media coverage in the West talking about it at the time.

So I decided to investigate more and I read everything I could find on the subject. Very quickly it became apparent that I had to make a film about it. All I had to do after all this research was to find my characters and a way to tell a compelling narrative story which reflected the situation and my vision for the film. One thing I was sure of was that I did not want to do an analytical film about the Iraq war but rather focus on universal human stories from the perspectives of the refugees themselves.

EI: In your film, you have 3 main storylines with a lot of interviews intercut between them. Was difficult to find a balance in the editing room?

FL: One thing you can be sure of when you’re trying to film real people in their daily lives is that you can expect only the unexpected. I don’t see how a documentary filmmaker could plan sequences or scenes while filming real people in their natural environment and still give a feeling of spontaneity and honesty in the interviews. If they can, great. But that is not was I was looking for. I wanted to make a film in a style we call in NY: “Guerrilla Filmmaking”. GF is very challenging but somehow gives a lot of flexibility and freedom. Basically, you film on the spot with whatever means you have at hand, using mostly natural light, one camera (handheld for the most part) with no crew, no budget, etc. I guess you’d call it in French: “à l’arraché” ["the snatch"]. (laughs)

EI: How challenging was it to be a one person crew?

FL: To be a one man-band is very challenging. I shot maybe 70% or 80% of what you see in the film myself – except for the part in Iraq and for one interview. I had to be constantly aware of many aspects at the same time: visuals, sounds, light, timing for the tapes, and, most importantly the interviews. I had to listen very carefully at the answers of the interviewees so I could create a flow like we were having a private conversation. Following people with a camera in their daily activities was easier for me for some reasons. However, the sitting interviews, especially with texperts like Chomsky, Denis Halliday, or the journalist Patrick Cockburn, I was afraid they were going to kick me out if I had shown I was not giving them my full attention since they are so used to the interview exercise.

EI: What was your experience like interviewing the refugees?

FL: One of the most challenging- was the interviews with [the woman] Alaa. Every time I interviewed her, it quickly became very emotional. Many times I wanted to stop to give her some private moments [because] I felt awkward. She was the one who wanted to keep going and was apologetic for breaking down.

EI: How did you find your Iraqi subjects in the US, and was it difficult to convince them to be interviewed?

FL: It was actually very difficult. People have to realize that the Iraqis who fled Iraq [did so] because of the sudden violence as a consequence of the invasion. [These people] went through a lot of trauma. A lot of Iraqis, once they re-settle in another country, just want to turn the page and start anew. But for others, they are afraid to talk because part of their family is still in Iraq and might become a target if they speak out.

Most of the people I had the chance to meet declined to be filmed. They were very nice and happy to answer questions as long as their names and pictures were not shown. I was very fortunate to meet Laith, Alaa, Haider,and the others (Farhan, Ehab, Oded) who generously agreed to participate in the film. I am very grateful to them for doing so.

EI: What about them attracted you in their personal stories?

FL: The first person I met was Laith, who is a terrific and very funny guy. A good writer too. We have a lot in common. When he told me his story, I realized he was not a refugee but rather an exiled countryman by choice like me. His family: his parents and two brothers (who then lived in Baghdad) were forced to leave after receiving deaths threats. This was something which I could relate to because of my family’s history. My parents are Italian and French. My father as well as his brothers and his sisters were born and raised in Tunisia with Italian parents. When violence erupted in North Africa in the late 50s, my grandparents and their children had to leave everything behind: their house, their business, etc…and started from scratch in France.

Going back to Laith, the thing that especially interested me in him was the way he talked about his family and about their connection. He is a very protective son and brother and he loves them dearly. When I started to interview him, I sensed that he not only feared for their safety (even though they were in Jordan or in Lebanon or Syria in a safe area) but also he felt somehow powerless and frustrated he could not be there with them as much as he would have wished. It is not easy to travel in the Middle East with an Iraqi passport.

I could see how this affected him as a young man in Baghdad during the Iran-Iraq war and then during the First Gulf War. But he never really showed [that side] to me. He kept a certain discretion about his past. That’s the side of him I personally related to the most. When he thought he was safe in the US, he had a very unique experience with the World Trade Center and the attack on September 11th. With all he had experienced, I felt there were a theme of “‘getting into a safety zone” that I needed to develop for the film which I could personally relate to.

By Emmanuel Itier

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