It happens not only in films. Cribas, a son who would give life without meant. Love, reveals, generosity, all your time and your better delivery, and your son returns to you against adolescent anger, his anger against the world. And when he no longer has enough when he has already destroyed the paternal/maternal bond, he demolished his frontal lobe hate, becomes a machine capable of killing: murderer: murderer. Rosa Montero said that Good luck And Gracia Querejet dared to take him to the film screen. He did it masterfully as everything this daughter of the cinema who lived with her parents does it (Elías Querejeta, producer and María del Carmen Marin, figurine) diametrically opposite to who says here: Love and Fortress that the fortress that so much effort is worth correct and generosity. His father would never create a place to be sure that Gracia (Madrid, August 1962) had great talent to tell stories. Pulse won it.
Define “happiness”.
The first thing that comes to mind is: Happiness is looking for; Or, as they say about inspiration that it seems to you. There are basically two ways to look at life, one more positive and the other directly negative, and in this film two main characters embody both: they feel unable to take reality and look for a hole where it hides its head, always maintains hope that it gets forward.
Will there be more pain than a father, mother, when she sees her son turned into a murderer?
For me, a matter of film Ao is what I was interested in about the novel Rosa Montero, which deals with family violence, which is not much talked about and seems to me the most terrible without sex violence, but when a son or daughter practices against parents … it must be the most difficult to face. I have a memory, I go with my mother the center of San Sebastian that we spent the branch of the bank of the door of the door screaming my son while giving money to Piddos to tell her, “Stay it all, but don’t steal me; do me if you want to live.” I think it was a problem with drugs, it hit me a lot. It looked frightening and what is called in the movie is almost worse.
“I spent the moments of great concern with my son, but fortunately with me has never been violent with me as so many mothers, the eye!, This is happening”
As a mother, did you get the painful place?
I do not know about any way, but through the novel Rosa Montero I was introduced in a very real way: these are things that are happening, and I imagine it as something very terrible. I never lived or very similar, my son grew more with me more than my father, who also died, and we had a better and worse time, but I have always been very strong in motherhood, something my mother taught me. And if he had to make drastic decisions, he made how to change his school to connect to the worst. I have a short that I wrote with Antonio Mercer, a school failure that talks about it exactly about the difficulties of a mother who must straighten the dikolo and vago son, but from there to the murderous son there are so many stairs in the middle that cannot be compared. No, I spent great concern, but fortunately I never felt on the edge of the abyss, how it happens with so many father and mothers, eye!
“I understand that you prefer a dead son,” they tell the father in the film. Because isn’t it that the child is protected until death and under any circumstances?
I think it’s something that is natural, and that’s a drama. I do not know any father or mother who has definitely ended his relationship with the child may be temporary distance, but to live as if your child was dead or disappeared, no.
Director Gracia Querejeta in Madrid / Albums VIANY
Father blames for the behavior of “teenager” and says, “I have to find a way to be with him.” Is it inevitable to feel guilty for what the child does?
My father realizes that he can lose his son forever, because he goes to prison in time, and he feels that whatever happens, he cannot leave him. This is what he discovers in the film: Wally used to put his head in a hole and even disappear so that they cannot find him when things so ugly, realize that he cannot maintain his word and remain absent.
And this guilt seems inevitable?
Yes, it seems quite reasonable to appear guilt, because children are minors, never adults. It is you, an adult who you have to take the reins, and therefore the guilt is installed, even if you are not necessarily guilty. Fathers are not always guilty, but he is responsible and believes that something like this would happen that he lived his mother: he feels he can’t with her son. A terrifying situation.
Grace, curiously his connection with his parents was diametrically against all this. I remember how his beginnings were counting on the passion for Elías Querejet, how nutritious was your relationship?
Completely nutritious, I am the daughter of my father and my mother in all directions, but from a professional point of view, I still miss my father as a producer and all the independent producers who could make the films they wanted. The character of the producer became a mere service for a company that is terrible. I learned to work with a producer by my side, which you could discuss and talk about the movie, and we have never talked about money, and now we are talking about money, it’s terrible. Because the money goes and goes, but the movies remain forever, all, and that deserves all your efforts. I would like the producers to talk more about the cinema and less funding, but I also understand that the situation has changed so much that they have no choice.
“He’s an adult who has to take the reins, and therefore the feeling of guilt is installed when a child falls into a crime.”
He learned as an assistant to Carlos Saura, was it privileged?
No, it was merit, I was 17 years old. Uf, I’ve never been an assistant to Saura, although I know what they say in my biography.
And if it was merit, why did you decide to leave and study ancient history?
In the beginning, my father demanded that before filming movies, at least with him, I had to study a university career and that it was not an information science, which was what was there.
What is ready, Father!
Yes, because I thought there was nothing there. Make me engineering what you want, he told me, but you have to study a university career. Both were very strict about the formation: the first format and the cinema arrive if it has to arrive.
Did you or did you not trust your natural fate, your determination to the cinema?
No no. But in five years of care, I completely separated from the cinema. And then, when I finished, it took me a long time to do it because I needed to know if I wanted to make movies because I came from home or because it was what I really wanted. Then for years I worked at the assembly and made documents until I decided to do it.
“My father (Elías Querejeta) was the first person to firmly believed I could tell stories”
Did you feel privileged?
Yes, I went because I had a producer. But note that if he hadn’t seen anything in me, I would like to do it even more, I always said, “If you were much stupid, I would love you much more.” But he was the first person to believe that I could tell stories. That’s why my films made. Elijah was very hard and what he didn’t believe he was interested. We even had a script in the closet because I didn’t see it was a good movie. But yes, it is obvious that being the daughter of Eliáš Querejet was not the same as the daughter of a man of another profession. Even if I also paid my fee, be careful! And I paid it face to face.
It refers to stories such as the stories of complaint with Javier Marias for Robert Ryland’s last trip, based on his novel All Souls, which he never knew?
What happened to Marias had nothing to do with Elijah, or with me or Marias, we never told him and it was so long that I even forgot. I can relax, I never saved any resentment.
He gave the film “My Mother, who is always,” did you learn from her too?
My mother died this year, on the day I went to Mexico to throw a series of accidents, 18 January. Imagine a shock. I came back to complete the post -production of this movie, and gave it to it what less!
Lords, sorry, Grace. Tell me what the door in a movie that sounds so much and no one matches? What does it symbolize?
Oh, you took me there. In the first scene, I am aware that it is calling a son who calls and does not open, which reflects that there is a serious conflict. But the rest of the door is opening, or it is the feeling I have.
And you molten Blanc?
It’s something I have already used in my first movies, it is asked for the story itself, even if you return to my side, it has red to red. I do not know, they are feelings or even whims that because they are not expensive, you can afford them. But they do not respond to the metaphor, but they have to do with light or rhythm of the film.
Mmm, I connected it with the hope of and I wish him a premiere!
I don’t know, but basically it’s not a metaphorical source, no. And thanks.
