ALEJANDRO AMENABAR: The phrase that gives the title to the film, that phrase that is so important in the document which gives the
power to Franco and that disappears from one day to the next, the fact that they didn't agree on the
agreement between the generals, this sort of wolf in sheep's clothing
who nobody saw coming.
In this case, what caught my attention was an episode, a gesture,
an older, intellectual, reputed gentleman, who stands up
in the middle of an act and says what he said in front of those people, putting
endangering his physical integrity. So that moment already seemed to me to be very
cinematic, but from then on I was able to scrape everything else off and
in the end we realised that in the end that whole story, how that whole story is gestated
the command on the national side, and the dilemma of Unamuno, is actually
talking about Spain.
I'm one of those who believe in cycles, that sometimes history repeats itself
with changes, of course, but that we go in cycles, we go forwards, we go backwards.
And in this film they talk about fascism, which was also one of the obsessions of
Unamuno.
Miguel de Unamuno was among the first to locate and denounce the
fascism.
And nowadays, that which seems to be part of the mythology of the movies, of
history, you're finding it in the most natural way coming into this society.
And also, I think he overtook us on the right and I didn't have to push too hard on the right hand side.
machine in the film.
Franco is still floating like an entelechy that we think we know him but we do not
know him, and because Franco is an important presence in this country.
So, reconstructing Franco for me had an almost morbid component.
Let's try to make Franco more real and more profound
ever seen.
And in the case of Unamuno, well, Karra's an
actor with an enormous talent, and in reality what it was really about was to reduce his
repertoire of expressiveness, to reduce it by 20 percent.
(WHILE AT WAR) Sir, it's an honour. Would you sign an autograph for me?
ALEJANDRO AMENABAR: Usually
when I finish a film I feel like doing exactly the opposite.
So now I can see myself doing anything but a film that takes place in the
civil war. Let's see how much stick I get for this one, maybe I won't come back.
to do anything ever again.
(WHILE AT WAR) They love me like a father. I tell you more, these and the others, the reds, love me.
Everybody loves me.
I'm a man who was struck by luck with
I am the paw of a wild beast, I am
a groom of death...
67SSIFF | In Memoriam
02:01
67SSIFF | Industry
05:28
67SSIFF | Euskal Zinema
02:41
67SSIFF | Txepe Lara
02:27
67SSIFF | Roberto Gavaldón
04:17
67SSIFF | The day of Zinemaldia & Technology
05:19
67SSIFF | The day of Puxika gorria
03:51
67SSIFF | The day of Films & Books
06:02
67SSIFF | The day of Penélope Cruz
05:05
67SSIFF | The day of Chinese Opera
02:49
67SSIFF | The day of the Opening Gala
03:47
67SSIFF | The day of Culinary Zinema
03:49
67SSIFF | The day of The Public
03:08
67SSIFF | The day of Political Cinema
06:12
67SSIFF | Thalasso - interview
03:11
67SSIFF | A Dark Dark Man - interview
02:47