00:15 Filmmaking allows me to connect with others
00:18 from a super intimate place
00:19 that would need a lot of time
00:21 for that intimacy to happen on a day-to-day basis, wouldn't it?
00:27 I think it also has to do with a desire
00:32 very strong desire to disconnect and connect,
00:38 that is to say, to isolate myself
00:42 at certain moments in the day to day of life
00:45 to focus on thinking about these issues that interest me,
00:49 and, at the same time, that that whole process of thinking and producing something out of that
00:53 connects me to others.
00:56 That's a very nice thing that happened to me,
00:59 when after the screening of a film
01:01 I am approached by someone
01:03 and tells me a very anecdotal thing that happened to him,
01:07 something that reminded him of or linked him to a family member.
01:12 And I think, look, if only the film wasn't there as a vehicle.
01:14 to have this conversation,
01:16 this conversation would never happen.
01:24 Above all, I try to write
01:27 about what I more or less know,
01:30 and that somehow
01:32 forces me to write about women.
01:36 It's not so much to do with what you want to do.
01:39 or wants to project,
01:42 but where to put the attention.
01:45 So, I want to pay attention to these female characters,
01:49 also because I come from a family of lots and lots of women.
01:53 and I recognise a lot of gestures that give me the feeling
01:58 that they are telling a lot of things without telling each other.
02:02 and they're kind of the tip of something much bigger.
02:09 That's what it's all about in the end:
02:11 of who we are and the relationship with the other.
02:14 To what extent there is a kind of borderline in what we feel,
02:21 in what we project,
02:24 in what we are able to say, in what we hide.
02:30 When you're counting, I'd like to make a story.
02:33 where I focus on this series of things.
02:38 Sometimes there is an outside look that is always
02:42 wondering about the conflict.
02:47 And it's something I've never been very comfortable with.
02:52 So when I started to develop 'Journey to a Mother's Room'...
02:59 and they were asking me these questions,
03:02 I was thinking, what's the need for me to build from that place?
03:06 If I simply put the attention on the gestures of love
03:10 is complex and contradictory enough
03:15 for a conflict to arise from it.
03:19 Because to love is a conflict, isn't it?
03:22 So for me, there, in that question of
03:26 what does it mean to love, what does it mean to want well,
03:30 it opens up like a thousand questions
03:34 with which I can already count a lot.
03:38 And looking at what those gestures are,
03:42 it seemed to me that was the best way to explore
03:45 how hard it is to want it right.
03:55 It's a very intimate process of writing,
03:57 perhaps the most intimate process in all of filmmaking,
04:01 because a film is a very collective work
04:05 and that process allows me to internalize a lot
04:08 what's happening to the characters.
04:13 Sometimes it happens to me that I'm writing and I stop,
04:17 I get up and I do like little mechanicals
04:20 of what's happening to the characters.
04:22 Maybe a very small thing,
04:25 how one character looks at another character who is talking to him.
04:29 And it happens to me that when I write I almost end up doing it,
04:32 like I need to see it and feel it.
04:35 So, it's true that there's a question that we're always asking ourselves.
04:41 which is why write so much if in the end we're looking for images.
04:46 But for me it has this strength, the writing
04:49 as a performative thing,
04:51 writing allows me to connect
04:54 and almost physically feel it and have these movements
04:57 and then when it comes to the break-in time
04:59 and I have to work with the actors,
05:02 I have the memory of that physical translation of the script.
05:05 and the body to be able to direct it.
05:09 Then I discovered that, that for me
05:11 the power of writing has to do with the direction of the actors.
05:20 For me Tabakalera is a space for creation,
05:23 of reflection, of thought...
05:26 I remember like the first time I came to visit him.
05:34 - Hi, how are you? Welcome to the school.
05:36 - How are you? I'm Celia.
05:38 - It's nice to meet you.
05:39 I visited with a look of admiration,
05:44 of how I'd like to work here,
05:46 how I'd like to spend time in this place.
05:52 - It's wide open.
05:54 - But can you order a mounting jump and ride here?
05:57 - Of course I can. That's what I just did the other day.
05:58 - Did you?
06:01 - Hey, this was a gift, because knowing this...
06:04 This is so cool!
06:07 It's just marvellous!
06:19 Over the years I've been coming almost once or twice a year.
06:23 And now, for example, I'm mentoring Noka's projects.
06:33 The process of accompanying the projects is very rich.
06:37 in all directions.
06:39 At the end, you accompany the directors
06:42 during a long tour that allows you to ask questions,
06:45 to keep working, to keep investigating,
06:48 sharing materials, not feeling so lonely...
06:51 But at the same time also for me it's very rich,
06:54 because I also transfer this formulation of questions to my own projects,
06:59 even the doubts, the doubts that come out of every creative process.
07:03 is something that we work with here and I think it's very valuable,
07:07 because the doubt normally seems like you can't have
07:09 and it's out of doubt that the good questions come.
07:17 When we are all together I don't feel that I am the "mentor of",
07:22 but that we are filmmakers in dialogue, asking each other questions.
07:25 and looking for the way we can make our films.
07:33 The place, the time... it's allowed us to focus a lot on what the processes are.
07:39 For me it's the fundamental point and often..,
07:44 the speed doesn't give us time to stop on that,
07:48 and I think this is the space that allows you to almost see it,
07:51 to see that the creative process is the most important thing.
07:57 The feeling of immersion in the projects, here, I don't know why,
08:01 it's something kind of magical, I get the feeling
08:04 that for a moment it's almost as if the mobile turns off.
08:10 There's a bit of a bubble I think
08:12 that's very good to be able to create, to be able to think...
Tabakalera-denbora | Vincent Maraval
09:44
Tabakalera-denbora | Uxue Alberdi
08:14
Tabakalera-denbora | Ted Hope 08:53
Tabakalera-denbora | Susanna Tesconi
09:20
Tabakalera-denbora | Ricardo Díez Muiño
11:15
Tabakalera-denbora | Niño de Elche 08:48
Tabakalera-denbora | Maria Ptqk
09:47
Tabakalera-denbora | Marcos García
08:49
Tabakalera-denbora | Jone San Martín
10:07
Tabakalera-denbora | Jon Cazenave 07:43
Tabakalera-denbora | Javier Pérez Iglesias
07:49
Tabakalera-denbora | Isabel Herguera
11:12
Tabakalera-denbora | Helena Taberna
08:28
Tabakalera-denbora | Frédéric Martel 09:04
Tabakalera-denbora | Eva Sangiorgi
07:55
Tabakalera-denbora | Dea Kulumbegashvili 09:47