00:24 - In my case, I have clear
00:27 that if I am making films, it is because of two very important elements:
00:28 On the one hand, there was a camera at my parents' house.
00:33 and I used to record and edit things as a game.
00:35 And on the other hand, the Zinemaldia is very important for me.
00:46 I was also in Larrotxene with Juanmi Gutierrez,
00:50 and well, I had done some little things...
00:52 Then I got into Sarobe a bit by chance,
00:55 and that changed my life.
00:57 What about you?
00:58 - I always liked cinema as a spectator.
01:04 but when I joined Sarobe I had no intention of going into cinema,
01:10 I didn't have that desire to create.
01:13 I hadn't done anything before,
01:15 I had read a script book to find out how to do them...
01:20 but for me, it was a bit of a bit of a let-off.
01:25 What about you, Aitor?
01:26 - Like them, I was very fond of cinema, but I had no knowledge of it.
01:33 And I was planning to go from zero to one or two at the most, that was my intention.
01:39 Plus a 'domestic' rebellion because I studied business,
01:48 and it was like doing for the sake of doing, it was something that was fashionable...
01:52 - I also studied business.
01:54 - And I thought: "Before I go into something else, I want to try it, I want to know what this is..."
02:05 - Moriarti was born from the fact that we all ended up in Sarobe and didn't know what to do next,
02:09 so we came up with the idea of making 5 short films in which we all participated.
02:16 Doing our shorts we were pretty tight, in my opinion,
02:23 but we started to realise that it was all about teamwork.
02:31 - Lucio made his debut at Zinemaldia in 2007...
02:36 And the last thing we filmed was the recreations in Tabakalera.
02:41 Tabakalera at that time was like Cinecittà.
02:44 For me it was a magical space.
03:13 Usually the projects are proposed by one of us,
03:17 and generally the proposer is in charge of developing a first version,
03:23 and then we all get into it.
03:25 - For me there are two things: one, that either the proposer of the idea or one of us
03:35 has to be very convinced and sure that it's a good and interesting project.
03:44 And another one, that most of us find it interesting.
03:49 If we all like it, great, but that's not usually the case.
03:58 - But then it can also happen that during the process of working
04:03 you end up making the project your own.
04:06 For example, I wasn't really looking forward to it at first.
04:09 to make the film 'Handia',
04:12 and when you were telling me about it, I thought: "well, if you're convinced, go ahead",
04:17 but then as you're doing the script
04:19 you have to look for the connection that that project has with you.
04:24 Here I think intuition is also important,
04:28 you don't know why, but you have an intuition that this story is going to come to something.
04:36 When you take a story or a premise
04:40 sometimes it happens that you say: "there's something here, I don't know what it is, but there's something".
04:45 In this process of creation it's also true that sometimes there are discussions.
04:53 - Yes, there are quite a lot of them...
04:57 but it's not for nothing that we've been together for 20 years with one thing and another.
05:00 In the end we end up "contaminating" each other,
05:04 you know where each of us stands.
05:14 - Every process has its difficulty working as a team.
05:18 - Yes, but it's true that from the outside it might look like working in a team.
05:22 the hardest part should be the run-in, but it doesn't look that way to me.
05:25 In the end we tried to keep everything very spoken.
05:30 because there's usually no time for discussion,
05:34 you can't stop and start arguing,
05:36 plus you've got the whole team looking at you.
05:39 - It's also true that there are usually two of us,
05:41 we never usually all three of us go to the shoot.
05:44 So seeing that it's impossible to discuss everything,
05:51 We divide the roles and try not to argue about small things.
05:56 We try to leave the discussions for really important things.
06:01 and, if we don't agree, we record it two different ways
06:04 and then we'll see it in the montage,
06:07 and we usually have our discussions there as well.
06:11 But one good thing I think we have
06:14 is that we put the film above our egos.
06:25 - We really like to leave options open for editing,
06:32 in the end, being two or three directors, you can't really get into a debate on the shoot.
06:37 so the planning tends to be more open.
06:42 Or we say, "This is what's important,
06:45 let's leave the other options more open for later".
06:50 I think it's a good exercise to do, or it's healthy,
06:54 once you've recorded, to say:
06:57 "one thing is the script and another is what we have,
07:00 What can we count on this material?
07:04 It's like the game is starting all over again:
07:10 "I've got these pieces of the puzzle, let's create something with them".
07:16 You're in a creative process,
07:19 then sometimes you come up with a thing that maybe
07:23 is not what you originally envisioned,
07:28 but the work process has led you to it.
07:37 - I think I suffer more in the editing than they do,
07:43 I relate it very much to the moment when you show the film for the first time,
07:48 you're pretty scared there.
07:53 and I for one don't usually know how to manage that frustration...
07:57 Because maybe, yeah, he liked it, but you would have wanted him to like it more,
08:02 or that he understood some concept...
08:04 I mostly associate frustration with that.
08:07 - I mean, with what other people think?
08:09 - Yeah, because you're like very permeable,
08:12 "what will they think? Will they like it? Will they be excited by the end?"
08:18 On the one hand, you want that thing you've done to resonate,
08:24 to say something to people.
08:26 But on the other hand also, and this might be a bit cheesy,
08:32 we have to be the first spectators.
08:35 - It's just that the two things are linked.
08:38 At the end of the day when we talk about the public, it seems like we're talking about everybody,
08:40 but we don't make films for everybody.
08:43 When we make a film we know that surely
08:46 it won't connect with part of the audience.
09:10 - In the end you have to be true to yourself,
09:14 even if it's a story aimed at 'your audience'.
09:17 I say 'your audience' in inverted commas because you never know who it is,
09:21 but even if it's for them,
09:24 if it's not a story that comes out of you, you're not going to be comfortable.
09:31 - It has to come from inside, it's not something they can tell you at school.
09:35 "There is no mathematical formula, there is no mathematical formula.
09:44 - There's a sentence that says:
09:45 "It's very difficult to teach filmmaking, filmmaking is learned by doing".
09:50 It's probably something you can transfer to other disciplines,
09:55 but that's why I think a good film school is a good place to go.
09:57 is the one that teaches the student to have a critical eye.
10:02 What the Elías Querejeta Zine Eskola has is that it is not just about creation,
10:08 it also has, just what is offered here, Programming,
10:14 or if you want you can also study Curatorship,
10:18 or something that might be closely related to the film library,
10:24 I don't know what it's called, Conservation or something...
10:30 I find his point of view on cinema very interesting.
10:38 - In my opinion, what can come out of it is something new,
10:45 a broader view of cinema.
10:49 In that sense, it's the most appropriate for a centre like Tabakalera,
10:53 it's not a classic film school to learn how to make films,
10:56 it's a school that offers something more.
11:00 It was also very interesting on the one hand,
11:04 that Nosferatu has come, that Tabakalera has its programme,
11:08 that the Filmoteca has also started programming here.
11:14 Until now we had a Basque Film Library
11:17 but it didn't have a programme or a place to show it,
11:23 and now they've got their own space,
11:26 And when you come through here,
11:28 you look at the programming outside and there's always something interesting.
11:34 We have our own way of working and people are surprised,
11:38 but that's what we do.
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