If there is a man who has shining examples during the 18th edition of the Festival de Málaga that is Daniel Guzmán . The Spaniard, brand new in the feature film as a director, presented in the Official Selection his film A change anything . A film, which Daniel has spent nearly a decade of his life until his conclusion and with which initiated a nice way to success
Through his words exudes passion, sacrifice, thanks, achievement, perseverance and a dose of humility that is only available those who make history. After winning the Biznaga de Oro for Best Film, the Silver Biznaga for Best Director, the Biznaga de Plata for Best Actor and the Silver Biznaga the Special Jury Prize for criticism, Daniel Guzman and part of it .
Question: How and when it arises in you the idea of running
A: Consciously not me I agree. Everything has to do with storytelling. You start telling stories as an actor, sharing them through characters, but just extending it in some cases as has been mine, in wanting to tell the stories as director. In shape the stories that you think might amuse or excite and I directed my first short film in 2003 called Dreams and was fine. From this experience and to live personally and professionally that project, I decided I wanted to tell stories. I continued working as an actor a couple of years and I left everything to start counting A change anything
Q. What has it meant for you to see your film ? first time on the big screen in Malaga
A: Yesterday was indescribable. It was a very exciting and very special feeling. It’s a moment I’ll remember all my life, because it is one of the most important. Spend ten years pursuing this goal it is to tell a story with all the emotional baggage that has, for my grandmother, so that is autobiographical, for my family, my friends, what I experienced yesterday is very special to be with My grandmother was my dream and share with her the time of yesterday and see the response from the public and the press is very rewarding. I’m still not aware of this, I have to take away.
Q: Why did you decide to make a film about things that you had lived
A: Because I think it’s better to talk about what you know and what you touch him so that there is a greater degree of involvement and greater knowledge of history who is counting. And especially in the first film, which are more personal, it’s your identity, you mark it as the first times in your life, you have something that casts a very important part of you. I thought my experiences in adolescence were very good material and had the narrative ingredients needed to tell that story, all these experiences. Sometimes you have to imagine and create them, but if you lived some experiences that if you give way, you can compatir with the public to understand things in their lives, it is a material that is there and I frame it. I use to tell historias.Todo comes from experience. All directors cuantan his view of the situations that have lived and observing. I in this case rather do than he had lived
Q. How do you feel to have gotten this part of your life and bring it to the big screen
A: Yesterday I started to realize that the film is temrinada. It took me six or seven years to write the script. The assembly has taken me a year. These are times that are too to tell a story. There are exceptional cases such as this in which you are 10 years of your life. In most films, the processes are 18 weeks of assembly and writing are two or three years at most. Yes it is true that I personally and professionally need to say goodbye to her. I need to say goodbye even accompany me all my life, but I need the film finds its place and travel. Yesterday I said goodbye to the film because it is public. Yesterday I had the feeling and consciousness that already dismissed me to change anything
Q. Will you still need sientiendo that something of yours
A: There is, for example my next film is about the life of another person. I’ve lived with it but I have not experienced firsthand as the character of Darius. I have another script I’m developing that comes from an image. I do not know where they’re coming the following stories, but if it is true that to find that truth is better to be involved and we’ll see if they are still personal stories and lived or recognized in other viviencias.
Q: Were you afraid of not being able to finish the project
A: never have come to believe. I had an engine and a need to tell the story. I have considered giving up many times because it was so hard it seemed impossible. But I never asked myself that would not work. I’ve always had great confidence in narrative and storytelling. Now down the road one does have his fears, especially professionals, for example because the film does not take the place that may be available to the public. Those fears are part of the trade and creation. There will be people who will not like the film and is perfectly respectable. Even I can learn it in an objective manner and distance. We all have our own love but I understand that’s the beauty of cinema and the rules
Q. How was the choice of characters
? A: The film is ambitious, because it is apparently simple but I searched the symbiosis between neorealism and film for all ages where everything starts from the authenticity, truth and credibility . For that, I needed to mix professional actors with non-actors. I preferred children who had not done anything, searched in the street, in schools, even coming from agencies in which they had not done anything. I wanted to mold them were virgins. The character of the grandmother, is that my grandmother was the magic that is, authenticity you have and I knew that if that managed to convey through the camera as there was nothing that could superar.No was nobody better to do the character of Antonia Antonia. Mixed with professional actors who have a bagage and knew even going to feed each other. They were going to get the truth needed in the film between professionals and non-professionals. Is the design, style, tone and design of the film itself.
Q: What do you like best to make the film
A: There are four processes. The script writing is the hardest but can not eat every day because you will feed. I’ve spent twelve hours without eating because I needed to locate an what I was looking, I was at the computer and think you were feeding the words of the dialogues. Writing is the cornerstone of every film and the process of creation is very rewarding when you get it and very hard at once, but it is very special. So I like both film because it has four processes. The casting and rehearsals with actors is for me the most enjoyable. It is true that I the extension cord long time because I want that when you’re shooting is all clear to play. Then there is mounting that is most craft along with the script. With the installation you can change the movie at all levels and until you get to that tempo you want exactly are you shaping, you’re removing layers until you get to the essence. These three processes are the most beautiful for me as a director to tell stories. It is a very traditional craft, very creative and where imagination and creativity are in constant contact you to answer and shape your story. From the first word to the last, from the foreground to the last. All you choose already has some creativity.
Q: The chemistry between the actors is a fundamental pillar in In exchange for nothing .
A: Yes, that’s the work of these months of trial, that will deepen the film, to be understanding it. Because auqnue the friendship is already written in the script, they have to get there. They are like children have imagination and get it, they’re like my grandmother. You have to enter their world, traveling with them and they travel with you
Q. You consider critical essay and that is not very common in all directors
.
A: Because I’m an actor and what is tested. A motorcycle rider may have more talent than others, but if one has entered 15 times in the circuit and the other despite having more talent has never entered, not be able to overtake. It is a matter of mechanics and trials.
I do not understand why they never tested enough because above it is cheaper to shoot again. I have always asked all my directors to rehearse and some feel empowered to investigate and deepen and others do not want. For me it is unthinkable to work condition. In fact they say, “What a find actors”. The discovery are assays. My grandmother is not an actress, my grandmother I’ve gotten into this mess because I knew what was going to do. But she does after a process of understanding, work and search me. All this comes from a very thorough job. That does not appear because. It may appear once, but that is spent. I do not feel qualified me for example to make a scene like that of questioning. I can not do it or I and I have 20 years in this. The tests are indispensable. It is what gives you the truth and credibility of the film
Q. How was the funding to carry out the project
A: If I had normal financing channels that usually have in this country had not taken so many years to search. It has been privately until we have succeeded in making the film. The participation of TVE, Canal Plus Telefónica Studies and has been after having the film made.
To make private financiazión was all thanks to my friends, my investors, the Economic Interest Grouping we create, The Competition Productions and all producers who have risked and invested their assets to achieve tell this story. With the budget we have, nobody believes it. All producers that I speak not understand that with so bad tax incentives that exist in this country, 19% with no one wants to invest that money because private investment is not reversed, do not understand how we did it. Today I think so and neither as we have done in the end.
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