He just returned from the US and is still jet lagged – “he I’m going to give a slightly confusing version of myself”, He smiles, although he looks radiant. There Pedro Almodóvar has visited the new museum of the Hollywood Film Academy designed by Renzo Piano at a cost of $ 482 million and in which, curated by himself, his cinema has a great immersive space.
And he has promoted his new movie, Parallel mothers, which aspires to the Oscars, although the Spanish Film Academy has not nominated it.
A film for which Reservoir books now edits its script enriched with images, storyboards and reflections on the role of Penelope Cruz, possibly the most difficult character she has ever created, she says, and on the historical memory, about the graves of the civil war in the ones that the film talks about.
Pedro Almodóvar, recognized in Hollywood, but not with the same luck in Spain. Photo EFE / Mariscal
A Spaniard in Hollywood
-What did it feel like to see yourself in the Hollywood museum?
-Beyond the flattering of that in the Hollywood museum that tells the history of cinema They have dedicated two rooms with 12 huge screens to me I was impressed to see that all these images had been created by me. AND i was proud.
For this montage I have done a work of reflection that I had never done before, taking a film of mine and dissecting it. I have discovered the themes that I have touched the most and there are sections like Bergman and melodrama, because he inspired me the great melodrama of Far heels. There are also screens about comedy, desire, thriller, family … and mothers.
-In the script of ‘Parallel Mothers’ he explains that he reduced the issue of historical memory so that the film was not eaten. Why put it in now?
-It is enough to look at the news and see the damn difficulties that the Democratic Memory Law has. And little is said about mass graves. They are more hung up on the 1978 Amnesty Law, very difficult to touch because then the political forces did what they could, scared because the institutions had a lot of Franco, and not in vain three years later there is a military coup.
I hope that everyone understands that the thing about the graves is extremely urgent, it is the great-grandchildren who ask for the opening and, once they disappear, the generation of great-great-grandchildren will no longer take care of it. In the concessions that the left and the right made in the Transition, the non-existence to which Franco had condemned the buried people returned, they did not exist again.
Pedro Almodóvar presented the enriched script for “Parallel Mothers”, his new film. Photo EFE / Mariscal
I would like the right to think of those families who cry out for their relatives and all they want is a place to bring them flowers, this is not a rematch. I wanted to put it in one of my movies before but I couldn’t find the place. It is a problem that has always worried me except in the ’80s, when I only thought about getting high and being happy.
And in making movies, it wasn’t that they gave it to me, I did a lot, six. So I just thought that overnight Madrid was a city where you could do everything, where there was absolute freedom in every way. I was politically conscious, but above all I was very young and I dedicated myself to enjoying it. It was wonderful to be young at that time.
-Do you speak of Madrid de la Movida only with nostalgia or do you not think you have the freedom that you had?
-I have changed, forty years have been thrown on me, I am the same person, but I do not make the same life. But I think that if I wanted to live the same life as at 25 it would not be possible. There is a deficit of freedom in this city and in the country in general. And unthinkable things happen on the street then.
It is very sad to think that we have fought and achieved all this to have that Nazi demonstration in Chueca screaming fags and aids outside, and problems with abortion with men and women kneeling in front of the clinics … Madrid is still a pleasant city, and in a democratic country, but along the way we have lost important things that have to do with freedom.
Pedro Almodóvar, between Aitana Sánchez Gijón and Penélope Cruz, in “Parallel Mothers”. Photo Télam
When Spain does not choose it
-How do you see the choice of the Film Academy for the Oscars of “The Good Patron” and not “Parallel Mothers”, a repetition of the play from years ago with “Mondays in the Sun” and “Talk to her”?
– 19 years ago. The funny thing is that it happened with the same director and actor. It’s like déjà vu. With Talk to her The whole world rewarded me, there is not a single country that did not reward me, I do not want to put myself as a victim because I had more awards than I can hang at home.
But there is a detail that seems anomalous to me: the only country where I didn’t even have an award was Spain. I no longer say: neither Javier Cámara, nor the operator, nor the musician … The wonderful thing is that I had two Oscar nominationsThis is totally exceptional, because they do not usually nominate foreign directors or scriptwriters in these categories.
In “Parallel Mothers”, Pedro Almodóvar touches on the subject of mass graves for those killed by Franco. Photo EFE / Mariscal
I am not critical of the decision of the Spanish Academy either. The Academy, like the public, is a faceless entity, are the academics, the members. They have decided that the film by Fernando León de Aranoa will go and it will be well decided. But there is a past and it was not pleasant for the Academy and it was very pleasant for me.
But at this point in my career I’m very compensated, I think I have done much better than I deserved.
Source: La Vanguardia
Reference from clarin