Oxford Murders is a very different film than the previous in which we had become accustomed to a grotesque atmosphere. Instead, this film contains little black humor and in general there is little room for comedy. What is the reason for such a radical change?
Alex de la Iglesia - The reason is simple. The film is time from a book, that is the work of another person, or Guillermo Martinez. In general, I wrote by myself or with Jorge Guerricaechevarría, and were original screenplays. It would not make sense in a thriller or a comedy force within the wickedness and cynicism that usually put in my work. I wanted to respect the atmosphere of the original that I wanted to bring to the screen, so I decided not to put too much of my own. However I do not like the term black humor because the humor is always black, because it is based on the life, which itself is black. This is not mine, I've stolen from Rafael Azcona.
What struck you in particular of the novel by Guillermo Martinez and I decided to make a movie?
Alex de la Iglesia - The intrigue behind the treachery and deceit. The manipulation of truth and the identity of the ambiguous character, recurring aspects in my cinema. The professor knows only a small part of reality and the young mathematician arrives in a place where it can not be accepted. I am particularly intrigued by the playful, the fact that none of the characters is completely sincere and never pretends to be someone else.
Jorge Guerricaechevarría - Even if you can not define an outright comedy but is essentially a mystery, the story is ludicrous, however, ambiguous and mysterious. A summation of intrigue and mystery is always fascinating, especially the way it approaches the topic as a role playing game where you must find the 'murderess.
E ' interesting to use massive and complex plans which sequence in the film. What comes from this technical choice?
Alex de la Iglesia - The initial idea was different. I wanted to implement a different sequence. I wanted to start from above by a helicopter, in order to show Oxford as if it were a game, like a chessboard. A director who knows the tricks used to captivate the audience. The Oxford Murders viewer participates in the game and see how the characters move in a chess game. Unfortunately I could not do what I wanted. When you get so much film, I promise little, and eventually give you even less. At a time when I proposed the idea to the Director photography has taken me a fool and it was impossible. I started to cry, and Elijah Wood took pity on me. He said "I happy with the fat man" and in the end we had eight shots that were combined with a trick.
Unlike the kind of thriller that come out today, you are making a journey that takes you to brush up on the more classical to create suspense in your film. Why?
Alex de la Iglesia - I love thrillers because they are the mirror of how the world works, give the most grotesque and realistic vision of life. The film then is a world itself, that may be told in many different ways. You can talk about anything without fear of getting dirty with reality, because the absolute truth does not exist, or where we do not know. The thriller is like a western, a genre where you can wander to imagine anything because you have no feedback on which to relate in everyday life. There are two kinds of fantasy, which allow you to work on the symbols of reality.
Guerricaechevarría Jorge - Since around there are all these violent movies and TV series, we wanted to make a movie of the mystery sharp and clean, showing the most interesting aspects of the concrete crimes without necessarily show the crudeness. Every effect has its historical consequences unpredictable, and this is very fascinating.
The film speaks at length about the philosophical writings of Wittgenstein, knowledge that has influenced the book and that it had on you?
Alex de la Iglesia - So I studied philosophy at university. At the time I did explain Tractatus Logico-Philosophicus Wittgenstein a university fellow and I realized just the beginning and the end. I was impressed in particular the phrase "All you can say it can be said clearly. On what we can not speak one must be silent. " Instead I did just the opposite, that I put myself in the midst of things that are not capable of doing. This puts in my films some innocence that makes them imperfect, but always positive. Wittgenstein, however, I did not understand anything. I remember the first sentence "The world is what happens" and I'm still trying to figure out what it means. I'm so proud to want to make a film about the same thing I did not understand.
Jorge Guerricaechevarría - Wittgenstein obsessed, especially obsessed Alex and we insert it into the film even though the novel was not there. He was a preposterous, he wrote his magnum opus in the war. Even the bombs stopped him. Think about that for a year did the college along with Hitler. We have a script ready for this story. If there is someone who wants to make us extremely available.
So according to you, Alex, there can be no absolute truth?
Alex de la Iglesia - do not know, and do not even know where to look. I have trouble understanding how to finish my film. Especially in the third part of the film I have problems. To me, the truth is there but we made the escape.
The concept is similar to that expressed by Orson Welles in Citizen Kane. It is no accident inspired him?
Alex de la Iglesia - Kane was the cross and the delight of Orson Welles. E 'managed to make a perfect film, like the cinematic equivalent of Plato's Republic, with a perfect crew. And 'the ultimate expression of Hollywood. After Kane did his career went into decline. He's done nothing but repeat, imitate, lived in the memory of the greatest films of all time. We filmmakers today do not do anything but that. Remember. We only parroting everything that has already been done by the greatest in the first half of the twentieth century, when the rules of cinema were written. Now everything is a stream that follows those ideas.
Edited by Gianluigi Perrone
0 comments:
Post a Comment