When I’m shooting, I’m not conscious of pain: Pedro Almodovar


If you have a problem, making a film won’t solve it. But there’s also the desire and the passion that you feel for a story before making a film out of it. I’m always scared to lose this passion. AP: Banderas’ character, Salvador, says he can’t live if he’s not filming. What would one mean to you? Popular Photos

Jharkhand JAC 12th Arts Result 2019: Websites to check

Sonia, Rahul, Priyanka pay homage to Rajiv Gandhi on 28th death anniversary

BSE Odisha 10th Madhyama result 2019 declared: Websites to check

AP: This is your sixth time in competition in Cannes but you’ve never won the Palme d’Or. I slept a lot with the character of Natalie Wood. The best memory of my childhood was Volver. 0
Comment(s) But the fear of not making another film is something I do experience. My next film, I have an idea. And every year in Spain, more than a hundred screens disappear. Advertising

Almodovar: It’s only with Bad Education that, at the age of 50, I looked back for the first time and I came up with these memories of my school years. Are you concerned about the future of the big screen? Fortunately, we have a different country in France. We mustn’t forget that cinema was invented for the large screen. France is the greatest defender of the large screen, and I think it’s the French industry that’s going to deliver this battle against the streaming platforms. When I’m shooting, I’m not conscious of pain. And it’s also a fact that the Spanish people really don’t care about it. Almodovar: Yes, after the surgery of my back. And it’s a big possibility. Almodovar: I’m not hostile to the platforms. I was not sure that I was able to do it. Because that depends on nine people who are part of the jury. It’s exactly like when you’re in love with somebody and you’re scared of losing that feeling. It’s been hailed as a late masterpiece for the 69-year-old Spanish director and pegged as a possible frontrunner for Cannes’ Palme d’Or, to be presented Saturday. Advertising

Almodovar: At first I found it a bit scary. Almodovar: Yes, I’m very concerned. At the end, when the movie was edited, I realized there was solace in making this film. AP: Was that physical concern because of your back? I’m not Salvador. But I should put my life aside. I know they’re enriching fiction. I forgot completely that it was my house, my paintings and myself. I felt vertigo for telling my own story like this. But what I wish as a viewer and as a director is to have coexistence of all these ways of connecting to films. Almodovar: Yes, this is something that haunts me. AP: You’ve been a passionate advocate for the theatrical experience. In an interview on a rooftop bar in Cannes, Almodovar talked about memory, pain and his glorious new film. I told the worst memory of my childhood. The movie talks about living in a small place, in a small community, where people can’t be free or express their feelings. This film is about other memories and my present time; the way I live and the way I work now. Of course, it’s a very physical craft, shooting a film. But I feel with these three films now, I’ve exhausted the memories of my own life. AP: Pain and Glory references not just your own films but many others, too. The first movie afterward was Julieta, and it was very important to do that. The solution is always to make a new movie. More Explained

‘Efficiency’ & promotion quota

AP: In Cannes, you’ve said you’re not against Netflix. But once I got over this first impression, I just took the distance of any fiction and I went on writing like any other script. There’s a mention of Splendor in the Grass. Almodovar: I mention it in the movie because I remember very well seeing it as a kid. But, also, it’s not a tragedy if they don’t. I’m Spanish and I live in Spain. That’s a fact. I’m not sure what it’s going to be. So their existence is a good thing. It was invented to be a communal experience in a theater, so this has to survive. I’ve said enough. ___
Associated Press: Pain and Glory is full of the reflections of a filmmaker looking back on his life and work. But a film can be the best solution for your life, and that’s the case for this film in my life now. I was never standing up more than a half an hour. Making Julieta, I discovered the solution. Almodovar: Of course, it would be wonderful if they gave it to me. Have you been feeling wistful? If it arrives, it will be very welcome. When I was shooting, I was just a director shooting a movie. I imagine that’s true for you as well. It’s not just related to the physical strength and preparation. Advertising

Pain and Glory toggles between Mallo’s present and his childhood past (Penelope Cruz plays young Salvador’s mother) in a deeply personal drama that weaves together threads from throughout Almodovar’s life. As Susan Sontag wrote, to be kidnapped by a story, you have to be in a dark room, surrounded by strangers. The audience likes the series, the (streaming) platforms and the possibility of watching something immediately. At one point in my life, that’s what I was scared by. Even if my movie is received well in the Grand Palais, it doesn’t mean that the Palme d’Or is for you. Even though my life was very different the life of Natalie Wood and Warren Beatty and Barbara Loden, I felt very close to that. But if not, I’m old enough to keep on going without that. They’re giving work to people all over the world. AP: Did completing this memory-based trilogy give you any feeling of catharsis? I haven’t done any of my 21 films for therapeutic reasons.