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《對她有話兒》《論盡我阿媽》金像級導演艾慕杜華
首部半自傳式情色電影
聖．教．慾
八月二十六日 愛是懷疑
故事大綱
這是一個故事，也是三個故事。
1964年，在馬德里的一間修道院，兩個男孩，一個神父。伊拿秀和昂力克在球場上驚鴻一瞥，情訂於戲院的黑暗之中，卻遭校長曼奴魯神父揭發。為保昂力克不被逐出校，伊拿秀向曼奴魯奉上無邪的身體……
1977年，變了性的伊拿秀化名撒哈拉，在夜總會獻唱之餘也進行騙財勾當。某晚，上釣的居然是昂力克。翌日，伊拿秀重臨修道院勒索曼奴魯神父，豈料神父鎖上房門……
1980年，改名為安琪兒的伊拿秀探訪已成為導演的昂力克，他向昂力克推薦自己寫的劇本，故事正是他倆的童年經歷。閱後的昂力克深受感動，更讓安琪兒演回自己，然而他總感到眼前的安琪兒有點古怪……
《聖．教．慾》答問大會-艾慕杜華如是說
問︰在《欲望之規條》(Law of Desire，1986)中，變性人卡門慕拉(Carmen Maura)回到她(當時是他)兒時就讀的教會學校。她看見神父在神壇內玩管風琴，神父問她是誰，卡門直認她就是那個曾被他戀上的男學生。究竟《聖．教．慾》的創作意念是否由此而來？
答︰或多或少吧！很久以前，我寫過一個短篇故事，講述一個易服癖者重臨昔日就讀的教會學校，勒索那個曾性侵犯他的神父。當我拍攝《欲望之規條》時，我想起這個故事，於是靈機一觸，把這場戲套用在卡門身上。後來，我決定進一步強化這個短篇故事。因此，卡門可以說是《聖．教．慾》中撒哈拉(Zahara)一角的前身。
問︰《欲望之規條》跟《聖．教．慾》同樣有一個導演的角色，對嗎?
答︰對！跟《聖．教．慾》中菲利馬甸尼茲(Fele Martinez)所飾演的導演一樣，主人翁把個人慾望與工作混淆不清，最後因此付出沉重代價。我一直對那些膽大妄為的藝術家故事很有興趣，儘管結局永不完美，但卻是令人著迷的經歷。
問︰你曾否認《聖．教．慾》是一部自傳式電影，對嗎?
答︰正如名作家柏高安布(Paco Umbral)所言，任何非自傳式的作品都是仿製品。從深層的意義上來說，這確是一部自傳式電影，我隱藏在角色背後，但我並非在訴說我的故事。
問︰據知，你曾在學校詩歌班擔任獨唱……(片中的主角伊拿秀也是詩歌班的優秀份子)
答︰對！我經常獻唱，唱拉丁文彌撒曲、聖詩等，我在所有的宗教儀式及慶典中演唱。我想我應該唱得不太差勁吧！因為神父曾在教堂門口播放我的錄音帶吸引信眾，我記得當時整所教堂洋溢著我的歌聲。我曾千方百計想取回錄音帶，但均告失敗。我在學校的日子最喜歡就是宗教儀式。我是不可知論者(agnostic)，但我覺得禮拜儀式有一種令人目眩的瑰麗，令我深深感動及著迷；但我已很久沒有望彌撒了，不知現在的情況如何。
問︰加艾爾加西亞般奴在片中是否大反派?
答︰《聖．教．慾》和那種正邪對立鮮明的電影截然不同。我從不批判角色，我只會「呈現」他們，「闡釋他們的複雜世界」，務求令影片充滿娛樂性。我認為即使角色如何殘暴不仁，導演也不宜作出任何批判。
問︰《聖．教．慾》在結構上和《對她有話兒》(Talk to Her)一樣複雜嗎?
答︰我想應該更複雜。雖然兩部電影都有戲中戲，但《聖．教．慾》比較冒險，因為戲中戲長達半小時。事實上，這部戲講述三個故事：三個同心的三角故事，最終構成一個完整的故事。
問︰為什麼在電影中穿插大量旁白?
答︰旁白可加快節奏感及解釋那些看不到的情節。情形就如片中人物坐在你跟前，向你數算他/她的故事。我必須利用旁白去推進劇情--由一個故事跳進另一個故事，由一個時空跨越另一個時空。
問︰你的作品中有很多變性人和易服癖的角色……
答︰只有四套電影而已！他們的出現令電影更富動感，也能帶動其他角色。我有很多變性人朋友，於我而言活在與性別錯配的身體是悲劇，不過他們解決這問題的方法卻令我很感興趣。
艾慕杜華眼中的黑色電影
艾慕杜華希望《聖．教．慾》是部黑色電影，對他來說什麼是「黑色電影」？
「黑色電影並不一定要包含警察、槍戰等暴力場面，但必須具備欺騙及致命的元素。這些元素通常透過一個"蛇蠍美人"(femme fatale)體現出來。"蛇蠍美人"深知自己的魅力，她有恃無恐；為求達到目的，不擇手段也在所不惜。對她而言，"性"並非快樂之源，而是人生的一種痛苦。
「《聖．教．慾》是略帶驚慄的電影，我曾說過，加艾爾加西亞般奴的角色是典型的"蛇蠍美人"(femme fatale)--在這部戲中詮釋為"壞孩子"(enfant terrible)，原因是他令身邊每個人都深陷萬劫不復(Downfall)；而"Downfall"這字彙亦是天才導演比利懷特(Billy Wilder)的名作《雙重保險》(Double Indemnity)的西班牙片名，這齣戲堪稱黑色(noir)經典之最(noir-est)，我一直奉為圭臬。」
導演的話
在我對故事變得沉迷之前，將《聖．教．慾》拍成電影是必須的。我早已花上十年琢磨這個劇本，就是再用上十年也不足為奇。因著不同的巧合，我最終發現隨著整個製作工序告一段落，《聖．教．慾》的故事才算正式完成。
《聖．教．慾》是一部與我有切身關係的電影，但卻非完全是我的自傳。我不是在回顧學校生活或是「馬德里新浪潮」時的日子，雖然故事的背景橫跨六十年代至八十年代初的馬德里，我曾活在其中，我的回憶也是劇本的重要部份。
《聖．教．慾》也不是要清算引導我「誤入歧途」的神父以至其他神職人員。要是報復的話也不用等四十年吧。教會對我這個微不足道的傢伙不會有興趣。
影片最引起我興趣的是那個對抗蒙昧主義(極權政府箝制知識的手段)和高壓統治，自由主義高漲的大時代。八十年代給反叛的年青人提供了完美的環境，讓他們主宰自己的欲望、身體和命運。
最後，這不是一部喜劇，雖然查維亞嘉瑪拿(《對她有話兒》的男護士)的演出相當抵死；這也不是一套兒童歌舞片，雖然有小朋友在唱歌；這是一部黑色電影，至少，我希望它是。
導演艾慕杜華簡介
成長於5 0年代的西班牙籍導演艾慕杜華，從小就對電影有莫大的興趣。十六歲那年更隻身走到首都馬德里研習電影。其時獨裁者弗朗哥剛將國立電影學校關閉，艾慕杜華惟有到電信局打工，用掙到的工錢買了一部超八攝影機，將工餘時間花在搞劇團、組樂隊、寫劇本和拍片之上。
1980年，他完成第一部長片《烈女傳》。1986年拍攝的《欲望之規條》更是與兄長奧古斯汀合組製作公司的創業作。及後他憑《女為悅己者狂》獲威尼斯影展最佳劇本等多個國際性獎項，令艾慕杜華的名字及其充滿異色風格的作品開始在世界各地為人熟悉。其他作品如《綑著我困著我》、《情迷高跟鞋》、《蕩女KIKA》及《活色生香》等都在票房與口碑上獲得不俗的成績。99年憑《論盡我阿媽》勇奪康城影展最佳導演獎，02年自編自導的《對她有話兒》更令艾慕杜華贏得奧斯卡最佳原著劇本獎，首度踏上奧斯卡頒獎台，到達事業另一高峰。
點石成金的艾慕杜華
艾慕杜華擅長拍出人間色相，更懂得令極具潛質的演員成為出口外銷的搶手貨。演過他的作品而打入荷里活的例子比比皆是。其中兩位幸運兒包括《欲望之規條》的安東尼奧班達拉斯(Antonio Banderas)，還有在《活色生香》演懷孕妓女的彭妮露古絲(Penelope Cruz)。《聖．教．慾》的兩位主角會否步他們後塵呢？先作個賽前分析吧--
菲利馬甸尼茲(飾演昂力克)
處男作《超感官謀殺案》獲西班牙電影節最佳新人獎之後，菲利曾與西班牙大導演浩里澳密譚合作過《極地戀人》及《人間昆蟲記》。菲利在艾慕杜華的《對她有話兒》中戲份亦不少，卻很易走漏眼，因為他正是戲中戲的男主角縮水情人！導演希望昂力克的角色更具魅力，要菲利用四個月時間修身，摘下眼鏡，壓低聲線，搖身一變成為西班牙版吳彥祖。且看鬼才導演能否令菲利瘦出美麗人生。
加艾爾加西亞般奴(飾演安琪兒)
加艾爾從小就跟家人參與舞台演出，長大後更入讀戲劇學校，期間擔演多部電視及短片作品。首部主演長片《狗男女的愛》即獲提名奧斯卡最佳外語片。近作包括《哈利波特》第三集導演艾方素卻拿朗的《衰仔失樂園》，及於《中央車站》導演和路達沙理斯的新片The Motorcycle Diaries中飾演古巴革命英雄哲古華拉。似乎成為各大導演新寵之日不遠矣。
《聖．教．慾》演職員表
主演︰<狗男女的愛><衰仔失樂園>加艾爾加西亞般奴
<對她有話兒>菲利馬甸尼茲
<衰仔失樂園>丹尼爾哲美尼茲卡曹
路易賀瑪亞
<的士夠格>法蘭史西高波華
特別演出︰<對她有話兒>查維亞嘉瑪拿
攝影︰<超時空寵愛><月亮代表我的奶>祖斯路易艾堅
剪接︰<對她有話兒><論盡我阿媽>祖斯莎斯杜
音樂︰<對她有話兒><論盡我阿媽>艾拔圖伊歷斯雅斯
執行監製︰<對她有話兒><論盡我阿媽>艾絲達嘉茜亞
監製︰<對她有話兒><論盡我阿媽>奧古斯汀艾慕杜華
編劇/導演︰<對她有話兒><論盡我阿媽>金像得主 艾慕杜華
發行商：安樂影片有限公司
BAD EDUCATION
a film by PEDRO ALMODÓVAR
PRESS BOOK
International Publicity Contact
Dee Poku
Focus Features
International Publicity
SHORT SYNOPSIS
Two kids, Ignacio and Enrique, discover love, cinema and fear in a religious school at the start of the 60s. Father Manolo, the school principal and their literature teacher, is witness to and part of these discoveries.
The three characters meet twice again, at the end of the 70s and in the 80s. The re-encounter will mark the life and death of some of them.
LONG SYNOPSIS
Madrid, 1980. Enrique Goded, a young director of twenty seven who, despite his youth, has already directed three successful films, is looking through the news in the tabloids for a story for his fourth film (one item in particular attracts his attention and he cuts it out: "In a zoo in Taiwan, a woman threw herself into a pool full of crocodiles at a time when there was the greatest number of visitors. While the crocodiles were devouring her, the woman hugged one of them without making a sound."
The doorbell rings. The visitor is an attractive young man with a beard who says he is his old school friend, Ignacio Rodríguez. Enrique remembers his school friend perfectly, but he doesn't recognize any of his features in the young visitor. But it's also true that they haven't seen each other for sixteen years.
Enrique doesn't know it yet, but the search for the story for his next film is in front of him, smiling and holding out his hand.
In their school days, Ignacio had a literary vocation, but he gradually gave it up for that of acting. In any case, he has brought a short story called "The Visit". He gives it to Enrique in case it might interest him. The story was inspired by their childhood in the school, their problems with the priests, in particular with the Principal, the repression, the soccer games, the hypocrisy, the distortion of the spirit, the harassment, the masses sung in Latin by Ignacio who was the soloist in the choir, etc. It also tells, in parallel, of an essential discovery for the two kids: the cinema: Sara Montiel, "Hercules", "Breakfast at Tiffany's", "Moon River", "Johnny Guitar", etc.
The imagination of Ignacio-author has the three characters meet (in the short story) years later, when they are adults. Enrique, although still young, has become a frustrated family man in the provinces. Father Manolo has left the congregation and Ignacio has become Zahara, a drug addict transvestite who impersonates Sara Montiel (Gay icon, a sort of a Spanish Mae West of the 60’s and 70’s) and is a member of a fifth-rate variety company.
The story is told from Zahara's point of view on the night she performs in a Casino in the same city where Enrique and he went to school.
The encounter between the three characters, in the short story, ends tragically.
Enrique Goded reads "The Visit" with great interest. He is moved by the first part, which deals with their childhood, his love story with Ignacio, broken up by Father Manolo who, in love with Ignacio, expelled Enrique from the school so as not to have to compete with him. The second part, when Ignacio, who has now become Zahara, visits the school, intrigues and disconcerts him, but it also interests him.
He decides to adapt "The Visit" and make it into a film. When he tells this to Ignacio Rodríguez, whose current stage name is Ángel Andrade (his friend asks him always to call him by that name), the latter explodes with joy. He only imposes one condition, that he acts in the film. Enrique doesn't mind, but when Ignacio (Ángel) asks to play the lead, that is, the transvestite Zahara, Enrique tells him that he isn't right for the character (neither does he understand the request). He is too masculine, too well built, physically he is just the opposite to a character like Zahara. Ignacio (Ángel) insists, he asks Enrique to trust him. Enrique replies that he finds it very hard to trust him… and they end up having a violent argument.
Ignacio (Ángel) goes off, saying that if he doesn't play Zahara there won't be any film.
In the days following the argument, Enrique can't get the mysterious visitor out of his mind. He investigates, after all that's one of the storyteller's jobs, investigating his characters in depth in order to understand them better and tell them better. Enrique discovers that the attractive boy who came to ask for work is not Ignacio Rodríguez but an impostor who had access to the real Ignacio. He also discovers that the real Ignacio died three years earlier, shortly after writing "The Visit".
The shock of such a discovery increases when, a few days later, Ángel Andrade (the false Ignacio) visits him again. He has shaved his beard and slimmed down a little. Enrique thinks he has come to apologize and to explain everything, but it isn't so. The false Ignacio apologizes for the violent argument they had the last time they met, and offers Enrique the rights of "The Visit" to make a film of it, without imposing any conditions. He doesn't say a word about Ignacio or mention his imposture at any time. He only asks to be allowed to audition for the role of Zahara. (Enrique listens to him in astonishment). As he can see, Ángel has already slimmed down and he has also started working in a gay bar in order to learn how to be a "queen", and he is also receiving private lessons from Sandra, a transvestite who specializes in Sara Montiel.
Enrique auditions him, gives him the part and makes him his lover. He wants to know the impostor's reasons and how far he will go with his imposture, and he wants to know how Ignacio, his old school friend, died. He doesn't care what price he has to pay for the adventure.
Long months of preparation go by. The first day of shooting on "The Visit" arrives, and so does the last one. Enrique penetrates Ángel Andrade frequently, but only physically. He doesn't manage to discover anything about Ignacio's death and Angel's mystery remains intact.
But on the last day someone visits the set and hides behind the crew in order to see without being seen.
When Enrique goes back to his office to gather up his things, he catches the mysterious stranger in there, rummaging through photos from the shoot. The visitor calls himself by his last name , Mr. Berenguer, but Enrique recognizes Fr. Manolo, dressed in civilian clothes and seventeen years older than the last time he saw him, the day he expelled him from the school. Now it is Enrique who expels him from his office. But Mr. Berenguer remains motionless and asks him: "Don't you want to know how Ignacio died and who killed him? Wouldn't you like to know the identity of Ángel Andrade, the actor in your film?"
And Enrique "wants to know".
Driven by the same suicidal curiosity that led him to work with Ángel Andrade while knowing he was an impostor, Enrique lets Father Manolo tell him the true story of Ignacio-adult and as he listens he feels like the woman who threw herself into the pool of crocodiles and hugged them while they ate her.
DIRECTOR'S COMMENTS
I had to make "Bad Education". I had to get it out of my system before it became an obsession. I had worked repeatedly on the script for over ten years and I could have gone on like that for another decade. Because of the amount of possible combinations, the story of "Bad Education" was only finished once the film had been shot, edited and mixed.
"Bad Education" is a very intimate film, but not exactly autobiographical. I mean that I'm not recounting my life at school or all that I lived and learned during the first years of the "movida", although those are the two periods in which the story is set (1964 and 1980, with an interval in 1977).
Of course my memories were important when it came to writing the script. After all, I lived in the settings and in the periods in which it takes place.
"Bad Education" is not a settling of scores with the priests who "bad-educated" me or with the clergy in general. If I had needed to take revenge I wouldn't have waited forty years to do so. The church doesn't interest me, not even as an adversary.
Nor is the film a reflection on the "movida" in Madrid at the start of the 80s, even though a large part of it is set in the Madrid of that time. What interests me about that historic moment is the explosion of freedom that Spain was experiencing, as opposed to the obscurantism and repression of the 60s. The early 80s are, therefore, the ideal setting for the protagonists, now adults, to be masters of their destinies, their bodies and their desires.
The film is not a comedy, although there is humour (Javier Cámara's character), nor is it a children's musical although there are children singing.
It is a "film noir", or at least that is how I like to think of it.
FADE TO BLACK
Black are the priests' soutanes, black are the nights in the pupils' dormitory, black are the characters' destinies, and "noir" is the genre to which the story told in "Bad Education" belongs. Black, in French, in recognition of the country that rescued the genre, defined its identifying signs and encouraged its development as a manor genre.
Film noir (like almost all the noble genres) adapts easily to being mixed with other genres, provided the narrative has that breath of fatality without which black would be grey.
The noir genre mixes well with melodrama in its toughest form ("Leave Her To Heaven", by John M. Stahl, "Mildred Pearce", by Michael Curtiz), with the most desperate romanticism ("Laura", by Preminger, " La Sirène du Mississippi", by Truffaut, "Out of the Past", by Jacques Tourneur, etc), social criticism (Dashiell Hammett, Raymond Chandler, James Ellroy, Vázquez Montalbán) or the terror-without- monsters, that is, the kind that comes straight from the human heart ("Human Desire", in its two versions, Fritz Lang, whenever he works in this genre, "Fallen Angel" and "Angel Face", both by Preminger, etc.) or the melancholy of the violent, if a genre can be assigned to this characteristic (Nicholas Ray: "In A Lonely Place", "On Dangerous Ground"). The noir genre even mixes well with the western. That is Clint Eastwood's greatest contribution as a director ("Unforgiven" is really a thriller and "Mystic River" a western).
In film noir there may not be policemen or guns or even physical violence, but there must be lies and fatality, qualities that are normally embodied by a woman: the "femme fatale". The "femme fatale" (she isn't indispensable in the genre, but she is one of its great icons) is a woman aware of her power of seduction, hypo tense, so she won't be easily upset, who has lost her scruples and has no interest in recovering them. For her, sex is not a source of pleasure, but one of pain for everyone else.
In "Bad Education", the "femme fatale" is an "enfant terrible", the character played by Gael García Bernal, who strictly follows the examples of Barbara Stanwyck, Jane Greer, Jean Simmons ("Angel Face"), Joan Bennett ("Scarlet Street"), Ann Dvorak, Mary Windsor, Lizabeth Scott, Veronica Lake and so many other curses in the shape of a woman.
CINEMA AS A REFUGE AND AS A MIRROR
I like to think that cinemas are a good refuge for murderers and for the lonely. I also like to consider the screen as a mirror of the future.
Juan and Mr. Berenguer (Gael García Bernal and Lluis Homar) go into a cinema to kill time, after having killed someone. The evening is growing black for three reasons: the sky threatens a storm and the cinema where the two characters end up is showing two gems of French film noir, "La bête humaine" (Renoir) and "Thérèse Raquin" (Marcel Carné), both based on novels by Zola. The two films involve situations similar to that of the two men who are watching them as they wait for the Mediterranean night to fall.
As they leave the cinema, Mr. Berenguer, devastated, complains: "It's as if all the films were talking about us." (The big screen as a mirror of the spectators).
There is another sequence in which fiction and reality come face to face, like the spectator and the cinema screen.
When Mr. Berenguer visits Enrique Goded's set. In front of the camera he sees Fr. Manolo, or rather, Mr. Berenguer before he cast off his habits, in the film written by one of his pupils (Ignacio) and directed by another (Enrique). Mr. Berenguer can contemplate his past, narrated and deformed by the two pupils who, years earlier, had been his victims.
The narrative reflects itself and revolves around various visits. Even the scene that the two boys see in the cinema is a visit, to a convent (Sara Montiel, after living through an indescribable destiny in "Esa Mujer" returns to the convent where she took the habits).
Doubleness, duplicity and mirrors that multiply and deform what they see.
Enrique Goded decides to film the short story written by his friend Ignacio, which triples the versions we are seeing of the same story: the "real" story, the one told by Ignacio in his short story, inspired by and fantasised from the real story, and the one Enrique adapts from the short story and visualizes as a film.
"Bad Education" is the story of a triple triangle (the two pupils and the school principal), multiple stories that, like Russian dolls, are hidden inside each other and are really only one.
AUTO-INTERVIEW
Q: In "Law of Desire" (1986) the transsexual played by Carmen Maura goes into the church of the school where she studied as a boy. She finds a priest playing the organ, in the choir. The priest asks her who she is. Carmen confesses to him that she had been a pupil at the school and that he (the priest) had been in love with him. Is that the origin of "Bad Education"?
A: More or less. Long before that, I had written a short story in which a transvestite goes back to the school where he had studied in order to blackmail the priests who had harassed him when he was a boy. While filming "Law of Desire" I remembered that story and it gave me the idea of Carmen's character going into the church at his school and meeting a priest who loved him when she was a boy. By then I was considering the idea of developing the short story in detail. Carmen is a foreshadow of Zahara.
Q: There is also a film director in "Law of Desire".
A: Yes, and like Fele Martínez's character he mixes his personal desires with his work and in the end he pays a very high price for it. I've always been interested by the story of the artist who works with his own guts. It's a fascinating adventure even if it never ends well.
Q: In your first statements you denied that the film was autobiographical.
A: Paco Umbral says that everything that isn't autobiographical is plagiarism. The film is autobiographical but in a deeper sense. I am behind those characters but I'm not telling my life story.
Q: I believe you were the soloist in your school choir…
A: Yes. And I sang all the time, masses in Latin, motets, etc. I sang at all the religious ceremonies and the celebrations. And I guess I didn't do it badly. The priests recorded some of the songs I sang and played them at the door of the church to attract the faithful. And I remember that we filled the church. I'd give anything to recover those tapes, but I don't think they exist. What I most enjoyed in my time at school were the religious ceremonies. I'm agnostic, but I think the Catholic liturgy has a dazzling richness, it fascinates me and moves me. But it's been a long time since I went to mass. I don't know what it's like now.
Q: Does Fr. Manolo exist?
A: Yes, as a character.
Q: But did he really exist?
A: No. He's a made-up character, although for some scenes I was inspired by two priests at school.
Q: For what scenes in particular?
A: The harassment by the river and in the sacristy.
Q: Are they real scenes?!
A: Two schoolmates told me about them. If you're a boarder at a school you eventually find out about everything.
Q: If the two people who were the inspiration for Fr. Manolo are alive, aren't you afraid they may react?
A: Admitting that they were being alluded to would be like accusing themselves. I'm a director and a scriptwriter. For me, Fr. Manolo is a character, one with whom, I should mention in passing, I'm very satisfied. The character isn't a weapon thrown against the Catholic church (which does have a lot of problems to solve, including its priests' sexuality. If celibacy didn't exist, there wouldn't be so many cases of abuse.) I didn't create Fr. Manolo and his prolongation, Mr. Berenguer, in order to attack the church. They are elements that allow me to talk about two of the many faces of passion. When Fr. Manolo is played by Daniel Giménez-Cacho, the passion he feels for the boy, and his abuse of power, make him into an executioner. When he calls himself Mr. Berenguer and has cast off his habits and falls in love with Juan, the same terrible character plays the opposite role in the roulette of passion. Now he is a victim.
The film is inconceivable without those two characters, who are really one, and without their incarnation by Daniel Giménez Cacho and Lluis Homar respectively. Although they are two veterans, they were two great discoveries for me. I can never thank them enough for their lack of prejudice, their depth and their unending willingness to satisfy all the demands of a director as insatiable as I am.
Q: What can you tell me about the rest of the cast?
A: They are superb. Fele Martínez, Francisco Boira, the kids, Javier Cámara, Alberto Ferreiro, Petra Martínez, Francisco Maestre, and, naturally, Gael. It's a miracle to get it right with all the actors, especially when you don't know any of them, except Javier and Fele.
Q: Fele doesn't seem like himself, physically.
A: I made him slim down and train for four or five months, until he got another (better) body, another physical attitude. He was delighted, because everyone found him much sexier. As well as the physical aspect, we also worked on his tone of voice. I lowered its tessitura. He gave the character his heart, all of it, and his skin. I believe that from now on Fele will do other kinds of roles, less teen, more adult. He's an all-round actor. He can span the two extremes, torrid drama and crazy comedy. As happens in a different way with Javier Cámara.
Javier is very versatile, he works in all the media (cinema, television, theatre, cabaret) and in all the genres. In "Talk to Her", even though the role was dramatic I discovered his gift for humour, and even though it's brief, his character in "Bad Education" was like an oasis for the whole crew. Javier is a comedian virtuoso. He has that special gift that goes beyond acting and that can't be learned. His composition of "Paca" is rich, exhaustive, human, hilarious, dangerous for whoever is at his side because you only have eyes for him. A natural "scene-stealer".
Q. Poor Gael!
A: Not in the slightest. Gael is going to work a lot and he's going to make lots of money.
Q: How and why did you choose him, after cross-dressing every Spanish actor in the prime of young manhood?
A: By auditioning him two or three times, like everyone else.
Q: What did he have that the others didn't?
A: He was very attractive as a boy and as a girl. And that was essential for understanding his character's relationship with the others, the intensity with which everyone became obsessed with him.
Q. Is Gael the villain of the story?
A: "Bad Education" is the opposite of a film with good guys and villains. In any case, I never judge characters whatever they do. My job is to "represent them", "explain them in all their complexity" and come up with an entertaining spectacle with all that. It isn't good for a film that the director judges his characters, even if they do atrocious things. Juan, the base-character that Gael plays, is a guy who doesn't stop at anything as far as he gets what he ambitions. He is capable of killing, if the situation comes up, of seducing and of having sex with men and women depending on his convenience. His absolute lack of scruples gives him an incredible strength, and makes of him a walking menace. But if you don't cross yourself in his ambition's path, Juan is a normal guy that can live perfectly integrated in society without anyone detecting the danger that he brings along. I like to compare it to those Patricia Highsmith’s amoral characters, Ripley, for example, to whom crime does not affect morally, but ends up refining them, cultivating them and making them charmer. Considering the movie as an obscure "thriller", as I said before, the character of Gael, represents the typical "femme fatale", (in his case "enfant terrible") because he leads all the characters who come in contact with him to their downfall. And "Downfall" is the Spanish title for "Double Indemnity" (by the genius Billy Wilder), "noir" among the "noir"-est, to which I'm paying homage.
Juan and Mr. Berenguer go to the Museum of Giant Figures in Valencia to plan a murder. Juan tells his lover that after they carry it out they mustn't see each other for a while. With the naivety of the typical manipulated lover, Mr. Berenguer thought that the murder would unite them forever but, on the contrary, it drives them apart and he can't bear that idea but it's too late to avoid it.
This scene is a reference (and reverences) to the scene in the supermarket in "Double Indemnity". Even though I really like how it turned out, I'm aware that no film in colour can surpass the image of Barbary Stanwyck in a curling blonde wig and large dark glasses, surrounded by stacks of canned food, all of it, including Fred MacMurray, in glorious black and white.
Q: What was it like working with Gael?
A: A challenge, for him and for me. It isn't easy to play a character that is actually three, especially when two of them are very different physically. I guess it's the hardest work that Gael has done to date. On top of the difficulty of changing sex and not looking grotesque, there was the accent. I wanted him to speak Spanish, not Mexican which is very different…
Q: Are you satisfied with the result?
A: Yes. I hope that the spectators won't let themselves be influenced by the fact that one of his characters is so hateful. To end up, I don't want to forget Alberto Ferreiro, Francisco Maestre, Petra Martínez and the kids . They were all wonderful surprises. With Raúl García and Ignacio Pérez (the kids), I hit the jackpot. You never know what can happen with one child, never mind two. I have no experience with child actors. I directed Ignacio and Raúl as if they were adults, and I think the result is very moving. I'm very proud of that part of the film (the story of the two boys and their relationship with God and Fr. Manolo), perhaps because before I started shooting it seemed to be the most difficult and most delicate part. I'm very grateful to Joserra Cadinanos, the casting director, who during the shooting helped me explain to Ignacio and Raúl what they were doing and why they were doing it. Joserra was my best intermediary.
Q: The structure of "Bad Education" is at least as complicated as that of "Talk to Her"…
A: I think it's even more so. As in "Talk to Her" in "Bad Education" there is a film within a film, but in this case it lasts half an hour, which is even more risky. Really, the film tells three stories, about three concentric triangles, which in the end turn out to be just one story.
Q: The story of a director-scriptwriter who is looking for a story…
A: And who finds it. As Truman Capote said, quoting St. Teresa, "There are more tears shed over answered prayers than over unanswered prayers"...
Q: Why so many voiceovers?
A: The voiceover is used to explain what isn't seen and to speed up the narration rhythm. It is as if a character in the movie visits you, sits down in front of you at the table and sums up part of his/her story. Voiceovers have been essential for me to shift from one story to the other, from one period to the other.
The good thing about having the two protagonists, one a film director (that is to say, a narrator, someone who investigates so that everything is understood) and the other possessing a tight secrecy attitude, intrinsic quality to the impostor's nature, the good thing about having these two opposed characters, I say, is that it makes us understand lots of keys to the Gael’s character through the director (Fele Martínez). The spectator knows what Fele knows, so he/she identifies with Fele, and it's his eyes and his "voiceovers" what explain his discoveries about himself and the mysterious and ferocious figure of Gael-Juan.
BROTHERS
Q: One of the elements in the plot that works best is when we discover that two of the characters are brothers.
A: Yes, and I'd like to keep that a secret. I adore the feeling of fraternity, and I've always liked films about siblings: Warren Beatty getting a beating in a parking lot for defending the honour of his sister, Barbara Loden, in "Splendor in the Grass". Legs Diamond, in the film by Budd Boetticher, getting caught because of his brother's carelessness. The Bonnie and Clyde gang, led by two brothers. The entire Godfather saga has given us marvellous scenes of siblings who love each other, beat each other up, protect each other and kill each other. All of Ma Baker's children in "No Orchids for Miss Blandish" (written by James Hadley Chase, directed by John L. Clowes). "Bloody Mama", by Roger Corman. Fierce mothers, leaders of gangs made up of their own children.
I'm moved by all of Alain Delon's brothers in "Rocco and His Brothers". Even Michael Jackson and Latoya Jackson, deformed mirrors of each other. Natalie Wood and George Chakiris in "West Side Story".
Hayley Mills playing her own twin in "The Parent Trap", the Siamese twins in "Sisters", by early Brian de Palma. The Marx Brothers in any of their films. The touching Harry Dean Stanton in "Paris-Texas" and his silent visit to his brother, Dean Stockwell. The two Mills sisters in "Fallen Angel", by Preminger, the two delightful spinsters in "Arsenic and Old Lace" and Shelley Winters' little orphans, pursued by the evil Robert Mitchum in "The Night of the Hunter". And even, although Raymond Chandler's dialogue prevented the slightest sentimentality, Lauren Bacall defending her indefensible sister in "The Big Sleep".
At times the fraternal relationship gets complicated (How could it not!) when there is sex. I love Sam Sheppard's play "Fool For Love", and the wonderful novel "Middlesex" in which a brother and sister even get married.
Fraternity is a sentiment in disuse, replaced in present-day life by friendship, but it isn't exactly the same; fraternity springs from two great sentiments, love and friendship, united by something as unfathomable as consanguinity.
Among the films about siblings that I remember, I haven't mentioned "Whatever Happened to Baby Jane?" (Robert Aldrich), a "grand guignol" which the two immense leading ladies elevate in category and genre. Two sisters, both of them former child stars, live together when they are adults, even though they hate each other. One of them (Bette Davis) ends up killing the other (Joan Crawford).
There is something of this in "Bad Education", although in a hidden way. When they were little, Juan (Ángel Andrade) was jealous of his older brother Ignacio because he was better at everything. Jealousy in younger siblings is very common. But in Juan's case, it grew over the years. The two boys wanted to be artistes. Everything was easy for Ignacio, singing, dancing, writing, reciting, transforming himself and acting. Everything that Juan would have liked to do, Ignacio did better. And Juan hated him in silence until Ignacio gave him cause to hate him openly when he began to take drugs and dress as a woman in the little town where they lived. Family life was absolute hell because of Ignacio. The mother, who had a weak heart, was in an unbearable situation The father couldn't stand the shame and started to drink more and more, until one winter's day they found him dead in the street, in a frozen puddle.
Out of obedience to his mother, and in his own interest, Juan went to live with his brother in Valencia. He enrolled in an acting school and kept an eye on Ignacio, so that his mother wouldn't worry so much. It was the start of democracy in Spain and in Valencia Ignacio lived a very free life, devoted to writing, to changing his body for that of a real woman, and to using heroin to anaesthetise the tension produced by his lifestyle.
Then Mr. Berenguer, Ignacio's old literature teacher, turned up. He had hung up his habits and was living in Valencia and working in a publisher's. The appearance of the former Fr. Manolo dynamites the two brothers' existence.
AUTO-INTERVIEW
Q: After thirteen years, ("Tie Me Up, Tie Me Down!") you're working with José Luis Alcaine again as director of photography.
A: What a great idea it was to call him! José Luis has done a splendid job. I barely had to tell him what I wanted. Music and photography are two abstract elements, hard to explain. I turn up for the shoot, laden with references, but the director of photography has to sense, guess, smell the atmosphere that goes best with the story. Or atmospheres, because in "Bad Education" there are a lot of films together, and very different aesthetics coexist within the same story. Alcaine was immensely inspired every day of this very hot shoot. As a professional he's at his peak, and I think we've both matured as people and the result has been a perfect marriage.
Q: And Gaultier?
A: I called on him to dress Zahara, in particular her outfit for the show, which is a masterpiece as regards cut and conception. It's a flesh-colored dress, tight-fitted to the neck like a second skin, that gives the impression of total nudity. The ass, the tits and the pubis are made with sequins and brown and pink glass bead and tones. The dress in itself represents false, naked femininity. He also undertook to give a touch to Ignacio-adult's gabardines and shorts. Jean-Paul is like a big child. That's why he'll never make a vulgar dress. Working with him is great fun. I adore him.
Q: This is the fifth time you've worked with Alberto Iglesias…
A: Alberto Iglesias is the only marvellous artist I know without any ego problems, the only one I make repeat the themes over and over again without him losing neither his enthusiasm nor his creativity. He is a musician and a person out of the ordinary. For this occasion, he has built a powerful, original column of sound on which the film rests, like a baby rests in its mother's arms. Alberto surprises me in every movie, after the mixing I can not think of a musical costume that suits better "Bad Education" than the one that Alberto has created for it.
Q: To judge from the answers to your own questions, you give the impression of being very happy with this film.
A: I'm never happy, but, well… Let's say I'm pretty cheerful.
Q: Future projects?
A: To recover my sleep and my waistline.
PEDRO ALMODÓVAR - BIOGRAPHY
He was born in Calzada de Calatrava, in the province of Ciudad Real, in the heart of La Mancha, in the 50s. At the age of eight, he emigrated with his family to Extremadura. There he studied in elementary and high school with the Salesian Fathers and the Franciscans respectively.
At sixteen, he left home and settled in Madrid, with no money and no job, but with a very specific project: to study and make films. It was impossible to enrol in the Official Film School. Franco had just closed it. As he couldn't learn the language, he decided to learn the content, that is, life, to live… Despite the dictatorship that was suffocating the country, for an adolescent from the provinces Madrid represented culture, independence and freedom. He worked at many sporadic jobs, but he couldn't buy his first Super-8 mm camera until he got a "serious" job at the National Telephone Company of Spain where he remained for twelve years, working as an office assistant, twelve years that he also devoted to multiple activities that really formed him as a filmmaker and as a person. In the morning, in the Telephone Company, he gained a real knowledge of the Spanish middle class at the start of the consumer era, its dramas and its misfortunes, a gold mine for a future storyteller. In the afternoon-evening he wrote, loved, did theatre with the mythical independent group Los Goliardos, made films in Super-8 (his only school as a film maker). He collaborated with various underground magazines, wrote short stories, some of which were published. He was a member of the parodic punk-rock group, Almódovar and McNamara, etc.
He was fortunate in that the opening of his first film in commercial cinemas coincided with the birth of Spanish democracy. After a year and a half of difficult filming on 16mm, in 1980 he opened "Pepi, Luci, Bom" a no-budget film, made cooperatively with the rest of the cast and crew, all beginners except for Carmen Maura.
In 1986, with his brother Agustín, he founded the production company El Deseo, S.A. Their first project was "Law of Desire". Since then they have produced the following ten films which Pedro wrote and directed, and also produced other young directors.
International recognition came with "Women on the Verge of a Nervous Breakdown" in 1988. Since then, his films have opened in every corner of the world. With "All About my Mother" he got his first Oscar for Best Foreign Film, and also the Golden Globe, the César, three European Film Awards, the David de Donatello, two BAFTAs, seven Goyas and another forty-five awards. Three years later, "Talk to Her" had the same or better luck (Oscar for Best Script, five European Film Awards, two BAFTAs, the Nastro de Argento, the César and many more awards throughout the world except in Spain).
2003 has been one of the best years for El Deseo S.A. As well as the critical and public acclaim for "Talk to Her", it produced and opened "Chill Out!" by Félix Sabroso and Dunia Ayaso and "My Life Without Me" by Isabel Coixet, nominated for Best Film and Best Director in the European Film Awards, a social phenomenon in Japan and a great critical success throughout Europe.
FILMOGRAPHY
1974-1979 Various films of differing lengths on Super-8mm, including some on 16mm (Salome)
1980 Pepi, Luci, Bom
1982 Labyrinth of Passions
1983 Dark Habits
1984-5 What have I done to deserve this?
1985 Trayler para amantes de lo prohibido (médium length on video, for TVE)
1986 Law of Desire
1987 Women on the Verge of a Nervous Breakdown
1989 Tie Me Up, Tie Me Down!
1991 High Heels
1992 Acción mutante, by Alex de la Iglesia (Producer)
1993 Kika
1995 Flower of my Secret
1995 Tengo una casa, by Mónica Laguna (Producer)
1996 Pasajes, by Daniel Calparsoro (Producer)
1997 Live Flesh
1999 All About my Mother
2000 Devil's Backbone, by Guillermo del Toro (Producer)
2001 Talk to Her
2002 My Life Without Me, by Isabel Coixet (Producer)
2003 Chill Out!, by Félix Sabroso & Dunia Ayaso (Producer)
2003 Bad Education
2004 The Holy Girl, by Lucrecia Martel (Producer)
CAST, BIO-FILMOGRAPHIES
GAEL GARCIA BERNAL
Born in Mexico of actor parents, Gael became familiar with the world of acting from a very early age. Since beginning his career in television in the series "Teresa", he has participated in many productions in various countries: Mexico, Spain, England…
He studied at the Central School of Speech and Drama in London. His most remarkable films include "Amores Perros" (Alejandro González-Inárritu), "No News From God" (Agustín Díaz Yanes), "And Your Mother Too" (Alfonso Cuarón), "Vidas privadas" (Fito Paez) and "The Crime of Father Amaro" (Carlos Carrera. This year, as well as "Bad Education", will see the opening of "The Motorcycle Diaries", directed by Walter Salles.
He won the Marcello Mastroianni Award at the Venice International Film Festival in 2001 for "And Your Mother Too".
FELE MARTINEZ
Born in Alicante 29 years ago, Fele Martínez is one of the indispensable faces of "young Spanish cinema". He moved to Madrid where he trained at the Real Escuela Superior de Arte Dramático (Royal School of Dramatic Art) and then continued with a course in Antonio Madonna's Private School.
He received the Goya Award for Best New Actor for "Thesis", by Alejandro Almenábar in 1996. He has now made over twenty films, the most notable of which, apart from the above, include: "Open Your Eyes" (Alejandro Amenábar, "Sleepless in Madrid" (Chus Gutiérrez), "The Lovers of the Artic Circle" (Julio Medem), "Black Tears" (Ricardo Franco), "April Captains" (María de Medeiros), "Talk to Her" (Pedro Almodóvar) and "Darkness" (Jaume Balagueró)
His latest adventure has been in the theater, where he has successfully played Woody Allen's alter ego in the play "Play It Again, Sam".
DANIEL GIMÉNEZ-CACHO
Spanish by birth (Madrid), Daniel has managed to combine all kinds of acting work in his extensive career, from the theatre, where he has acted in plays by Eugene O'Neil (Long Day's Journey into Night), Peter Nichols (Passion Play), Chesterton (Double Face) to lending his voice for the narrator in "And Your Mother Too".
He has worked for both famous and first time directors on both sides of the Atlantic in more than thirty films. His filmography includes such notable titles as: "Chronos" (Guillermo del Toro), "Miracle Alley" (Jorge Fons), "Nobody Will Speak of Us When We're Dead" (Agustín Díaz Yanes), "Deep Crimson" (Arturo Ripstein), "Jealousy" (Vicente Aranda), "No Shame" (Joaquín Oristrell and "Aro Tolbukhin in the Mind of a Killer" (Agustí Villaronga).
He received the Ariel Award as Best Actor for his performance in "Deep Crimson" and "Aro Tolbukhin" and the Ondas Award for "No Shame".
JAVIER CÁMARA
Javier Cámara was born in La Rioja and came to Madrid to study acting at the Real Escuela Superior de Arte Dramático (Royal School of Dramatic Art).
Since then, he has worked in all the media possible for an actor: theatre, film and television. His various roles have won him great popularity among audiences in various countries. His most notable work includes that of the protagonist of "Talk to Her" (Pedro Almodóvar) which brought him international recognition and for which he received the Audience Award for the Best European Actor of 2002.
Since making his debut in "Alegre ma non troppo" (Fernando Colomo), he has managed to become one of our best loved actors in films such as "Torrente, the Stupid Arm of the Law" (Santiago Segura), "Torremolinos 73" (Pablo Berger), "Los abajos firmantes" (Joaquín Oristrell) or in the television series "Ay, senor, senor!" and "Siete vidas".
Recently Javier has gone back to the theatre with the play "Family Resemblances" (Agnès Jaoui and Jean-Pierre Bacri).
Ondas Award 2004 for "Torremolinos 73".
LLUIS HOMAR
Bon in Barcelona forty-seven years ago, Lluis has been able to combine theatre, to which he has dedicated most of his extensive career, with cinema and television. He studied law at the Autonomous University in Barcelona after which he did several acting courses: Uta Hagen (1986-87) in New York and John Strasberg (1985) among others.
He was one of the founders of the Teatre Lliure and its director from 1992 to 1998. He has acted in and directed over thirty theatrical works for this company. In 1999, he directed and starred in Shakespeare's "Hamlet" for the Grec Festival. Among the authors whose works he has directed and played in on stage are David Mamet, Botho Strauss and Ibsen. In cinema he has worked for directors such as Pilar Miró, Vicente Aranda and Mario Camus.
In 1986, he received the National Acting Award and the Fotogramas Silver Theater Award for "Hamlet" in 2000.
FRANCISCO BOIRA
Born in Huesca, he studied at Juan Carlos Corazza's Acting Studio.
He has played supporting roles in important Spanish films such as "Morirás en Chafarinas", by Pedro Olea, "Taxi", by Carlos Saura, "Love Can Seriously Damage Your Health", by Manuel Gómez Pereira and "Novios", by Joaquín Oristrell.
He has also collaborated successfully in the series "Todos los hombres sois iguales".
His daring performance in "Bad Education" will undoubtedly open the doors of cinema to him.
CREW, BIO-FILMOGRAPHIES
AGUSTIN ALMODÓVAR
He was born in La Mancha and graduated in Chemistry from the Complutense University of Madrid.
In 1985, he began working actively in cinema. He was production trainee on the crew of "Se infiel and no mires con quien" (Fernando Trueba). That same year he began his incessant participation in his brother's films, working as assistant director on "Matador" and immediately afterwards he and Pedro founded their own company, El Deseo, in 1986.
Since then, he has been responsible for the production of all of Pedro's feature films (winning the Oscar for Best Foreign Film for "All About My Mother") and combining this with producing other young directors (Alex de la Iglesia, Mónica Laguna, Daniel Calparsoro, Guillermo del Toro, Isabel Coixet, Felix Sabroso and Dunia Ayaso, and Lucrecia Martel).
With El Deseo, he has worked on many co-productions with France. Chosen by the prestigious magazine "Millimeter" as one of the 50 top producers in the world, he is also a member-director of Spain's Academy of Film Arts and Sciences.
ESTHER GARCIA
Born in Segovia, Esther has won two Goyas as production director on "Acción Mutante" and "All About My Mother". She has been production director on more than 90 films and television series since she began in 1976 with "Curro Jiménez"
She has worked at all the jobs in production from trainee to executive producer, the post she has held since the film "My Life Without me" (Isabel Coixet).
As well as working uninterruptedly for Pedro since "Matador", she has also done production work for Fernando Trueba, Mariano Ozores, Luis María Delgado, Gonzalo Suárez, Emilio Martínez Lázaro and Fernando Colomo.
As part of the El Deseo team, she has been production director on "Acción Mutante" (Alex de la Iglesia), "Tengo una casa" (Mónica Laguna), "Pasajes" (Daniel Calparsoro), "Devil's Backbone" (Guillermo del Toro) and "Chill Out!" (Félix Sabroso and Dunia Ayaso)..
Along with Agustín Almodóvar, she has moved into international production with ventures such as "My Life Without Me", by Isabel Coixet, and "The Holy Girl", by Lucrecia Martel, which will be opening shortly.
ALBERTO IGLESIAS
Born in San Sebastian in 1955, he studied piano, guitar, counterpoint and harmony with Blanca Burgaleta and Francisco Escudero in his home city. He expanded his studies in Paris with Francis Schwartz and in Barcelona with Gabriel Brncic. He has collaborated with Carlos Saura, Bigas Luna, Julio Medem and Iciar Bollaín, among others.
He has developed a close collaboration with Pedro since they first worked together on "The Flower of my Secret", and since then he has been the regular musician on his films.
His soundtracks include "The Lovers of the Artic Circle" (Julio Medem), "All About My Mother" and "Talk to Her" (Pedro Almodóvar). He has received six Goya awards for his work on the above films and for his compositions for "The Red Squirrel", "Earth" and "Sex and Lucía" (all by Julio Medem),
As well as his work for cinema, he has composed symphonic and chamber music and several ballets for the National Dance Company.
PEPE SALCEDO
He has edited more than ninety films to date, including all of Pedro Almodovar's films.
He was assistant to Pedro del Rey and Pablo del Amo. He began his career with the film "Una mujer prohibida", and since then he has received three Goya awards for his work in "Women on the Verge of a Nervous Breakdown" (Pedro Almodóvar), "Nobody Will Speak of Us When We're Dead" (Agustín Díaz Yanes) and "All about My Mother" (Pedro Almodóvar). He has worked with some of the most important Spanish directors, including Manuel Gutiérrez Aragón, Eloy de la Iglesia, Pedro Olea, Gonzalo Suárez, Jaime Chávarri, José Luis Borau and Manuel Goméz Pereira.
JOSÉ LUIS ALCAINE
Born in Morocco, José Luis is one of our most prolific and international directors of photography. He studied at the Official Film School in Madrid and is a member of the Spanish Association of Cinematography. (A.E.C.).
He has worked for a multitude of directors in various countries and languages. In Spain he has worked with Vicente Aranda, Fernando Trueba, Bigas Luna, Manuel Gutiérrez Aragón, Fernando Colomo, John Malkovich, Pilar Miró, Victor Erice, Carlos Saura, Fernando Fernán Gómez and Montxo Armendáriz among others.
Responsible for the lighting of more than a hundred films, he is working with Pedro again after their last collaboration in "Tie Me Up, Tie Me Down!", and a previous adventure together in "Women on the Verge of a nervous Breakdown".
To date, he has received three Goyas for his excellent work behind he camera in films such as "The Bird of Hapinness" (Pilar Miró), "The Mad Monkey" (Fernando Trueba) and "Don Quixote, Knight Errant" (Manuel Gutiérrez Aragón).
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