UPDATE: Viggo-Works 2019 15th Anniversary Server Fundraiser

Viggo News

Jump to page:
RSS feed for this page

Search Result

Show all news items in: Viggo News
 

Print View Link to this newsitem

CITIZEN K: The Complete Interview


Found By: Translation by Paddy



Our thanks to paddy for giving us the complete translation of the Yanes interview from CITIZEN K...which includes the previously posted parts about Viggo. A great interview.
Quote:
In September it will be released the biggest superproduction in the history of the Spanish cinema: "Alatriste". Satisfied and confident, the director Agustín Díaz Yanes defends his work to the last.

CK: Literature and History, two of your passions together in "Alatriste". You are pleased, aren't you?

ADY: Well, more the History than Literature. But yes, I'm pleased. You seldom get the chance to do something like this here. A lot of films are made based on contemporary novels, but being given the opportunity to make a film about some historical novels set in the XVII century (and Spanish as well) is great, to tell the truth.

CK: Pérez-Reverte has a reputation for being a difficult person. How was your relationship?

ADY: When I was offered to do "Alatriste" I talked to Reverte. I didn't know whether he wanted to write the script or not. He told me he didn't: "You write the script, If I don't like it I'll tell you". And Arturo just as he is, he sure will tell you. I thought that, since there are five novels, I had to respect the spirit of Alatriste more than anything, so what I did was calling Arturo every now and then as I was writing the script. I told him, for example : "I've been thinking about doing this with this character. Are you okay with it?" - because I have brought some events forward, things that are not in the novels, or joined two characters in one, for example-, and he told me : "Very well, go on, go on". And then he read the script and thought it was fantastic. We had a very good relationship. Everything I had heard about him interfering in the films, in my case, wasn't true. He lets you work, and then he gives his opinion, which is much better. He gave me complete freedom.

CK: He has said that the film "is very good" and rates it quite highly. Why do you think he liked it so much?.

ADY: I am vey glad. At the beginning we agreed - and I think that's why he's pleased - that I wasn't going to betray the spirit of the novels. And I've respected that : the spirit of Alatriste is totally in the film.

CK: Which are the keys of literary adaptation?

ADY: I think that the first thing you must have is a cinematographic text : there are novels that we like very much when we read them but they are not for cinema. My opinion - which isn't mine but it's based on the history of cinema - is that there is a kind of novel of great, great, great Literature that is very difficult to put in the screeen. And then, there are great texts that you can turn into films because they have a cinematographic essence. What do I call cinematographic essence?. Well, that they have characters. The good thing about Arturo's novels when it comes to turn them into films, especially Alatriste, and besides their literary quality, is the existence of a magnificent central character, and other characters surrounding him that are also great. A classic example is "The Godfather" : besides Coppola being a genius, Brando's character is very, very good. The fact that you had liked a novel very much or that it has been a best-seller are different things. But that cinematographic essence is fundamental.

CK: Both "Nobody Will Speak of Us When We're Dead" and "No News from God" were portrayals of strong women. It seems like, on this occasion, women are giving up the leading role to men...

ADY: Well, it's true that the film has a male central character, and that he's a very special man also, a soldier of the XVII century. But I've managed - I think - to get three very strong feminine characters, because I thought - and I also consulted that with Arturo, and he agreed completely - that Alatriste should have some women characters around him that were as strong as the men. But yes, working with many more actors than actresses has been a change.

CK: You have gone from the harsh urban chronicles with a social approach to the "period" cinema. What a change, isn't it?

ADY: Not so much. I had a professor at college who used to say that the Madrid of the XVII century was very similar to the Madrid of XX c., or the New York of the XX c. : a lively, hard, brutal city. In the film you can see the city, and its hostility, and the misery...I think it's very realistic. The Madrid of Alatriste is a "sh*t" (laughs). Deep down, it isn't so different from the other films I've done...

CK: 24 million of Euros, 12 weeks of shooting, an international cast, more than 7000 extras and a huge crew... Have you felt "dizzy"? Did you have a big pressure?

ADY: Well, no. When these things are asked, everybody thinks about the American cinema, where the pressure is really brutal. In that regard Spain is fantastic : the pressure is completely different. Here the director is the boss and everything evolves around him when the shooting starts ; then, you can be right or wrong, but you are the one in charge. You have the pressure you put yourself, and my only pressures were to make the film with the money that the producers gave me and on the scheduled time. What I've certainly felt was a big personal pressure : being in charge of so many people, handling so many things at the same time...but the producers have trusted me completely. I agree with the Mono Burgos (tr. note: famous football goalkeeper) : pressure...pressure is what those who work down a mine have.

CK: Then, there is no big difference between shooting with tight budgets and taking charge of a superproduction like this...

ADY: Well, there is a difference...The big difference is the organization, because of the size. I've done this one like my other two films, except that I prepared the other ones in two or three months and this one took me one year. Everything has to be under control, perfect before starting (to film). And then you arrive at the shooting and you meet the actors you put in front of the camera... The most important thing is to choose well the people in charge of every section : wardrobe, swords, sets, etc. Everything has to be very well coordinated, because if that doesn't happen, you can suffer a phenomenal heavy blow.

CK: "Alatriste" is born with a clear international ambition. What expectations do you have? What's the limit of the film?

ADY: In that regard I'm quite prudent : I don't like to talk about whether the audience is going to see a film or not before it's released. I'm sure that the audience has decided whether to go to see a film or not before it starts to be filmed : in that regard I'm fatalistic. Nobody knows how a movie is until it's released, and however, people have already decided not to see it beforehand; who knows why...I think that "Alatriste" is going to work well both in Spain and abroad; I'm confident. The limit?. I have no idea. It's not my job to know that either.

CK: And the critics?

ADY: I don't know whether the critics will speak well or badly of it, but I think the film is good and therefore, I expect to get good reviews.

CK: What did Viggo Mortensen provide the film?

ADY: Everything; absolutely everything. In Spain, because of the tradition of our cinema, we don't have action heroes, and Viggo combines an impressive physique (that "exact image of the weary hero" that Arturo wanted) with the fact of being a spectacular actor of action (films). He's an extraordinary actor in dialogues, in everything...he has that combination that it's so difficult to find here. Viggo has been the vital centre of the film. The title of the movie is "Alatriste"!!. His experience, his help and his advice have also been very important.

CK: And with the consent of Victoria Abril and Penélope Cruz, what's the difference in working with the big stars of international productions?

ADY: None, although Viggo represents that "other Hollywood". Some people I know who have worked with some big stars haven't spoken well of them at all, but I have to admit that, although at first I was a bit worried, it's very easy to work with him. Generally, until you start to shoot, everybody is very polite and very friendly. But Viggo is very nice before, during and after shooting. It's almost impossible to think of him as a Hollywood star, even though he is. He's meticulous, very professional, and he has that knowledge of cinema "from the inside", a bit like Victoria Abril. Besides being actors they are scripts, editors, photographers...they know all that, indeed.

CK: Do you think that "Alatriste" is going to "open the season" of the superproductions in Spain?

ADY: It should; I think that's an unfinished business. The Spanish cinema, I've already said that on other occasions, - and someone is going to get mad at me - , is too monothematic. Comparing our cinema with the American industry is a mistake : it's another world. But if we compare ourselves with the French industry - which would be what we should tend to approach, for example -, they have social films, bourgeois comedy, cinema for the youth, superproductions...One of the problems, now that there is so much talk of the audience not going to the cinema to see Spanish films, is that, in the last ten years, we have become very monothematic. There is no diversity, and this way doesn't lead us anywhere.

© CITIZEN K ESPANA (VERANO, 2006). 2006 CITIZEN K ESPANA. All Rights Reserved. BY: Andres Rubin de Celis. 2006 Estudios Picasso/ Origen PC. All Rights Reserved. Images © Kika Palacio.

Print View Link to this newsitem

More Translation from Paddy!


Source: CITIZEN K ESPANA.
Found By: Translation by Paddy




Our thanks go out again to paddy who this time gives us a small piece of the CITIZEN K ESPANA article, translated to English.
Quote:
CK: What did Viggo Mortensen provide the film?

ADY: Everything; absolutely everything. In Spain, because of the tradition of our cinema, we don't have action heroes, and Viggo combines an impressive physique (that "exact image of the weary hero" that Arturo wanted) with the fact of being a spectacular actor of action (films). He's an extraordinary actor in dialogues, in everything...he has that combination that it's so difficult to find here. Viggo has been the vital centre of the film. The title of the movie is "Alatriste"!!. His experience, his help and his advice have also been very important.

CK: And with the consent of Victoria Abril and Penélope Cruz, what's the difference in working with the big stars of international productions?

ADY: None, although Viggo represents that "other Hollywood". Some people I know who have worked with some big stars haven't spoken well of them at all, but I have to admit that, although at first I was a bit worried, it's very easy to work with him. Generally, until you start to shoot, everybody is very polite and very friendly. But Viggo is very nice before, during and after shooting. It's almost impossible to think of him as a Hollywood star, even though he is. He's meticulous, very professional, and he has that knowledge of cinema "from the inside", a bit like Victoria Abril. Besides being actors they are scripts, editors, photographers...they know all that, indeed.

© CITIZEN K ESPANA (VERANO, 2006). 2006 CITIZEN K ESPANA. All Rights Reserved. BY: Andres Rubin de Celis. 2006 Estudios Picasso/ Origen PC. All Rights Reserved. Images © Kika Palacio.

Print View Link to this newsitem

A Grand Collaboration


Source: Acción Magazine.
Found By: Romarie, Translation by Paddy
Accion - 7.2006 El Rodaje de Alatriste Accion - 7.2006 El Rodaje de Alatriste Accion - 7.2006 El Rodaje de Alatriste Accion - 7.2006 El Rodaje de Alatriste Accion - 7.2006 El Rodaje de Alatriste
We must extend appreciation all around for this collaborative effort. First our thanks to Romarie from el Alma de Viggo, for the scans of this latest article and interview in Acción Magazine.

Next we have to thank our wonderful paddy for the translation of the interview.

What a team!!

Click on scans to enlarge.

Quote:

The Interview Translation

There are not too many stars who can boast of having "put a peak in Flanders" (tr. note: the accurate translation would be "having brought off a coup", but needed to leave the literal translation for the next sentences to make sense). But the American Viggo Mortensen (New York, 1958 )is one of the few who has the opportunity to boast of having fought around there at the command of Felipe IV of Spain (The Planet King). In the fiction, the American performer has recently captained one of the Tercios that, for centuries, plagued with nightmares the sleep of the Dutch and the Belgians. However, sitting comfortably on the soft sofa that bears his 1'80 m spread, he doesn't look like he had fought hard in many dark alleys. With polite manners and calm expressions, the ranger Aragorn from "The Fellowship of the Ring" chats with ease, no matter which subject is being discussed, while he drinks a strange greenish liquid similar to the herb tea. Faithful to this constant politeness, Mortensen doesn't hesitate when it comes to choose the language of the interview ("in Spanish, please"), an understandable deference coming from a man who loves languages since his most tender age (apart from Spanish he speaks fluent Danish, Norwegian and Swedish). All the time on the alert, the heroic performer listens attentively and answers almost in a monotone, never disturbing the peace of the small lounge where he receives the journalists, commanding a verbal duel in which there's no victory or defeat.

-"The Lord of the Rings", "Hidalgo", "Alatriste"...Do you feel comfortable in the field of swashbuckling films?

It can be a comedy or an adventure film. The genre doesn't matter to me, as long as I play an ideal character that transmit me something. However, I think that "Alatriste" doesn't narrate exactly a simple adventure story; and the viewer who want to see it as something that just entertains will find he was wrong. I think it's a lot more. In my opinion, it's a beautiful piece of cinema d'auteur. It's a sincerely artistic, complicated and very interesting film. I think that the miracle that surrounds the film is that it honours the Spanish history and those who were soldiers - the "bravos" of the Golden Century - , the culture, the art, the painters, all that. But it does that by transmitting the truth : it doesn't say that Spain was beautiful, grand, good and admirable; on the contrary, it's a rather honest and complex story.

-Your role in the film is that of a solitary soldier, who finds hard to live as a civilian. What's your perception on Captain Don Diego?

As any single man of certain age, I think that people get used to do things their way. He's a man who hardly ever is at home, let's say, he's always at war; that's why he shows the characteristics of any soldier who has a long professional life. It's a bit difficult for him to open up to feelings and he's vulnerable, and he finds in María de Castro the perfect partner, because she also has a hard life and it's difficult for her to be more communicative. It's not always easy for them to talk clearly about what they feel; although it's beautiful to see that union. Personally I liked that relationship very much. Ariadna Gil plays a very good role and she also looks gorgeous in the film. To tell the truth, having to describe her as the most desired woman in Spain during a scene in the bed wasn't difficult at all, it was very easy (he smiles complicitely). I think that she and the rest of the actors have done their work very well, and Ariadna was never seen like this.

-While the texts that this film is adapting are widely known in the Hispanic world, in the United States they haven't had such repercussion. Assuming that fact, how did the opportunity to take part in this production fall into your hands?

I didn't know Arturo Pérez-Reverte's novels. Long ago, I had worked in Spain with Ray Loriga, in "My Brother's Gun". One day, Ray told me he was going to be in Berlin, where I was promoting "The Return of the King", by Peter Jackson. Loriga went with a friend, Tano (Agustín Díaz Yanes), who brought a script that he gave me to read. I liked the plot as a tale, as a story. And it captivated me. So I decided to do it, against everyone and against everything.

-After (living) your childhood between Venezuela and Argentina, you learnt to speak fluent Spanish. But it's quite different to face the language used in the XVII century. Did you need to make too much an effort to assimilate the expressions of that time?

Yes, the pronunciation was quite difficult for me. Getting used to the way people speak here wasn't so difficult, but what took me a little more time to do well enough to play the role was acquiring the rhythm of speech. In order to get that, I remember it was helpful to find a place where I could do a research, something I use to do with all the characters I play. I started to study how Don Diego was like, how he was born, how his family was, the village, the country...And while doing this task I knew, through the Alatriste books, that he was from the Old Castile. So I spent my time travelling the place before shooting. This way, I could imagine how the protagonist behaved and spoke, and it also helped me to understand why he is so concise and careful with his friends. I was mainly in the area of León, where I interviewed several people. In order to complete the information I asked Pérez-Reverte, and at the same time I analyzed two biographies about Captain Alonso Contreras that gave me some clues about my work of characterization, although he was a person who talked a lot more than Alatriste. This exercise taught me that the life of a soldier was very interesting in the XVII century. Now that I'm recalling it, I have to say that I felt quite comfortable in the North of Spain, especially in the mountains of León.

-Do you think that the plot of the film is valid at the present days?

Yes. That's how it's usually done in theatre; for example, it would be like adapting Hamlet in Madrid, in the year 1955 and during the time of Franco. If the story would be happening now, this same script by Tano would be set in the XXI century; and it would be taken under the American perspective. I think that Alatriste would be a kind of a Special Forces sergeant, a veteran who would have fought in the first war of Iraq or in Panamá in the 80's. However, he would probably have, more or less, the same opinion as the role of the XVII century. The reasons that cause a war haven't changed too much. It's like what Olivares says about the importance of Flanders for Spain and for the truce. This same thought serves both the Flanders of the past and the present Iraq.

- In some scenes, especially those that recreate the sword duels, it seems one is watching a Western film...

Yes, it's interesting; although not only the American Westerns, but it's also influenced by the Argentinians, with their concept of the "gauchesco" (related to the gauchos). The gauchos, with their love for horses and the mixture of Native, Spanish and European blood, are very much alike the characters of "Alatriste". But while researching about the subject, I also realized who the "bravos" of Spain really were. The gauchos' way of speaking, behaving and walking is very similar to the bravos' of the XVI and XVII centuries; that influence is intensely noticeable. At the moment of shooting I applied those things they have in common, especially the way of moving the cape while fighting, quite related to the use of the poncho. An example of this kind of man, well known in Argentina, would be Martín Fierro, who is very similar to the protagonist of Agustín's film; both of them are heroes but not completely good, sometimes they are wrong and make mistakes.

-Besides the attitude regarding the gunmen, although it may be a personal opinion, there are also some manners that remind me of the gestures that the bullfighters do before thrusting the coup de grâce...

Yes, I'm glad it can be noticeable, although I don't exaggerate it too much on the screen. Tano is the son of a bullfighter and he's very fond of bullfighting; and, before shooting, I was paid a visit by some professionals of this discipline. I think that, in a way, what is left of the bravos of the Golden Century lies in bullfighters, more than anything because of their attitude towards death and towards weapons. I thought there was something there, and Tano encouraged me to follow that intuition. This has nothing to do with what I think about bullfighting. simply, these contacts made easier for me to be closer to the kind of man the film describes. It helped me a lot to delve into that world, full of honest and proud people (he smiles briefly). To a certain extent, I can say that "Alatriste" is also a homage to bullfighters.

-Among your likings we can find painting and photography. Could you do an aesthetic evaluation of the film?

They were very careful of the light. There's a lot of Velázquez. I loved that the film was dark in many of its scenes, because in that time there wasn't electric light; and the crew showed very well what that time was like, difficult and gloomy. When I saw the result for the first time i thought: "This is like what I dream of". It's similar to such sensations as that of going back the Ancient Rome, for a couple hours or one day, invisible, to be a witness of all that. If one could return to the Madrid of the Golden Century, I think it would be like this. Perhaps many things would slip our notice, like the political intrigues, but it would be very interesting. I think that, visually, Tano and the technicians have perfectly painted the time of Alatriste, caring for any detail regarding the camera direction, the characters, how the relationships among them are being told. All that is very well done, because it's subtle and obliges the audience to think.

-You use to bring to life characters with all shades of grey, capable of the admiration and the reproach. What's necessary for you to be captivated by a project?

I look for the contrasts that any person usually has in the real life. Nobody can simply be good or bad. I always find interesting to delve into what isn't written in the script. I like the guys like Alatriste, who express when they are frightened, although it may seem they have not such feeling. He's a man with lots of nuances.

-There are rumours about your next collaboration - in "Eastern Promises"- with David Cronenberg, who you already worked with in "A History of Violence". Could you confirm or deny this information?

Yes, in November I'll start to work with him, in England.

© Accion (July, 2006): 2006 Accion. All Rights Reserved. TXT: Robert Gomez and Jesus Martin. Images © Paco Ferrero.


Display options:
From:                
To:                
Categories:
Order by:        
Jump to page:
RSS feed for this page
Last edited: 9 June 2019 16:16:09