English filmmaker Carlos Saura, who is visiting London to present these days in the UK Io, Don Giovanni , regretted that the current film scene "can no longer make movies intimate, with a secret side "as those that characterize much of his filmography.
"Cinema is regular, but not only in Spain, all over the world. Do not miss talented people, good directors and screenwriters, but the problem is distribution," Saura said shortly before presenting to the public British his vision of Mozart's opera Don Giovanni .
According to director of key bands in the history of English cinema as Breeding Ravens (1975) and Ay, Carmela! (1990), digitization and easy access to cameras and recording equipment "allow any young talent can make a great film, but it is very difficult to sell that. The market is very complicated."
The television sets and DVD's conducive, as the filmmaker, that people prefer to stay home instead of going to the movies, which leads to the "non given the opportunity to stories told in a more intimate, like work, but who refuse to do. "
Dislikes to see old work, but one of their most intimate stories, Elisa my life (1997) would make an exception. "I love to do a sequel," confessed Saura, who is back on that movie when in 2004 submitted a novel to explain what had happened to some of the characters and allow further clarify some points in history. "
Nevertheless, Saura feels" very lucky "and that, more than 40 films behind him, has always "just what I wanted to do."
"There are very painful and making movies is a pleasant work," said the filmmaker, who says that the filming never have too many headaches since he began directing films at a time with very few materials, where he must economize and learn to improvise. "
In the years of its inception, when it revolutionized film and challenged the censorship The gulfs (1959), technical limitations to its style and got used to rolling with a few planes, which often still characterize his films.
Transition tone made the political and social criticism of his first jobs were disappearing, "because I did not talk about it much, but Saura says he never wanted to put politics at the" forefront "of their works, but "rather as a metaphor."
To Saura, the key issue in choosing when to shoot is "talk about what you know", so the music, his other great passions along with film and photography, captures years of his films.
The London English Film Festival projects these days Io, Don Giovanni , A film has to the opera star, and in a few weeks, Shanghai, China will host the premiere of Flamenco, flamenco where Saura has again distinguished himself in the genre.
"I like music, opera, because it has nothing to do with cinema. All that interests me, photography, drawing, writing is a way to the cinema.'s Why I like both opera, because it is something completely different, "he said.
Although it has two film projects in hand, Saura not want to pass anything, "because nowadays you never know if things are going out", but beyond film, is excited by preparing an exhibition of light as a theme for the Centro Cultural Oscar Niemeyer Avilés (Asturias, northern Spain).
"Cinema is regular, but not only in Spain, all over the world. Do not miss talented people, good directors and screenwriters, but the problem is distribution," Saura said shortly before presenting to the public British his vision of Mozart's opera Don Giovanni .
According to director of key bands in the history of English cinema as Breeding Ravens (1975) and Ay, Carmela! (1990), digitization and easy access to cameras and recording equipment "allow any young talent can make a great film, but it is very difficult to sell that. The market is very complicated."
The television sets and DVD's conducive, as the filmmaker, that people prefer to stay home instead of going to the movies, which leads to the "non given the opportunity to stories told in a more intimate, like work, but who refuse to do. "
Dislikes to see old work, but one of their most intimate stories, Elisa my life (1997) would make an exception. "I love to do a sequel," confessed Saura, who is back on that movie when in 2004 submitted a novel to explain what had happened to some of the characters and allow further clarify some points in history. "
Nevertheless, Saura feels" very lucky "and that, more than 40 films behind him, has always "just what I wanted to do."
"There are very painful and making movies is a pleasant work," said the filmmaker, who says that the filming never have too many headaches since he began directing films at a time with very few materials, where he must economize and learn to improvise. "
In the years of its inception, when it revolutionized film and challenged the censorship The gulfs (1959), technical limitations to its style and got used to rolling with a few planes, which often still characterize his films.
Transition tone made the political and social criticism of his first jobs were disappearing, "because I did not talk about it much, but Saura says he never wanted to put politics at the" forefront "of their works, but "rather as a metaphor."
To Saura, the key issue in choosing when to shoot is "talk about what you know", so the music, his other great passions along with film and photography, captures years of his films.
The London English Film Festival projects these days Io, Don Giovanni , A film has to the opera star, and in a few weeks, Shanghai, China will host the premiere of Flamenco, flamenco where Saura has again distinguished himself in the genre.
"I like music, opera, because it has nothing to do with cinema. All that interests me, photography, drawing, writing is a way to the cinema.'s Why I like both opera, because it is something completely different, "he said.
Although it has two film projects in hand, Saura not want to pass anything, "because nowadays you never know if things are going out", but beyond film, is excited by preparing an exhibition of light as a theme for the Centro Cultural Oscar Niemeyer Avilés (Asturias, northern Spain).
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