Chicly sprawled over a chair or two, film director Eduardo Casanova kindly answered our questions about his latest (and most personal) film, La Pietà [review], with the able assistance of his translator, Marta Calderon. Join 366 as we discover the influences on his visual style, his favorite hometown place to eat (of course),and just how great Giles’ mustache is.
(Keep an eye and ear out for a cameo by Madison Brek, Fantasia Press Relations Representative extraordinaire!)
You can listen to the interview’s raw audio here.
366: [handing over business card] This is who I am…
EC: “…Weird Movies”, okay!
366: ..and I guess that explains itself. My name is Giles Edwards and I am sitting here with Eduardo Casanova, and I managed to see La Pieta in the press screening the other day, and was very pleased with what I saw. So I am hoping to ask just a little about that in the brief time we have.
EC: I can understand you when you talk, but sometimes it is difficult for me to explain in English back, but when you talk I can understand.
366: Great. I’d like to start…
EC: I like your mustache! It is like John Waters‘ mustache. Some people say my movies are like John Waters’, too.
366: Yes, it’s a partial inspiration for it. I like to be as distinguished-looking as possible.
EC: Ahhh, you got it, bitch.
366: Uhh, …there is a strong visual feel to your films, I was curious about your visual arts background, because you have a setup for your images that is painterly or photographical–a lot of specific composition–and I was curious about your educational or experience background in that, what that might have been.
EC: I am obsessed with the [panalack?]. I really like aesthetics dictatorship regimes, like the Soviet Union and communist dictatorships, where the buildings are all looking the same. I think in the countries that have totalitarian regimes, everything around you is really big and makes you feel that you are small, and… part of something. I remember when walking through Berlin through Karl-Max Avenue, how small I felt walking amongst those buildings.
I try to recreate this with one of the most important aspects of the Continue reading THE MAESTRO FROM MADRID: AN INTERVIEW WITH EDUARDO CASANOVA