Latest / GPS Audiovisual / GPS Audiovisual T05 P25 - ENTREVISTAS VANINA SPATARO, PABLO GORLERO, CELINA MURGA, RICARDO MERKIN

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GPS Audiovisual T05 P25 - ENTREVISTAS VANINA SPATARO, PABLO GORLERO, CELINA MURGA, RICARDO MERKIN · GPS Audiovisual

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GPS Audiovisual Radio every Wednesday at 19 hours. The protagonist is Argentine cinema.
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In Julia Montesoro' s eyes, a treasure, a program with a gender
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perspective that nucleates the country' s film industry. Argentine cinema will never be
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the one it is until now. We, from GPS Audiovisual, continue to
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believe, we are committed to culture as the fundamental pillar of a society,
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a culture that is free, plural, diverse and has State resources for its
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development. Welcome to GPS Audiovisual Radio. With the journalistic production of Norberto chap
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The driving of Julia Montessoro speaks to them and in the controls Gonzalo Sorais shipwrecks
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is the first film by Evanina Espataro. It is a co- production of
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the companies Kino Film of Argentina and Mutante Cine of Uruguay, which premieres on
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Thursday 27th and which has only six characters played by Alfonso Toort Sofía Palomino,
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Romina, Peluffo, Mayamar Abrodos, Lautaro Betoni and Mateo Quiiarino. We begin
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this new broadcast of GPS audiovisual radio with Barina is Pataro here in the studios,
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thanking him very much for the presence at this moment a few days from
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the premiere. Thank you very much, Julia. Yes, already, on
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June 27th we premiered in first functions zinc spaces in the Comón, so there
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are a few weeks left aha. We' re there a little step away,
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a step away from the fact that the movie Good has already had a
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first experience, not in the context of women and cinema. We' ve
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already made a van award at the Women' s and Film Festival. In
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mauve cinema with very good experience. The truth is that as you watch the
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film with the audience you find comforting pearls, so you' re very happy.
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It is very important to hold the spaces without ca at this moment and
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invite people to see cinema in the cinema, although we just talked to you
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that it is dive. We are losing the habit, But one way to
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support Argentine cinema has always been to cut tickets, that is, buy tickets,
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sit in the cinema and live the experience of being able to watch on
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big screens with good sound movies And this in particular, which also offers a
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whole series of atmospheres. Where the history of shipwrecks comes from, like what
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came to think of a summer spa as a framework of a story about lonely
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affections. There is like a phrase that we shared with the writer, with
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the writer echo, that is Daniel García Molt, that was that those solitudes,
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those disappointments, those disagreements, are quite like shipwrecks And I had like
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that experience right on the beach where I filmed, which is the Uruguayan stone
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of my first lovebreaks and loves on the beach, that is, it was
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the beach that I went when I was between seventeen and twenty- two twenty
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- three years old, then when the idea of the film arose, Bregué
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enough for it to happen there, so that those six characters, as you
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said well, is a movie of characters and it is a film of few
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characters that relate in different ways and with different circumstances on that beach out of
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season, on the Uruguayan beaches, that what they offer is that they have
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little infrastructure, are very spoiled beaches where there is nothing to do. Practically
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except to live encounters and disagreements between the beings that live there, that is,
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there is no way to go in a cinema, then the head works
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a lot and the one that they tell each other and how others articulate about
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our lives to modify them, sometimes with good intentions, are not so many
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and where sometimes when we are. I mean, it' s my belief
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that when we' re isolated and with little information, we usually start believing
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in certain ramblings that in light of much more information and presence, we wouldn
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' t come to believe and you believe what you want. Well, it
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' s a little what happens to some of these characters that are almost like
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dreamy, I wouldn' t tell you that archetypes, but a little bit
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I tried to put together, as if it were a dysfunctional family of people
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who don' t have blood, but different circumstances, it' s like
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I left them stranded on the beach. And since the beach also invites that
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wave swing that' s hard to leave because there' s nothing to expel
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you either, I mean, it' s comfortable to stay anchored in that
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nonsense. So there' s a fact that looks supernatural, that makes you
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set them up a little bit for or whatever, to get back to your
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lives or to rethink or give yourself up. That permission you wouldn' t
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get anywhere else. That' s a little bit of the game between fiction
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and fantasy. Let' s say some fantastic touch that printed history in shipwrecks.
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I think there' s a castaway out there, too. You don
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' t know very well, a boat, a sailor. There is a
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symbolic game between what is the emotional shipwreck and the actual shipwreck and also as
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one of rapa, sometimes in the search for affection and completeness that perhaps is
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not so necessary. Little. I think a little bit the characters are just
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six characters and they would be like the six divided banins. And I also
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think that they are like six people with quite clear and human conflicts that we
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are all going to be able to find identified, not in the character of
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the genre that corresponds to you, that is, there is a game there
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that this you that is I can identify in any of the characters in different
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circumstances, in unrequited loves, in not taking charge of reciprocated loves, in
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solitudes, in yearning for some love. And there' s something I really
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like and I think it also has a lot to do with why the movie
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he says in a moment, Lola' s character, which is the only
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thing you have to regret, from what there is, what you didn'
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t do, what you didn' t do then, a little beyond all
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the circumstances, there' s a desire that for things to happen, you
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have to do and work for them to happen. There is a desire that
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if we don' t communicate with each other, if we don' t
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create links, we live hurt and that being able to connect with each other
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and maybe recognize each other, without the other giving you advice, but simply
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in that link allows you to heal things and to be able to turn the
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page and move on among other topics that address shipwrecks and about which you were
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just talking without spoiling. Be trying, it' s clear, clear,
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but well, speaking of searches, not affectives, and also the search for
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sexual identity and non- binary genres. That' s also put in the
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game, in history. This pops up because they' re issues. I
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don' t know if actual is the word that' s in the game
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right now or about two. What is being debated right now or because you
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already brought it with you look there is a character, who is the character
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of Lola, who is a psychiatrist doctor who is already retired, who is
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in the film, who is played by Miamara Brodos, who is an actress,
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trans woman who in the script was initially incorporated that character who was actually
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worked at the beginning was a transvestite then was a trans woman there was like
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someone who was based on a character, on a real person, but who
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went washing more and more. I believe that if there is any sign of
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a time, it is precisely that that at some point perhaps entered the script,
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entered, grew and became something that was not necessary to focus on.
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And maybe I think it' s a bit of growth from society, which
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is to accept the gender choice of each being without judging and without having to
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explain where it comes from then, that is that character that those who know
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how to love before will know what their journey is and those who know it
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for the first time on screen will not have record. Maybe she does,
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maybe she doesn' t, the same as the way she lives her being
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a woman. It gives me the feeling that if we really hit up a
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step in the diversities, it is that there is no longer any reason to
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explain or give, but if an actor of a genre that you need that
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is a woman, it does not matter if it was a woman transi,
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if it is a trans baron or you already see the character and you see
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the actress and you go forward. There I believe that only one sentence in
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the script that is left that refers to that, but that this can also
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be interpreted as a question of whether it is a doctor and I am already
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a doctor, and it may also be that it is by gender, that
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doctor is in male, even if you are a woman and it is not
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said as President President, doctor, doctor and the power that this character has,
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because I see that background, although it is not stated, there is
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a previous path that in the film is not shown, but that I believe
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that it is seen and transmitted in part of the character, of its characteristics,
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of its clear form of how its being a woman also lives you understand
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that out there is sometimes more stereotyped than the being woman of the character of
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Maite, who is of Sofia palomino, who is much calmer in trying to
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prove what his gender is. Then I don' t know. I already
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have teenage daughters and the subject of gender is already that it occurs naturally and
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is accepted naturally, without having to explain too much. Then it seems to
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me that of the 2, 000th, when the script was aimed at when
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it was filmed, there was a transit of mine, especially of how to
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see that. Yeah, definitely. Now, all this being said, what
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kind of directors of those who assume the script, who have to film ahead
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and do not accept modifications or those who also listen to their actors, their
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actresses Mira Yesterday we just had the press chank and a journalist told me,
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tells me that you are a director who listens a lot, I might not
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have said it about myself and that I accepted many suggestions. I think there
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' s something I' ve been learning from other directors and other directors that
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I' ve worked with, as I' m in the direction that you
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' re already directing when you choose the actors and when you choose the team,
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and if one who took the job of choosing those actors and choosing that
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team, doesn' t listen to them, I mean, he wasted time.
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Many years ago, many years ago there were blogs that in Argentina I
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did a course that we used were some talks that you saw here and I
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remember when the film spoke it started with a drip of brake fluid on a
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fixed plane of the wheels very low. I said what genius that plane and
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he, very simple, said that was not the plane that I had chosen,
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but the user suggested it to me and I said and thought what a
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brilliant day. I would not have seen it and I say it seems to
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me that directing is to have an open eye, to have ears attentive and
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to use the resources of one and also the other intelligences to use them in
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that narrative. So I think I' m pretty permeable, without that meaning
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losing control, because you also have a wide experience as a producer. Not
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then, well, what you want, what you' re not, I
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' m a bastard. I didn' t say that too, so this
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re on your own is okay, yeah, yeah, yeah, I mean,
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listen, it doesn' t mean you accept easily, but this good
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one. But in any case you have the intelligence. No, it'
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s not training. I think it' s a training to choose to listen
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to others. Sure good. And once you saw shipwrecks on the big screen,
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what movie you discovered and the movies I mean, I don' t
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know if they happened to other directors, but the movies take their own life,
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that is, what you imagined or what you imagined writing about, what
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you imagined when you filmed, what you find yourself in the editing room.
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With the final film there is a huge distance. There are things that I
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love about how they were, there are others that I said, oh how
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you say, there are scenes that I love others not so much, but
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it cost me the first visions of the entire film in filming and then gradually
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in projection and then I went on to friends and now I have a special
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affection and there is something that I discovered in me filming the film, not
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in the filming, but later and seeing what I filmed and how I filmed
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it and what are the accents that I put, which is of a luminosity,
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of a loveliness and of a kindness to what people and the human are,
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that maybe I also needed it to believe that we can have a second
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chance, that the people and the human is the important thing that the madness
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of the juncture, that pushes us into very shrewd relationships and of being very
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much on guard. That is seen that I needed to be able to believe
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in people, in relationships, in bonds and that there is a possibility of
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healing in and that these healings are joint. It is among all, that
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there is no salvation from an individuality. Sure. Well, let' s
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not go much further, we don' t invite everyone to the movies.
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We are here with Vanina Espataro, director and producer of Naufragios, the film
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that premieres on Thursday 27th in theaters where you have to watch the cinema.
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So we invite everyone above all to visit the sinca spaces where the entrances are
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very accessible. The cinemas are equipped with the latest technology. It is not
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that they will not see the cinema in other halls and that they need the
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public to support those spaces so that those spaces remain exactly good and so that
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the Argentine cinema also continues to exist then, from Thursday 27th, already know
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shipwrecks in halls Vanina spat thank you very much for accompanying us here on GPS
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audiovisual radio. We' re moving on. Thank you. Craft. It
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can' t be if what you know about the girl that came to yesterday
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Maite framed yourself looking for Daniel the lifeguard is giving someone. Yeah, we
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' re all the same We all have the same thing that they have different
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or we have so much singing that something is going to change my life.
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A wreck a Banina movie is a wreck. Premiere in Salas 27th of June
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to Cnow tomorrow not press cone fele, but I think early nine will come
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out. It' s so funny about the inauguration of the new temple.
21:37
You want me to take care of the last of Sunday. Let' s
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stop at reason we can' t go straight. I can drive if you
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' re tired, you' re not on the road, and I have
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to teach you things. We' re still walking. Sure, there'
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s a town close to patience to lan the good lord won' t abandon
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us now hear you' re two josé anything I need. This your wife
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says no no, it' s not my wife, my daughter Elena,
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how much she calculates yes with blunt, Lord I get you in Olaca don
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' t worry about us. We have time and where you are nowhere.
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We don' t even praise each other. Lord Blessings, brothers Blessings,
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brothers, his hand, but what is your name. I' m a
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kid. You don' t get the punch. You don' t get
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the punch. You know, I' m going just like Lenny. God
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gave you a mighty beautiful spirit. I' d like to invite José Emilio
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to a baptism here where Pastor Saca is careful what his head is thinking.
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In the people there are many gospels, just as you insist. They are
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not for me where Leny would walk is guided by leaf the wind that sweeps
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with direction of Paula Hernández, hailed in Toronto and San Sebastian the wind that
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razes. Premiere in Salas Thursday 21st March, Hola Silvio la Paula even with
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you. He didn' t call you anything. Not because he went to
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the doctor tomorrow and didn' t call me. He didn' t come
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back. I don' t know anything. And weird your brother, where
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you are, I don' t know. I called the police. Yeah,
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I went to report it, but they didn' t take it.
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They told me the surest thing they helped out with the boyfriend. That'
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s what he told you He' s still on about school and the police.
24:03
What he did with all this is the Invisible Law with Leonor la Wexler,
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Nes González and Anton Ferrari, a Guillermo Navarro film with production of Rio
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Films. Premiere only at Craft Rooms. It can be, yeah, what
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do you know about the girl that came to yesterday Maite' s apology.
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He' s looking for Daniel the lifeguard, he' s drowning someone.
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Yeah, I' m all the same. The same thing happens to us
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all, very, very, very. I don' t want Blench Sinder
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to change my video. A wreck, a Vanina movie. It' s
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a premiere in Salas 27th of June. To face tomorrow we press with Ofelia,
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but I believe that early does not come out. It' s so
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funny about the inauguration of the new temple. You think I' ll take
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care of the last of Sunday. Let' s stop at the rose.
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We can' t go straight. I' ll drive myself if you'
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re tired. You' re not on the road, too, and I
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need to teach you things. We' re still walking. Sure, there
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' s a town close to patience. Leny the good lord will not abandon
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us now hear you two josé t n anything I need to be. Your
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wife tells me not. No, she' s not my wife, my
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daughter Elena. How much he calculates, no, yes, yes, with
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blunt, sir, I get him in olaca. Don' t worry about
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us. We have time and where you are nowhere we mission praise, Lord
27:08
Blessings, Brothers Blessings, Manon brothers, but what' s your name,
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Emilio, It doesn' t hit you. You don' t get the
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punch. It goes just like God didn' t give you a mighty beautiful
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spirit. I' d like to invite Josemilio to a baptism. Here where
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Pastor Saca is careful what' s sticking his head in. In the village
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there are many evangelicals, just like you, jokers. They are not for
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me where Leny would walk that day of Hoan Yes, the wind that sweeps
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away with direction of Paula Hernández, hailed in Toronto and San Sebastián. The
27:56
wind that sweeps away. Premiere in Salas Thursday 21st March. Journalist, critic,
28:11
theatrical researcher, Pablo Borlero has been carrying out a task of theatrical director
28:19
and ponótista for fourteen years. He has been premiered as the evil soul director
28:26
of Víctor Hugo Morales, who presents himself on Thursday at the Cultural Centre for
28:30
Gayola Cooperation in Paris in Pamela Jordan. On Fridays in the actors' yard
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I give the barbarian peace on Friday thirty- one and Saturday first and Sunday
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two at the CSK. Minoica is a mythological musical absurdity. Wednesday at the
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Teatro Picadili and Saturday twenty- two presents at the Teatro del Pueblo the proposal
28:56
The fox, the farmer and the good man who war. Real- sized
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puppets, actors and singers come together. So Pablo Gorlero is at a very
29:06
fruitful time and we rejoice. We' re happy about that. We send
29:11
him a very big greeting from here, from GPS audio- visual Radio.
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Selina Murga was here a few days ago in the audiovisual GPS studios Radio before
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the world premiere, at the Festival de Tribeca de el Aroma del Pasta just
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cut, starring Joaquín Furriel and Mariana de Távida and with executive production by Martínez
29:37
Corsése. Now Selina is with us again on this occasion with a motive of
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happiness and celebration. His film won in Tribeca the prize for the best script
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It gives us great joy to welcome you back here in Ton So for this
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recognition Selina, welcome and thanks for sharing it with us. How are you?
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Hi, Julia, how are you still good in the air? I
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say we, you were lucky, Julia, well, well, that'
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s good. I' m so happy good. How was this experience,
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what happened there in Tribeca. You were expecting some of this. I wasn
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' t expecting anything. The truth is it was a festival I didn'
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t know. I had heard some things because I met people who had been,
30:37
but you saw very little reference, as with some uncertainty also of such
30:45
an American market. You saw it as a market you don' t know
30:48
so much about. But well, the truth is that the reception was spectacular
30:55
in every way. Until today, critical notes from different media continued to fall
31:03
from there and the truth is that it is very nice to see how the
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film is read as people of different latitudes see tune in with the characters that
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one wanted to tell, with the stories that one wanted to tell, that
31:23
are sometimes not so on the surface. No. And well, it was
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a joy to hear those reviews read and there was a surprise behind the other,
31:33
because the presence of escorts at the cocktail was very nice, although we
31:41
were expecting it, because he had warned us that he was going. Well,
31:44
there' s always the question whether or not it' s going to
31:47
happen. And it was like very nice for me to share a part of
31:52
my life too, that my whole relationship with Escorces and the Rolex scholarship that
31:57
is something that comes to happen seeing in my life more than fifteen years ago.
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It was something that I always lived on my own and now I had
32:06
the opportunity to share it with my film partners, that there are people who
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told me a button and it was beautiful because I don' t know how
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I shared something of my life and at the same time also see them.
32:20
To enjoy the situation, to be fulfilling a dream, to know the scorcese,
32:24
to be able to talk with the film, to be able to talk
32:28
good about a lot more everyday things that he is very warm. When you
32:32
are without relaxed environments, let' s say and then well the prize for
32:39
the best script that not the truth, that we didn' t expect at
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all. We hadn' t analyzed a festival You saw a modality where I
32:45
didn' t go. You knew that sometimes yes, this one doesn'
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t, so we were in there half without expecting anything. And when we
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were named, it was spectacular. And I feel that, in addition,
32:59
the prize airplanes a very nice prize, because it is the prize for a
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lot of working time that the film had since the two thousand eighteen, because
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you remember that I told you that the small one was about to film in
33:12
the two thousand twenty and well, as it slowed down by the pandemic,
33:19
that script continued to grow and continued to nourish itself with a lot of things
33:24
that were happening in history, also in relation to personal issues of our lives
33:30
and like it was like a cute brooch of what teamwork involves. But,
33:37
I wasn' t just going to tell you because a film is always a
33:44
collective work, no, but in this case the script is your work by
33:49
Juan Villegas, Lucía Osorio and a collaboration by Gabriela Larralde that is, how
33:54
it was changing not only from the passage of time, but from all these
34:02
interventions. And it was great. That' s why it was like it
34:09
basically had two big stages. The whole original idea is an idea that came
34:15
from John and me. Let' s just say we both had it right
34:19
away. We joined Lucia because we felt there had to be a younger team.
34:24
Let' s say in the sense of someone who could represent the characters
34:29
of the young people in the film as we wanted to say adults. We
34:32
knew them well, we could connect with the task strip of the protagonists,
34:39
but we wanted the world of young people to be well represented. Then she
34:45
looked like she had been a student of Juan' s that classes there in
34:51
the fook. She was a spectacular player in all that first stage, who
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would tell you that it was three four years and then the pandemic panda already
35:02
closer to filming, and that I felt I had to appropriate more of the
35:07
material. I just saw how I felt that there were things I didn'
35:14
t finish visualizing and I felt like I had to give it a new twist
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and I didn' t want to do it alone either. I don'
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t like to write alone, because I suffer, because it' s like
35:23
a job. I mean, I enjoy working with people and I need the
35:30
exchange. If I don' t curl up, then I always look for
35:36
collaboration and good and decided that I wanted to work with a woman and let
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' s say that she also helped me as to strengthen that look. And
35:45
I got to Gaby on ralde thanks to a writer friend who I want a
35:49
lot and who said you two are going to take spectacular and it was total
35:53
love. Don Gaby would go so thin. I always recommend myself, because
36:00
it' s a genius. Then they were like very different stages, of
36:04
different approaches, because at first it was to work one thing, in the
36:07
second moment with Gaby and went to work on others. But at the same
36:10
time of the distance ions, where one spends a lot of time in these
36:16
countries, where we take so long to film clearly, of course, well,
36:23
you are telling the whole process that was only the script, that is
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to say that after all, we have to add to all that, not
36:37
concretely filming, to realize the very production of the film, which is a
36:39
co- production between several countries. Exactly yes, it is a composition between
36:45
Argentina, Uruguay, Germany, Mexico and the United States. So it was
36:52
also very nice for me to be able to talk about this over there,
36:58
because at this juncture in which we are living with so much threat with regard
37:04
to the cinema and the Argentine culture, I dedicated myself a lot and we
37:10
dedicated ourselves a lot, because Joaquín also and everyone who had the opportunity to
37:16
have the press let us say talk about this film as an example of a
37:21
type of films that, if the Inca does not exist, would not exist,
37:28
and everything that implies and everything that dynamizes on an economic level in such
37:29
a production. Let' s say no, because it' s a film
37:31
that, although it' s a co- production between five countries, none
37:38
of these co- producer countries would have entered if your own country' s
37:43
film institute or institute hadn' t had a strong leg endorsing it good to
37:49
make a co- production. There' s a lot of work and injection,
37:52
let' s say economic and financial that happened thanks to these investments.
37:55
Also then there is something very virtuous in the film industry and it is important
38:04
that it is not lost that we can really put it in value and the
38:09
prize in that sense, too, that is, scorts supporting the film as
38:14
executive producer. The prize or are all elements that I lived them not only
38:21
for our film, but also for Argentine cinema. And that made it all
38:25
feel like an extra sense. No. Yeah, yeah, yeah, yeah,
38:29
yeah, well, it' s also an example of what you say
38:32
is not an example of how cinema can represent our borders outside the country.
38:39
No, and well, just to attract capital to bring resources just so that
38:49
a film of these characteristics can be realized that, on the other hand,
38:53
we are not talking about the great Hollywood superproductions, but we are talking about
39:02
the product that they need of resources to just materialize and in this way not,
39:09
of course, with this prize. That also gives you the dimension of
39:13
understanding against the great fallacy that the Film Institute is a place of jets,
39:21
like so many other fallacies of this government that is a co- production between
39:29
five countries, because really the support of the institute is a very small percentage
39:35
to make a film. So it' s really an incentive. It is
39:40
like the fundamental stone that allows other producing partners to join that making of that
39:47
film industry. But it' s not that they' re big million dollars
39:54
of money they' re leaving. It really works as a key incentive,
40:01
because what it does exactly is attract those exactly good investments. Now, Martínez
40:07
Corsés, as an executive producer, I guess it was the first time there
40:13
in Tribeca that he saw the movie in leap, not he had not seen
40:16
it on video, he had already seen it and killed it. Yes,
40:20
I' m sending him as I' m sending cuts after him to some
40:27
see them others make me more or less profound evolutions, let' s say,
40:32
but obviously gone the connection is fluid and I' m always interested.
40:37
Everything I can think of is fine, but let' s agree that in
40:43
this case it was then the first experience in a cinema room not and the
40:47
cinema teacher let' s not talk much about it. The previous film had
40:53
been shown to her in her private room. We did as we were three
41:00
people to you and what a return it made you on the scent of freshly
41:07
cut grass. What I suffered most had to do with the construction of the
41:14
characters and with the performances as something of the complexity and humanity in which the
41:25
characters are counted and how you can understand each other without judging them, demonizing
41:30
them, or saying to these are good, these are bad. Not like
41:37
something of a kind of characters built on the idea that you can all the
41:43
time be empathizing and saying ah, but it' s ah, but ah
41:46
ah. No, but it is this because good, but as something of
41:49
a flow of actions very of the human being, in the sense of contradictions
41:59
through State, by emotions, by fear, by conjunctures. Let' s
42:07
say like some of that fiber, of a vital fiber that he sees in
42:10
the kind of character that already in the other movie had a little said something
42:15
very similar to me. But good. It was good here too, because
42:17
I could tell the actors themselves. On that well, the kid' s
42:23
dream I imagine it' s Corses, the scorsese himself tell you what he
42:30
saw of your work. Well, fantastic. And now how does the scent
42:36
of freshly cut seline continue? And now well, there are already a couple
42:40
of confirmed festivals for the next few months that I can tell you I'
42:47
ve all seen you announcing anything and we' re preparing the premiere in theaters
42:58
also for before October. I' d say good. There are conversations with
43:02
some platforms that are not closed, but that are being held to see what
43:07
you may also have. We want to premiere in halls, obviously, but
43:13
also understand that some of the later life involves some platform, so we'
43:21
re also seeing that good. We will then be attentive to everything that happens
43:25
with the scent of freshly cut seline grass. Thank you very much for joining
43:32
us and congratulations. I' m sending you a big hug. Thank you
43:37
very much for supporting us. We always follow on GPS SE Audiovisual Radio hello
43:45
to you. Pamito. I' m my you remember me. Effect,
43:50
it occurred to me as an idea of Ingrant, which is to gather the
43:53
band watch Anda. Please, I think you should apologize to the authorities.
43:59
What are you talking about and can' t happen. You saw how they
44:01
are here, but you heard what those girls of the apostles said to Chinese
44:06
that your husband said rats. What he wants a thirteen- year- old
44:09
chick while they' re stalking, he takes pictures so he has proof,
44:13
so he can stay calm. Why I stopped singing. I don' t
44:17
know things about life, or do I think Piti Miranda from Friday to Monday,
44:37
a film by Maria Victoria Menis, starring Inés Esteves? Exclusive premiere in
44:43
Salas a Ricardo Merkin is one of Miranda' s co- stars from Friday
45:00
to Monday. The new film by Maria Victoria Menis, which can already be
45:05
seen in Salas starring Inés Esteves, is a good story of a teacher who
45:13
discovers on a weekend, certain issues that have to do with her life as
45:20
a mother, as a daughter, as a wife and also of vocations,
45:29
of vocations that were at one side at some point and good to return to
45:34
that path. We' re with Ricardo Merkin at the studio here on GPS
45:39
audio- visual radio. He has a very striking character who also makes Miranda
45:47
reflect on the passage of time and her own story in this life. Thank
45:57
you for joining us, Ricardo. Welcome. Thank you for inviting me.
46:01
How you got the script and what attracted you to Miranda' s story from
46:07
Friday to Monday. The script came to me through a friend who contacted me
46:15
with Maria Victoria. He gave me the script. I read it and the
46:24
character' s truth is very rich. In my personal story, my father
46:31
had the cymer, so I have suffered it, enjoyed it, laughed,
46:37
cried and minimally represented in my memory everything I had lived with my father,
46:49
taking him as the character. So those memories led you to help build,
46:59
of course, this father who' s got the samery that confuses all the
47:04
time. Not really. Once I and my brother met with a psychiatrist because
47:14
we were worried and the first thing he told us was the patient' s
47:22
problem. The problem is the environment. The funniest anecdotes I have with my
47:29
parents and how to be in a bar and get to sing out of nowhere
47:36
and people clear looking at it I what you do, Dad and he told
47:43
me I' m singing out of all space. Yeah, yeah, yeah,
47:51
yeah. And there' s a scene in the movie where I look
47:57
at a mirror and that' s what I asked Maria Victor to do,
48:05
because it was a very punctual thing about my father' s action looking in
48:10
the mirror and he didn' t look, that is, he didn'
48:15
t recognize himself to be very rich. The actor has the emotional memory,
48:21
the memories and on that he is building a part now facing this character and
48:30
in this way and well, putting all these elements, not that you are
48:36
counting. It also has some phrase in Italian that I think has to do
48:40
with your own story as well. No, yes, my father was Polish.
48:45
I don' t have anything aha, but my father has a garment
48:52
factory and I took the cuts to Villa Madero and there the workshops were all
48:57
Italian and there was a character that in summer was an old lady who was
49:07
sitting sunbathing with a stick and a parrot and when she saw me coming,
49:13
she would tell a nast devil as welcome. Yes, yes, I had
49:21
taken the tab from the lady and you decided to also incorporate it into this
49:30
character that you create Miranda' s dad. Yes, yes, it was
49:34
somehow also to be able to pay tribute to your own story, to your
49:38
father. I don' t work. I don' t know if it
49:44
' s a tribute It' s a thank you. In any case.
49:49
Yes, let' s say no homage, no homage, and how was
49:57
the work with Maria Victoria Mens, with the director and screenwriter. Yeah,
50:01
well, Maria Victoria is a very smart woman who knows exactly what she wants
50:07
to do, what she wants to film, how and when. And I
50:13
didn' t have any, no yes or one with the Creo I don
50:20
' t know goes here was and didn' t tell anything. No,
50:23
no, no, she' s a very hot director. Yes, I
50:32
was very comfortable filming with her the orders she made to me were framed and
50:38
that what I incorporated to her she took. And that' s an intelligence
50:45
trait. Sure. That was going to ask you not exactly all the elements
50:50
that enriched this character imagined by her. Not entirely and very much loved everything
51:01
you gave him is not silly. Besides, not at all, not at
51:07
all, father caton tupa Now, you filmed with a lot of directors.
51:16
You have a lot of movies made with some. You had already filmed with
51:24
directors and Lucrecia Martel. Not sure, there are no differences between the work
51:31
with a director and with a director with whom I fight and aha, with
51:38
which with those who are not of the stick and know and have in the
51:49
knowledge and have the fine sensitivity to take the scene to good port. Well,
51:54
in the case of Maria Victoria Mene, you already said you didn'
51:59
t fight. They didn' t argue, so they had a good hook.
52:04
How would you define Miranda from Friday to Monday, once well, you
52:10
signed it you knew the story, obviously, but once you see it on
52:16
big screen it' s very interesting. The first time I saw her in
52:21
the dack aha and the second time I saw her in Villa de Voto.
52:28
The second time, for me it was the first, of course, because
52:31
it was with the audience. Besides, not only for that, but because
52:34
I don' t know it was another very interesting time. That' s
52:43
for me, particularly because just in that function, I saw the movie The
52:50
VI. The first one wasn' t nearly telling you I was looking,
52:59
but the second one not only what I saw it, but I enjoyed it.
53:02
And if you ask me what that movie is, gentlemen, the woman
53:08
' s voice is present, there' s the green scarf, there'
53:15
s the belly in the wind, there' s the tits in the wind.
53:17
And let' s be clearer, you in your personal history, this
53:27
deconstruction, this genre look that Maria Victoria Mens also puts in her film,
53:38
you built them over time, you discovered them. You were already trying to
53:50
incorporate these perspectives from you look at reading the text gives you a first approach.
54:02
Entering the character is something else. Walking with the character, standing,
54:10
sitting, dressing room, relationship with people. They give you the frame of
54:17
that character and I, by my formation, am a serious obsessive. My
54:29
first play. We were rehearsing nine months. I made my debut. I
54:35
debuted, I started theater, I started acting at thirty- nine years old
54:44
and that first play by my teacher, David Mitin, took me to the
54:50
Cervantes National Theatre and from there to the Camp Niggel International Festival. What a
54:57
debut I was saying, that' s what I was saying to my clear
55:00
man. I don' t know. I got it. I have many
55:09
teachers in whom I am grateful David Amitina, Leso Augusto Fernández, who have
55:20
given me tools from which I have absorbed breast feeding. Alberto ure I mean,
55:28
I have a very big arch and to which I am absolutely enormously grateful
55:35
that you have to have a book or a script to interest you. You
55:42
' re excited to approach him and make the character you' re being proposed
55:46
to. What interests me most, in the first place, is the story
55:52
that tells, in the second place, the richness of the character. Like
56:01
this Eddie Krilla used to say. There are no small characters, there are
56:09
small actors. Of course, I don' t care if there' s
56:19
meat I' m dead, be a little bit, be a fig tree,
56:24
be a steak of chorizo. Well, in this case, in Miranda
56:29
' s from Friday to Monday there are many meats with which the public returned
56:37
you regarding this work in cinema. You ask me this and my hair stops,
56:49
because there were several people who came up to me crying thanking me.
56:58
He reminded his father another that he could not believe the character as he had,
57:06
as he had armed it, because he had seen me in the theater
57:10
a week ago making a Jew. The play is called the other Nazis is
57:19
that it is the antipodes and that I carry in my clear pocket well,
57:29
that is a good actor. I would say, not as I would say,
57:34
as the character of the other Nazi would say. Modestly good, Ricardo
57:38
Merkin. Thank you so much. A huge pleasure to have shared this little
57:45
talk and congratulations. Thank you very much for that great character of very kind
57:51
sends Friday greetings and invite your listeners to come to see, to come to
57:54
see the movie. Yes, yes, yes, yes, he has his
57:59
flaws exactly to follow her, to be attentive. It' s a very
58:05
good movie and to watch it in theaters next Friday, I mean, it
58:08
' s the day after tomorrow, you arrived at twenty- one hours.
58:12
There we will all be in the cast with the wrong director who, I
58:20
regret, accompanies this new presentation of Miranda from Friday to Monday and with Ricardo
58:27
Merquin. So here in the audio- visual GPS radio studios we are saying
58:32
goodbye to this new audio- visual GPS radio broadcast until next Wednesday. Thanks
58:39
for joining us. Stay, because there' s already a bad night coming
58:45
and you know, as we always say, but today more than ever you
58:52
see Argentine cinema until next week and thank you for joining us. This was
59:14
GPS audio- visual radio. We expect you next Wednesday at 19 o'
59:27
clock on radio thirty- three chapters Plural construction of instruction, the renowned journalistic
59:49
program of political analysis and current in its twentieth season