Entrevista Pablo Larraín, El Club
“La Iglesia parece tenerle más miedo a la Prensa que al infierno”.
“El Club muestra cómo una comunidad de sacerdotes vive aíslada de la sociedad y la justicia e intenta resolver sus problemas internos en esta especie de cárcel que no tiene puertas, que no tiene llaves”.
“En esta película, a diferencia de mis trabajos anteriores, nosotros no le dimos el guion a los actores y los actores no sabían muy bien ni de su personaje ni de los otros”.
“Jackie es una pelicula que está en proceso y yo creo que no es muy sano hablar de películas que no se han hecho” .
Cuatro hombres viven juntos en una casa aislada de un pequeño pueblo costero. Les han enviado a este lugar para que expíen los pecados que han cometido en el pasado. Viven sometidos a una disciplina férrea bajo la atenta mirada de una vigilante. Pero la frágil estabilidad de su rutina se ve interrumpida por la llegada de un quinto hombre que acaba de caer en desgracia y que trae consigo un pasado que creían haber dejado atrás.
Director: Pablo Larraín dirigió su primer largometraje, Fuga, en 2005. Su siguiente trabajo, Tony Manero (2007), se estrenó en la Quincena de Realizadores del Festival de Cannes de 2008. Post Mortem (2010) compitió en la Sección Oficial en Venecia. Es también el director de Prófugos (2011), la primera serie de televisión de HBO producida en Chile. Su penúltimo film, No (2012), se estrenó en la Quincena de Realizadores de Cannes y fue nominada al Oscar a la Mejor Película en Lengua Extranjera. El club se hizo con el Oso de Plata en la última edición del Festival de Berlín
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Video Transcript
We wanted to start by asking you about the genesis, so that people who haven't seen the film know that it's based on real events,
that you've already seen some stories when you were a kid, that you've investigated and you've discovered the house where the priest Cox lived and so on.
Can you tell us a little bit about the genesis?
Well, yes, this film mixes different things.
It mixes...
First, as you say, a photo I saw in a house in Germany, in a congregation called Schenstatt.
In that house there was a priest of Chilean origin, named Cox, who was accused of sexual abuse and who left Chile before he was tried.
and I went to stop at this house, which is a very beautiful house, like a meadow,
so I saw this house and it seemed incredible to me that someone could live in those conditions,
in a house like this, let's say, and I began to wonder how the Church does it,
with the priests who have problems, let's say, the priests who, as they say, fall into sin,
and that civil society considers that they fall into crimes,
So, in order to prevent the justice from judging them and to avoid media scandals,
the Church takes the priests and takes them to these retirement homes.
So this film is a bit like that.
It's a film that shows how a community of priests lives isolated from society and justice
and tries to solve his internal problems in this kind of prison that has no doors, no keys.
One thing that has caught our attention is the pre-production part, which was quite short,
there is a lot of secrecy, you say that this time you have seen the film in five people before going to see it in a cinema,
why did you decide to do it this way?
Because it's also a film that was made in general in a short time.
It was written very quickly, it was produced very quickly and filmed in a short time.
And then we finished it and it's not that I wanted to hide it voluntarily,
but we simply wanted to go to Berlinale and to be able to meet those times we had to hurry.
And that made it a different process from the films I've done before.
It was a film that was made in a very silent way,
and that was released when we were in the Berlin Festival.
It was very particular and very beautiful.
There is also a particularity, in this case you have chosen not to give the script to the actors,
but you have worked in a different way,
I think you didn't even have the script that they were giving you.
How did it work and why did you choose this way of working?
Well, in this film, unlike my previous works,
we didn't give the script to the actors,
and the actors didn't know their characters or the others.
So every day we were giving them the scenes of that day.
Maybe it was an attempt to find an exercise of acting and interpretation
a little more organic with the story,
to avoid, as characters that were very complete
and with actors that had very developed characters,
and very prepared.
That makes the actor
first have to have a lot of confidence
in the team
and also makes the actor
stand in front of the camera
and be basically
doing an act of presence
and present. And that present
when it is captured
