Jesucristo Flamenco - Laura Muñoz


Your project has entered our festival. What is your project about?
Every musical begins around a table where the creative team discusses the approach to be given to the libretto, the style to be followed by the choreography, the lighting and stage design, or the musical arrangements. It is a process of incalculable creative and production value.

This documentary is based on an experience of creation prior to the musical film 'Jesus Christ Flamenco'.

 

What are your ambitions with your project?

My ambition with my project is to make the talent of artists known all over the world. The composer Pepe Begines, author not only of the music but also of the future work Jesucristo Flamenco, the film, the poet Juanjo Téllez, Arcángel, Carmen Linares, Carmen Escudero and David Palomar.

Tell us something about your shooting? What pleasantly surprised you?  

The challenge was not to interrupt rehearsals. To capture the creative process of all the artists without being seen or given instructions or orders to "action! or cut! They were free to create, perform and improvise. They call me the invisible director. It was a shoot that we faced with a lot of nerves and joy. It was the first time that the creators, the composer and the singers met to find out if the work worked. A priceless spectacle

 For what group of spectators is your film targeted?   

It was a shoot that we faced with a lot of nerves and joy. It was the first time that the creators, the composer and the singers met to find out if the work worked. A priceless spectacle


Why should distributors buy your film?  

Jesus Christ Flamenco is a feel good movie where you can find discussion about art, life and values. It has beautiful musical performances and dance. A documentary for all audiences

How would you specify your work? What characterizes your film?  

It is the first time that a documentary of these characteristics has been made, and as a reference - despite not being a musical - it draws on sources such as Louis Malle's Vanya on 42nd Street, which dealt with the process of creating Chekhov's play, scripted by Mamet, and which won numerous awards, including the Jury Prize in Valladolid. Potential audiences, not just fans, will enjoy a good musical with discussions about the complexity of the artistic production of this project.

The film on which this documentary is based is in the tradition of Spanish cinema when it comes to reflecting the flamenco of each period.

This was the case with Edgar Neville's Duende y misterio del flamenco in the 1950s, with Rovira Veleta's Los Tarantos in the 1960s and with Carlos Saura's productions with Antonio Gades and his documentaries in the following decades. Flamenco is a visceral art and full of stylistic "vices" that, being unique and perfect for this language, may not be so for the language of film or theatre. During the workshop, it is a perfect moment to "measure" these incredible flamenco artists and see where they are most comfortable in their interpretation, also helping us, the production and creative team, to assess where we should put our efforts.

Why did you decide to become a filmmaker?  

When I was little, I liked to carry the dialogues from great films in my school notebooks. Then I liked writing. Then I learned that these dialogues were part of a film script. I belong to a generation that grew up with films. We have a very visual culture and a way of analysing life through images. After my mother took me to the cinema to see The Last Emperor, I couldn't let go of the idea of making films.


Who is your role model?  

Agnes Varda. Always inspires me. I've always loved French cinema, Eric Rhomer, Agnés Varda, Chabrol. Varda has always inspired me. Sorrentino and Lanthimos seem unique to me. And of the Latin American films, I love Lucrecia Martel.

Which movies are your favorites? Why?  

I really like the films of Win Wender, Paris, Texas. I like Varda, Happiness. I like the films of Sorrentino, Lanthimos, Lucrecia Martel... I like cinema. I like filmmakers who have their own universe, that's something I value.


Where do you look for inspiration for your films?  

I look for inspiration in paintings, books, observing life.

Which topics interest you the most?

Where cinema can help to change reality for a fairer one.

What do you consider your greatest achievement in your career?

My greatest achievement is not having abandoned the path of filmmaking. Women have not had it easy. We still don't have it easy.

What do you consider most important about filming?  

The most important thing about filming is that the whole team knows the script. That the team feels valued and that they work comfortably.

Which film technique of shooting do you consider the best?  

Be open to any improvisation by an actor or actress, be open to change.


How would you rate/What is your opinion about current filmmaking?  

We are living in a time when cinema is flourishing. There is very good cinema being made in the world. And we have very little time to enjoy it.

 What can disappoint you in a movie?  
Who takes the viewer for a fool

Who supports you in your film career?  

In addition to my son and the people who love me, the women filmmakers' associations always support me and work to ensure that we don't give up.

Every musical begins around a table where the creative team discusses the approach to be given to the libretto, the style to be followed by the choreography, the lighting and stage design, or the musical arrangements. It is a process of incalculable creative value and also at the production level of the show.

This documentary is based on an experience of creation prior to the musical film 'Jesus Christ Flamenco'.