Hello, this is Paul Urquijo, the director of the movie Gaua, now you are listening to me
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the director of the film, Aintzuzen, and the audio commentary of the director Hauseda.
The director of the movie Gaua, the director of the movie Now you are listening to me,
aintzuzen, and hauseda director, aintzuzen, and director hauseda.
Not with different ones, either with the making of, or with the audio commentaries of different directors.
Then if it's dough for me, and very important to me
I absolutely do not believe these movie audio commentaries.
Either way, someone will find it interesting, or learn something from it.
So, well, first of all, that, a thousand, a thousand requests.
Well, the movie begins, completely about the night and the site.
It sucks, doesn't it?
We know, in Basque Mythology, well, that god of the night, our night,
when he appears to us, in the middle of the night, he says
day for day and night is for night, right?
Well, this time, I wanted to comment a bit on that dualism.
Graba do, through this, well, you've seen them, you've seen them, well,
of that period of witchcraft and enchantment
Based on that imagery a bit, no?
In that period, in that style of that seventeenth-century engraving,
well, rely completely, well, to make this prologue to Asia, where, kurpila,
We see this cycle in a continuous cycle, don't we?
From night to day
And to some extent we can see different things that will appear later in the movie, right?
We can see them as frauds, eh, with a pot, and, and, we eat
At the end, igual, that nickname can be completely, and, well, just so you know
Because it was recorded, we did it in Gurran.
I made the design, and then, er, recording
er, gurran, and, we shot it, er, with the camera.
E, both recorded and appearing, well, the title, and, and, are
eh, eh, posters of different, different chapters, no?
Ezako, it was important in physics, doing it, and not digitally.
See, we get the lala texture, what a
Well, here we see of the night, of the night, we see the other of the night,
e, some walkers, or some vendors, no?
And those who live there, different creatures, and what we see here,
Well, the first farm, guess what, well, the farm, this is beyond the fairy tale,
and yes, cider was made there, and, well, as we localize,
and, of the users, a very beautiful museum.
And here we see, first of all, bagure, protagonist, June Nogueiras,
eh, not doing kachalin, and, well, First of all, many people ask
dit, those who do not speak our culture or documentation, where I come from
those hatters, and the clothes that appear in the peliguro
these eccentrics, and the point is, they were of the time.
That championship we see here, amanita is muskaria, reticulated,
poison the alzara with him, but it is mostly, it was used a lot, hallucinations
to hold and bar, but it's not like someone's going to die, you've got a big dose.
He quickly returned to the dressing room, not We tried to dress up in the movie
between, without documenting it, in the field of clothing, come to me
wear the daria, yes, the war was documented, and the war appeared in them
not those hatters, with proud pointed shapes, then we are that fabric
colors and bar, in those times people dressed very colorfully, to say the least
it was black, and dressed in low saturation colors, that curious,
normally, the costumes that occur in historical films are quite mordant,
quite gray, like a sicina, and it wasn't, no
like that, it was very colorful.
And we've tried to make that happen.
Also, in between, at that time, some, the farms, the majority,
they were all made of wood, they were not dangerous like today.
And we've tried to make that happen.
Here we also have Xabier López-Jabato, another actor, right?
And we have the boys, the protagonists Totally Tort Relationship, no?
Pisegat glimat gaisalinga part of iso.
They are heavy.
In terms of lighting and visual impact, my predecessor
in the movies and I'm pretty dead, because my harimas demand it, right?
Dead history, full of monsters and bar, but even then, when it comes to publishing,
It's always all about creating images with high contrast, creating tenebrism,
against lighting the actors and characters, and in this case Gorka Gómez
Andreu argaziz, be a terrible day, isn't it?
Let's stick to it, they don't know the pictorial referents like the top, or the carabao
like, and creating such tenebrist imagery
I was determined, or I was determined to hide, completely.
In this case, to register Gorka, in the farm, he swore to sail.
That was the FIRE he could see, the SUBA-car that they left us that SUA down there, effect
it's made special, it's real FIRE, but very controlled, drama efekis effect
made by a private company, but then all the different lights that appear,
they are not, the sails, even though they look like wax
because the little dots you see are not fire.
How, in the end, the museum was made of Dana wood, this was no risk,
they left it to us and it has our techniques, in the end the oath will be fulfilled.
In the end the oath will be fulfilled.
Then to create fact in fiction, absolutely
But we see the peio character, even though he's a pretty scrappy person,
I'm all for having a little bit of his grays, not being a character like that
evil, to the image of the evil man, even a man of his own
Yes, we are in them, and even in these we have rude men.
And but we see because it was predicted The countryside again.
The plants and the bar you see are what we put in, and you see this Kampo
This Kampo you have, seen by Katxaren and then leaving the farm
to the other universe we see, no?
It's not scary because it would be another arctic forest, but it's scary
because in front of them we put some wooden beams and so on, which we can see
first shot, the first shot of the movie that we see in the farmhouse
the shutters and bars that are visible on the plan, we put them.
We also see how we have to fill in the spaces between them to describe them
no different elements, for example Katxaren's farm, I will write until I go
after the director, we see that there is linen, hanging there, on the walls and so on
laughing, and we filled different spaces with different elements,
then we see that there is corn in Maritxure's farm, right?
Here we have Katxaren's later, maricho.
Here we see the little girl dressing as a man, and...
and well, I don't know if Katxa's character would be known, but it exists
inspired by a real character of the last century magoz, his name
He belonged to the tribe of Katxa, and he was beaten because he had a female lover,
little man
That's where they come from, both the names of Katxa and Maritxu...
why not?
Piskat, yes, let's do a little tribute.
Also the worst, if you have a name for a peio, ope, Jo, ope, Jo, migelagos
the most sung, where he tells the domestic drama, where...
the main character who sings, he is always working and his husband always...
we force...
uh...
to work in the field at night, right?
and in a way, well, we thought it was nice...
well, putting it down...
uh...
kure's character Ari.
Here we see, well, that, the profile of an abuser, right?
on the one hand, how, well, he mistreats Katxalin, but then,
well, he already realizes his grays, if he is a monster,
those of Egola, there were one, in the seventeenth century, the Danes, and even then, well, they exist.
uh... and that's why well, even his grays...
eh... I created it with his grays, didn't I?
even though...
be a bully
Here we see how, manita guzcaria, well, well, that, creates Dion...
uh... that evil...
and in Katxalin it goes.
This is our favorite, isn't it?
we know, uh... well...
farms, uh...
that which is put to care or, well, who is a mullet
And take this shot, the other one, this is a bit of a tribute, er... John Foren...
The Searchers, or Centauros del desierto, everything, uh...
You always see all that vegetation here, eh...
it belongs to that, and this, this plane that we just see, this is in articu
the previous one was thirsty, and this is in the artichoke
And those who comment to you, John Forene, well, you know that.
er... it was Centauros del desierto, er...
you see the field in that final shot, uh...
John Wayne in a door and where the iunity inside
there was and it was on the outside, er... well...
the light
Well, well, we played against nes, absolutely.
What a light, it escapes from the monotony of the field, it escapes from the monotony of the farm
he does, searching for the light and freedom of the forest and the wilderness, completely.
Imen, calm down, we see the rest, another creature of the night.
And here we are, well, if you have a movie,
it has, not that narrative structure, but a chapter one.
And there is the movie, with stories from Basque mythology, and elements, names,
full of rhymes
On the one hand, there are four, uh... uh...
history, no, which are four chapters, night, inguman,
that world of slander and witchery and sorcery.
But then, within these histories, well, there are many different histories.
Er... among others, one of the received infamy on the railing, bakiko,
in Barandia, that he was an anthropologist priest from Asia in the East Garrimende,
and thanks to him, well...
In the myths of the peoples, we have many myths that he received.
And, in this first utterance, we see, well, the history of the night,
no?
It is told in the stories, how in the woods, if you dive, uh...
of the night, well, it appears to you between its different forms, doesn't it?
Ijunity with their form, with the shape of the frozen wind, uh...
the shape of the ocho, er... the beast of the forest, the animals of the forest, etc.
And in this case, well, we see how the wind
what he becomes in what he is, no?
The day is for the day, and the night is for the night.
And, well, here, he's been playing a little bit, how, that shadow we see,
may be peio, but also It can be night, right?
And, in a sense for me, uh...
what, it's night, uh... kaxaline's ies place, no?
And...
and to learn what he immerses himself in.
The night itself protects a little, to his farm, no, to return, no?
And absolutely, uh… I think it's a question of the night
back, back again, absolutely, no?
There are so many different forms of gestures at night... that everyone can take,
well, for me, well, it takes the form of peon.
And we menicus, ha, another transformation of the night, no?
Also, the forest, those different forms of the forest, er... the black forest,
and we mention, well, in this first plan, how we saw that actor,
uh...
that young actor, well, it was Elias Garzia, hey... walking around in black lycra,
and then we took them digitally... branches, even in this first part,
but from now on...
is the shape of the night we will see, I've always imagined it since I was a child
shape, er... totally physical, no?
Er... as if he were a walking giant, er... where are his horns,
as we can see, uh...
that make a visual village with the jargi, no?
Like...
...
like the spirit of wildness and meekness, no?
And if he were a colossus, like Zati all night
Alive that will be made by computer VFX er... done by the company and...
right here we see the barnacle in that form that turns into night, don't we?
Cute, isn't it?
Uh...definitive form of night uh...terrors, no?
Nortabillot swallows our iconography in the jar, here in the silence, ba Katsali!
Tarronat!
Well, here we suddenly jump into another stream in Katsali, don't we?
It appears in the washroom, where... here our legendary iruemakume appear...
Reme Beltra and Graxiana Iñakira Astortza, Elena Irureta and Ane Gavarain,
These legends of the Basque Country, hey... when I started writing scripts, hey...
I thought about them, to be honest, and of course, my...
How can I have three queens like Kastina, no?
So what I did was... with the iruai eh... stay and june and
We were a proof of that, but the same chemistry to feel the chemistry between them and
Piskate to see, how would they adapt, right?
And give them this justification... uh...
such a quote... of the script... how are they?
Some of them don't have a ladder, some don't have a ladder or something, eh...
Some parts of the script were read by the Pasanis and the Thais
when they came to Assyria... for example zelena I haven't studied...
this is not written well, this is Basque...
hey... it's not right and bar, I told him that it is not possible
because of the Basque language of the century we live in well, well, and Nik, well, take it easy
take it easy, I'll give you twenty minutes, Read it and come back, right?
and luna, I bowed, they did it and we had a lot of fun
there was a nice chemistry between them if they are very charming and very very momentous
It was nice, well, I was clear, well, I think that's clear.
the washed out yellow outside, very close to the salty one, and that
Those who say that you are a custodial cat are false
there is a clearing and all that vegetation that was covered with art,
you see there's a hole in it, mouse just before recording the shot
one passes, just a few seconds before and a few seconds before the recording.
It would be nice if we had a little mouse to shoot, wouldn't it?
Another night walker and I think it's a Latvian wash
Our women who are washed for me has always been a catch for me to see.
It has a meaning, the symbolism of a refuge of freedom women have always been
Those who had to clean and were completely there
In this case, the women are having drinks and telling the stories
It could be their freedom or a space of freedom and then there are also myths
cleaned a lot around and around the bar, and well, they seemed nice
to be completely clear of the character's refuge and to be completely gone
What these women represent for me is not something of destiny
The three goddesses of such destiny are parks, no moiras, no grais or ekate
not the implacable goddess of sorcery, completely and then well completely united
no no, these are the three characters who will direct the union of the cats then individually
It has its own personality completely, we have a slightly fat Elena as the leader.
The figure of their leader will then be remade a bit like Makurraao
Like Escabritxo and Beltra the most genuine, and it is said that they are not Basque
It is a phrase used in mythology about witches. There is a movie about the phrase
filled with the history of these three contained in ori barandiala and others
because they see the heads, they have completely defined the character
if there is a crooked govezala, a smaller govezala, a bigger govezala
bi puntada Basque is higher paancit jefe zila, the meaning of having two points
He used to have a twice-married wife, but if they had one
You were married, and then in Beltra's case that was with the baroque or the priest
being zero it has no tip there we looked for the code but such a hat
They have a lot of differences and we are immersed in the history around you, you can see it here
Another beautiful farm is in the Horoz area and a farm in the Basque Country.
It's one of the oldest, all made of wood, as you can see here
We have seen this scene recorded in Igartu Beit in the previous sequences
Igartu Beitiko Kampoaldea Katxa's enzukalde and this is right next to it
another zone, we finally make a Frankenstein and you know the movie
because of the lie and that's how we act here we see the Candlesticks Candlesticks
they are carved from the wood created by Argizaris and then some Argizaris
some tangled sails that represent the harims of the dead and
In the Basque Country, they were taken to Churches and different families were reborn
Here we see Maritxu completely devoted to the worship of his dead.
Maritxu Erika Olaizola John, Manex Fux In the figure of Mateo Xistu and and ours
Eugenia, Laura and we see here the character of Inguma is in Basque Mythology
such a demon clutches at the sleeping one and entangles Dion in the night.
I do what I usually do to a sleeping person or I twist the mattress badly in the morning
if you get up with a broken mattress or if you die while you are sleeping
It has been completely Nik at the beginning in our iconography in different ingumas
It is represented as a demon and we will see another form
with the shape of some we see here this little moment like the heart like pins
and here it is, opo, dapa, mapa, apa are also Basque
Other elements of mythology are said to be used of the heart.
nail the heart of black people to ward off both witches and bad spirits
opo, dapa, that map was called by witches to close a code for example.
we say that what was done was to put a pape pipopu after each syllable
here you can see how a legendary witch can kill a cat but opo,
dapa, that map are said they are said they are said ka, pa, ipi, sopo and say
It was a witches' code but surely it would be the people of that place
He had a secret code to close it or whatever he was commenting on
in this we have seen the candlesticks closing in on the inguma We are and And there was
in Crencials, usually the dead were buried in the farms,
and it used to be that there were some guardian spirits in the farms, right?
Family members, they were called housewives or helpers.
And we have played a bit here, like how the spirit of inguma is in the houses
being malicno, he could be such a corrupt landlord, right?
Well, shaped by hatred and envy and the like
driven by bad feelings, no, not at all.
And we love them, June and Arika, Kasherin and Maritxu, you are fixed,
Well, based on these historical festivals, the two people who commented to you earlier
absolutely, no, you've fixed it tacitly, but Maritxu has his head down
like, that's something that used to be done to women, when they were single,
That was done when I was not married
or shave the whole head, or even rap the high caldera.
And then when they got married, but they had to lengthen the month, and they put on a hat.
Well, to do that, to do that effect, It was in the air that we did, well, as well
to make the priest's head or tonsure, What we did was put a prosthesis on him
in the head, as if it were a raccoon, but with a month around it
very similar to the actor's month, no?
Ola integrate alzi's protections on their heads.
We review Elena Auriz, terrible, iratin luixa
what his father had, and well, there is always one with him.
And we saw there, how, well, as the row runs, absolutely.
Well, you see them there, in the farm, before
as we have commented, that presence of the harto, no?
What unites him, who also has a connection with the top, with the figure of the inguma,
and also, with another character from the mythology of the Basque town, in a bad way.
Inguma iconography, it's normal, devil
a crook, but also which has the shape of the top.
And in evil, well, like the pain of the disease, no?
And what is done is, someone is sick, well, you see them, they will be put
I'm going to jump, those neck marks you see, I'm going to do them
which was, well, on the one hand, Erika really, well, knew the edges
the same and those are his, he did a great job, but I had a headache
such a prosthesis, made by Enatxo Diaz, they were completely marked
fingers, and then record that, and then we used that for the actors
to insert digitally on top, there is one in the contents, he would see
with a little video, where you can see the neck of the maritxu
reproduce that with that physical mechanism.
We tried to make as few physical effects as possible.
Well, I was commenting about the bad guys, we saw that, suddenly Erika,
Maritxu, falling and how the feathers appeared, no?
Suddenly, from all sides.
Well, well, evil, that deity of disease of the night, that deity of disease,
what is done to find it is to take the pillow, no, it is malmo, and it is used
on the ground, and if they produce their feathers there
the head of the oiabartas, that was what we were doing wrong.
What is done there is, well, throw some thoughts at it, it would move
or even, some of them come from the head, and otherwise, one of you,
no?
You're going to have a great day...
Yellow, you see, I've got my head wrapped up, that
with a prosthesis we made, how it was organized
And of that, Eugenia, she is giving him to drink, from a cencero, from a sandbox.
Also, there was a belief that, above all, by making the cross and sanctifying it,
that he was here to make peace, absolutely
And, well, as I told you, the movie is full of jokes.
Here we see our how our jontxu our anxon, it goes to the edge of the stool.
Back to the witch, the forest witch, no?
We see this that place, where
It's a pig, and a very beautiful place to be honest.
Most of the locations shown in the movie are real, all my truth
not to maintain the natural textures, but
how, of course, everything has to be postponed, right?
And here we see, or a lot of people, that incredible work, in between.
And here we see our dunghill, burning our Helen, herself,
say, he, I've known us for a long time, for twenty years, or that he didn't have
smoking, he told me, and then he made a good cigarette, a fake cigarette,
or a cigarette without nicotine, but see,
asenola, as it has style, our helenas, burning.
People in your house, whom you care about.
And here he is completely shut down, he asks, a ver, to whom to die, no?
And inguma in itself is also a proper name.
Oh, there are many people today with the name Inguma, then playing with it a bit,
yes, yes, the family, well, it could absolutely be the spirit of the grandfather, no?
And then a little bit it completely represents the figure of the inguma, well,
Rancid and oppressive ancient traditionalism, Nola, well, well, Maritxu bere
has a different sexual nature, Maritxu wants to be free, but his
Grandpa doesn't break from the other world after death, right?
If you light the candle, cover it with a piece of cloth, wherever you need it...
That is true, that, too, I read in Barandialen's book, how,
yes, yes, witches, yes, demons, yes, to discover that this is absolutely done, isn't it?
Here too he comments on the matter of the heart, take, as he commented before,
taken, ale, by the corrupt, and then, well, if the inguma appears to you, well,
to make the inguma disappear by itself, when you go to bed, well, inguma naukire panic,
I love you my friend, stars in the cell, grass in the meadow, on the coast
even, until they all came together, and it appeared to me.
That's the point, isn't it?
In many mythologies, well, those negative figures, demons, for example, hermentarians
I played with chickpeas, or it's done to vampires, in a way, they are the same
like, or they have that obsession point, and all of them
they have to tell They are very generous, aren't they?
Currencies can also be used.
It's here, fix it, it's there, it's there, it's there, how is it there, it's an egg, no?
The reaping, the reaping of death, that was done, well, to smell death paradoxically.
And here it appears, poom, it appears, our inguma, the repugnant form of the top
with that, his, well, he's an actor, Elias Garzia, see as from the first night
the one we have, and then the one that will also do the black one.
A great actor, he saw, here's his boy, his boy, his boy,
it's his arena, then yes, he has it, treatment, with sound, that the film has,
An incredible work, it has all the atmosphere and sound, well done González,
noixestudio, awesome, I always work with him, because he's the best, and, and,
well, take care of me, how, Well, Elijah's palm, but
bauka, filter, even if it has that paranormal filter, and, well, seeing it here
you see, that Elias is there, er, that the area is on top of Maritxu.
Well, in order to do that, we were looking for two, two effects, on the one hand, oh one,
where, er, Erica would put her feet under the bed, and, she had, it was a lie
a leg, let's go where we don't see it
those legs that move underneath are fake.
Ah, well, if you don't have one, or if you don't have one, a metal armor
they were there, they had, er, the basement when we saw them.
But when we didn't see it, down there, they fit, well, his legs
above, above the bed, he had, fake legs, er, shooter
which we moved with some, no?
Well, as I said before, well,
that we tried to make the effect as physical as possible.
I think, finally, er, more and more, and, having the most physical effects,
it just keeps getting better and better and also, well, that's how we see it
that broken neck is also made by natso, er, with make-up.
Most of all, how did you see us with a terrible prosthetic make-up,
not knowing, who has the work of seventeen carts.
And, but we see it, commenting on it
I was also in the presence of that guy, right?
Falling pillow feathers.
And, for that, our grandfather, That wise and gentle grandfather, isn't he?
Well, as the myth of the Inguba says, well, to tell the grasses of the meadow,
uh, you go viral, and, uh, well, when the day comes, well,
it is broken.
And for that, there was Elias, It was very cold, the movie was hot
we joined together, in the winter, the brat and it was half past five,
very little time for such a movie.
So many effects, so many, er, localization, being historical,
have to put everything back, well, I have a great team, and
With that equipment I managed to get the film going.
Here you, er, I thank them, er, I will always ask them again and again.
Because it was a terrible job.
And for that, be too filmy, we got it out very, very fast,
Eee, compared to other girls' movies, eee, it's been a year since the Arremantas were born
They were six nights and three nights. and, well, we funded it,
first, but then we had a very short shooting time, er, that,
half a week, and then mounted, very mounted
fast too, in three weeks, eh, Beacons can be found in Sitges.
Well, that Church you see is Oroko The monastery, that's just beyond the castle,
and you will see later then it looks forward,
eee, Church, eee, Oroko The monastery is the monastery.
Well, we were very lucky, to record in that monastery,
they don't usually listen to us, it's not, it is not easy to record in Churches,
eh, well, in the image of the Church, eh, how do you think, and bar, but
well, normally, er, because you're practical, there are no problems for you,
o problem is here, to record there, and it is not raining, but Me and be
I had, eee, eee, the parish priest of Oroko Monastegi, Carlos, eee, well, Basque
A great lover of mythology, he ee, from Gorbea, the book of Basque Mythology
he missed one, and when we passed him, eh, the script, he read it, he read it,
and, and, where, who knows this, Mateo, whistle, of course yes, no, go,
eh, sigaina, eh, we have a retweet of the deaf, if you don't know, one if you don't know,
and, well, it was a pleasure to, er, hold him,
and to have his support there to record the film.
Well, here we have it again, er, in the washroom, to record the washroom
we had, er, well, the three scenes that appear, er, both of us,
alone, we ran and it is also a very cold and cold place,
no, eh, just where the water is, there is also a reservoir in that place
here it is very pale, and mandantia lak, and bar, and, well, er, pan the cameras
were made to us, er, objects to us, and bar, and, and, well, that always
there are problems, but, and and, problems and then wasting time
you finally have, and in this case, Well, we did it again
against the equipment, we got, er, well, fulfilling the plan, completely.
Well, we have it right here, Beltra, yeah
but, telling history, no, Mateo's whistle, he was pretending, the way of command.
If one whistles, well, it's a horror from Basque mythology
A very important or famous character in history, right?
A priest's ghost, a walking ghost, through the mountain, he, uh, well,
tells the story of, well, uh, as a priest obsessed with him,
and in the middle of a mesa, uh, thinking obsessed with a hare, uh, the devil or something
like a sorcerer, well, he came out from behind, leaving the table there, and in charge
the god brought madari, and his ghost in the, uh, mountains
it runs, and sometimes you can hear its whistles, right?
And if you run into a laugh, well, you know what's wrong with you, don't you?
It kills you, or takes you away.
And there are very scary people.
And we all have this necropolis, eh, eh, this cemetery, it's clear.
a necropolis of the better ones.
Very, very beautiful place, eh, there are netun baketas that appear around
they are true, but, uh, there was a kind of utxeno in the middle, and there,
well, we filled it, eh, eh, with these discoidal steles that are famous in the Basque Country, didn't we?
Eh, where, well, the crosses, eh, symbols of nature, and family names
that appear
We have all of that, if there is one. an oio, carrying someone's oio
ago, and, uh, but there's another one, eh, he's carrying a ram.
Well, that's fine, Jen. when someone dies
uh, well, to funerals and, well, going with the animals.
Eh, prosperity, or, itself, to be reflected in one, eh, eh, of the deceased
I know why it is, but, but,
They thought it was nice, er, to the element.
And, uh, that's what we've seen, uh, well, how is a linde, where is it happening
It is something holy, or, the Christian inside, and the deity of the other dade outside,
or there are historical ones that a character cannot enter, yes, with llamas,
yes, with the witches, and, bar, and a little bit for me and, well, their history,
I will do to them, well, a little, eh, we had, eh, here we are manesfux,
his, no, well, bate his shotgun guarding the one he loves the most,
eh, he, because god gave him for me, other, power over all creatures
through the fact that, er, he is, very, the same, yes, wood and, and,
as Bertra has it, asalutza.
That plate we have of all those bits, that's what's in store, beyond that,
eh, how is it, partridge, uh, applesauce and, and,
with prunes, and then of that time, eh, a reset.
And yet, here we see them, eh, a lot of sails, and what in the movie,
we illuminated with many skins, but, but, but, well, uh,
as I commented before, eh, guess what
we had two sponges, the museum, no, to put it at risk.
The movie is being recorded, eh, Arria With Alexa, er, anamorphic lens,
that gives him, uh, lusetazun osea, the picture is wider, and for me a lot
everyone has their own blur, eh, because of the organic deformations it gives.
Beitu, what we have seen, eh, uh, uh, they have, uh, wounds,
the wounds he inflicts with the whip, what we do is, first, put the wound,
with make-up, when playing, the actor plays himself, er, with the whip,
and digitally, uh, uh, they are erased at the beginning of the plan.
Oro, and then, uh, appear digitally.
Well, it turns out but we do it
the reverse, and the hem seems to appear, doesn't it?
And here too, it is very well seen, of that bat, uh, tonsure or uh,
that flat pillow, no, eh, that it was made with prosthetics, and you can see it, right here
it can be seen, the work that will be revealed very well, uh, uh, very realistic.
Very realistic.
Punctuating to root.
And this Passo that we cherish, is, Albertia, the mountain of Albertia.
There were, um, well, some civil war battles, and there are trenches,
there, uh, the Republicans were entrenched, and, well, uh, they ignored it
they had, and, uh, some of them in life, Well, I did it to those who saw it,
uh, well, some sculptures, and, And a very beautiful area
it is, those beggars we think they are.
They just look like hands coming out of the ground.
And well, well, the sound is beautiful, then we'll put it on for us
All those ramas who see like that, through art.
And the zeal and such elements will not be placed on their own.
You see, everything that is in Marits Katxarin's head, at the beginning of the shot.
In one, Jo, it attracts everything and it's natural
It's a gift that he gives you when he's waiting, right?
The protagonist of the film, who had his own very happy and sad life.
It was happy and sad.
In one, happy sequence, everything appears in one head
atzan, ha, as if he were a damn child, no?
That was a beautiful gift from Mary.
Here is Maritsu's prosthesis, no?
And how deep it is made, of haupako and patiren...
Makilataxetabe hairdresser's very lambic.
You would have, well, these monthly courts, they are of the time, at the time, documented
I did it, and they had completely such paws, and such muskets, that's all
which seem modern, but they were the hile courts of that time.
In the movie for me, Jo, Katxaren and Erikaren kimika izan zen izugarria.
I think the two characters have a very nice chemistry.
The most tender moments of the film are played by them.
And they provide a very beautiful counterpoint to a film that is so unique.
Well, here we see how Maritxuk gives Dion the comment of the amanita muscariales
as we have, an amanita cannot fail you.
Yes, you have hallucinations and, well, and
there is a great decomposition of celonka.
Because you ate a lot of them, yes, Igual, yes, no mistake.
But, well, very beautiful mushrooms for us.
And very iconic.
Here we have also seen how Maritxuk suggests that Dion should not dress as a man,
yes, to go to the good.
The film is set on the web, well, the Basque of the movie, from the internet
it's Basque, it's been taken back a bit, thanks to Gorkalazkano's hard work.
But, yes, the bay is closed, it closes like a bridge,
and that big skin, well, well, be patient with the process,
nod, no, the film is set there, with the local Basque,
with local locations, and we are also about some of the characters involved
it closes, there are some names, for example, the friar's inheritance,
because, well, an abbot, he, who was the abbot of Urda Bridge, and he
he drank of the existence of witches, eh, that's a bummer, isn't it?
It's not, Basque, well, it's the general consensus, it's always been said that he came
someone from the north, Maria Similegi, and he saw witches there
that he had, and the hats and the bar, and here's a psychosis like that
not because he created it, but because he, I'm in the Basque country, and, well,
the point is, uh, uh, Maria Similegi, Today we know, er, turbia
it was the bon of the north, eh, that witch, eh, who raised it, do,
The one who pushed you was the lord of Urtubia, who told you that he was a peiar,
and bar, and, as we know today, eh, that wretch, the friar to the heritage
that he also knew Nibar, absolutely, then, well, no, say
can, uh, the existence of witches, witchcraft, even witches, well, an excuse
that it was, well, the same, from political and economic interests, in the end.
Well, I think a very beautiful sequence, for me, uh, movie,
It says a lot about the freedom of sexuality.
And it was very important to me, eh, everyone's sequence, in the script
a point of sordidness in Assyria, uh, the ones that had, uh, pliers shape,
the most beautiful, and, er, the most delicate, eh, treatment, right?
Finally, uh, inquisido, uh, uh, well, satanism, satanization process
in that, they also demonized sexuality, and, for me,
well, that was important, even a little, eh, dignifying, no?
And, in the shots you see, what I did
it was, uh, uh, well, throw away the blankets, right?
Eh, when they lie down, they want to lie down
because they don't love, they rise up, absolutely, no?
Eh, visually, eh, here it appears to you when, here, behitu, emnola,
Katsalin Elle joins, right?
How, uh, aren't they bent, looking up, no, absolutely.
Well, here, we see, our rabbit, which is digital, appears to us,
in this case, plans, doors, use, er, a hare with a sled,
which we would treat very well, we only have the honor to stop, as a reference
to be, but then, the movements that are on it, well,
and the head, and the eye, and all of that is digital.
Oh, of course, then, when he appears running, eh, erbiare, eh, digital of course,
no, uh, finally, uh, you can't tell him a hare, uh, what, what do you need, no?
But, well, this, this, this, too, it's digital.
I also wanted to comment earlier, eh, this is the most beautiful sequence we've seen
in that, uh, how it contrasts between the music, no, with that sequence
and with this, how, uh, the movie has some situations, uh, where, uh, romanticism
and beauty, er, through the music that exalts it, er, racier aiega
and the old lady palace, eh, eren, helan, with excellent, of course,
and, but then, that, too, lives together in another nocturnal dimension,
with that terrible, terrible, no, eh, full of voices, eh, and texture
full of pride, eh, mundus hor that nocturnal world of ginkaria,
no, now, a very nice movie like dualism
that has that eh, through music.
Buna, menxe, eh, well, this can be an example, how, in five weeks
We were going to record it, well, I think they should finally take them on as a director
some decisions, uh, and this is practically this sequence of shots,
it's a single shot, we see a shot of asieram peio, eh
Mateo Agurtzen, but he would have seen how this mountain looks like a single shot...
I raised, uh, it was, uh, derarra, for me, for me, eh, hmm,
ego, he had the full power of cinema
let it work, eh, I enjoy it, eh,
with challenges, eh, suddenly, yes, to be, well, we don't know that time,
and, and the conversation, then, this conversation, in graut mode, with a single two
the way the camera goes gradually evolving the characters
creating a chorography how, uh, good to the narrative, narrative potentizatu
as it does How suddenly the profiled character remains, worst of all,
how we jump from one place to another with the focus.
How suddenly here Mateo becomes almost a spirit, iumba
as if he were eating himself, manipulating himself.
How to stand behind him and see this astigo, then the challenges for me
they are always very interesting and it's fun when they help the narrative.
Then of course, you save time, In the end, though, it takes quite a bit of practice
what you get in one shot
to count the fine in a powerful way, if it wins.
And...
This church you see here, It's a stone church and a beko
everything above the roof is digital, that was made by alaif UFX.
This forehead is buried in the necropolis of the stones.
The sermon we see here, the sin of the human heart.
And, the devil and the flesh.
This and the entrails offer meat.
This sermon is the strength of Asura.
Asular informed by the cultural person of our Basque town.
That habitué is my father, the mustache and that is my mother and my heart.
I entered the family of that sequence.
What we see here is more like communion.
It was a perfect moment... And it was a delight...
A lot about Enkurtuza, I've never met Enkurtuza.
Because from this side of mine mine is luxuriating here, right?
So many and so many of the downfalls of that time and showing it completely.
And, well, here, among others, there are friends, or hortalamo
cook, this is pai, and, well, here is my family, right?
And, what I told you before, that, that we had used the sermon of the Asulians,
because it was from this time and the proposal, how?
Because it was completely a reflection of the way of thinking of that era.
And, because it has its own flesh and blood, no, absolutely.
Sin about it.
And look at that, well, the abbot and the inquisitor, right?
No, Fraileon de Aranibar, no?
And, Friar de Alvarado, that's the other one.
Those were the days in reality, sculpting through the inquisitive berry of the nets, no?
And we love, well, that story of batet whistles, don't we?
How, the hare, has he entered the church, and his...
Mateo, well, it makes him crazy.
Azira baten, erbiak itzein gotzuen, in the script, it said, the door bell,
the priest works with the bell, ringing the bell of everything, yes, joining the maztur,
well, well, what lies in it, but, imagine, that, very dangerous
To maintain our credibility, well, finally, a hare
to close it, well, it's not, it's not, by burning, in debt, by
I decided to fart alone, rather, I think, a more macabre flavor
that he gives one, iuna gobat, and, hare, we used the breaths of the real,
well, to achieve that effect, and I think it was very high.
In the story itself, Mateo runs to the forest, where he gets lost,
but I decided, well, absolutely, because the door becomes a dimensional portal
like a nocturne, and, and we mention, how the dogs come out,
but Matthew doesn't come out, and, and because the night does, as in the story.
And, it is said, normally, it is said, holding a bible, or missal, open
baptize, inside a church, witches enter.
And, uh, well, it was said about these forms of thought and superstition.
And the netza sequence, at that moment, where we see, Matthew in his youth
entering, well, it's, well, Mateo, that iconic image of Mateo's spirit, no?
Then, what we hear in the mountains, and that alone
if you meet well, he will lead you.
God bless you.
It is here, the moment, where the truth is revealed to Katsalini, isn't it?
How, that these three women are really witches, and that they barely knew each other,
and, well, let's make this whole circus about his signature, right?
how, they have condemned him because of his signature, and that is,
Of course, he did it on his own.
And how, for that reason, they took that log, well, to burn it there.
The one he mentioned, on top of June, he made a niko plano traveling, and it's terrible Dan
how, June, how to repeat it again and again
he could with that intensity, right?
With that emotion, cry when needed
doing, osa, June is an incredible, er, actress.
And I think he will make a lot of friends with his work, here he is.
And here we try to take it, not to the hakelarre chapter?
Here we see, making money, that way back to the farm.
And we have seen, as the witches have said, if there is not, if there is amaikamilla.
That was said, there is a story that a girl tells a woman
one, that he is not a witch and has denied loving witches.
In that story, the woman saying that there is no
amaikamilla, and the witch amaikamilla appears to him.
And the month, pull the month.
they scold him and pull out his hair.
And at this moment in the film, that story is a gesture.
As he said before, each chapter has elements of different stories
complete, and in this case it is a complete witch chapter of a witch tale.
The chapter of that iconographic world of Akelarre and witches.
For us in the Basque Country, witches are not inherently evil, or they are all evil
They are powerful, they are strong, and this is the result of a relationship setup.
But the bad guys are one, for sure they have an excuse.
This always has Basque mythology, sometimes the priests are good and the devil
and that they contract malice in a gentle person, but in others
If there is one, the church is also a factor, isn't it evil?
Other pagan deities that make them disappear and laugh.
And that for me is very interesting in our mythology.
They are nobody here and nobody bad, or both they are not everybody, absolutely.
And here she is, in the movie, with the witch hazel
the related thing re alba carra.
Yes, the Inquisition punished the Basque people, the Basque people, in other areas
some people, under the pretext of witchcraft.
There was no witch by nature, as far as we know, and it was what the wishes made.
hit those areas for their economic and political interests.
And here I have.
And I absolutely wanted that. that's hell, isn't it?
And the reddest scene in the movie, absolutely
As if it were yours in hell.
However, one of the last musical themes in the film for me, very sad.
Really beautiful, isn't it?
Thanks to Maitetaran's work.
That's when things fell in our friar's wave and Díaz de Alvarado and Mateo, whistle.
However, thanks to some opponents.
And he opposed those texts, even in them, they did not listen
there are some that you have to read, in those real texts.
Ibi joalki, movies, there are some Basque referents, well on the one hand,
Various recorders linked to the Inquisitio, some of them
Ziarnko, who collaborated with Pierre de Lacroix, created the iconography of the cobra
which he had, he made if there is a large engraving, of the benedictions
different parts, and then there is Pablo Tillac, this edition of Basque mythology
many French illustrated by means of engravings, and cobblers
some amazingly beautiful pictures they illustrate.
Also images of other people from Basque mythology.
We also see, well, how a Besenara spying on a woman Ari Dion,
and that witches ointment, er, that famous one, that in different cultures,
igual, it was simply a cream, es, women, their creams, their
that they made ointments or good remedies, but the inquisitors of torture
they told the people through Well, with that, they used to hang out.
And in a story, in a story of the soringera of the Basque town, this happens
is, a woman gives that lotion, and this phrase we know of them,
above all the weeds, below all the spades, saying, well, the woman is lying,
it comes out with a bang.
Her husband sees her, and what he does is, well, he follows her.
He gives the ointment, but, say the air, or over all the weeds, all the spades
from behind, he says, under all the bushes, above all the spades.
Then the guy comes out, well, in a hurry, but, under all the bushes,
and then, from the spade, that, forever, with the trip, and it goes to the akeler.
And ipun jan is said, well, everyone does it there
that, of him, farre, even blackness, right?
In my case, what I did was, to peyori, well, a more bitter fate,
and a darker one, you've seen a movie.
Here we are, well, jabato, Xabi López, is also a great actress,
He did a great job. well, here we go,
the person who suffers, well, all that, no?
How it crawls out, how it crawls, to do all this, special effects
In the meantime, he did great work, physical work, as if he were a specialist.
He really likes her, but look, you can see that in the making of.
We are surprised, but how he, about what we did.
Uncrack.
And habitu, this effect that we see, see everything, is used a lot in westerns
when a sale leads a pair of jeans, in drag.
Here we have this actor, it comes out of the shot, and
the other one who crawls out, a specialist.
And you're a Turk, you're a Turk, still flat, in these plans, this is what is seen
the face, a specialist did it, An employee of specialist Ricardo Cruz,
and then, but then seeing peio's face
when he had, in what plans, done peio did it.
Because it was wrong, but it was in the environment, peiori recorded,
raised using some cables, against a chrome.
And then, with a drone, we recorded the sky and the bar, and the witches and the time
After recording all the people against a chrome, make the composite digitally.
In Basque Mythology it is said, sorgiñas y bar, well, sorgiñas y atiacs
we have, but they are all witches, In the Basque people, witches don't know
no sex, no gender, all men are witches too.
And the point is, say, in Basque mythology it is said,
and they used to go to the farm, with the animals.
Yes, donkeys, boiled goats, with mats, of all
But we didn't do that and it would have been very complex
doing it digitally, then what I did was, use objects.
No, the witch on the broom.
So on the broom, the witch on the broom, it's not here, that's half of Europe
it's a favorable iconography, but, well, We did ours too, didn't we?
And, well, that shot you saw here is what we do, record it with the actor
on the ground, then up the camera, and then invert.
And we include the fallout digitally.
And finally, we go to the kitchen.
Well
And finally, we go to the kitchen.
And for us to do, which is the biggest challenge of the film, right?
Absolutely.
A sequence of shots made by me, without a quarter, the camera was going
in turn, as if it was a party at the beginning, then how buzzing
which becomes one, and for that last invocation that we long for.
And for that, well, we did several things, on the one hand, composed the song,
love with tarans, then design a choreography with a group of dancers,
all those young people in the middle who think, oh, they're dancers,
and then when we went to the shoot, they showed them, they were the guides,
Totally for all those little extras, right?
This is what unites us, well, we were ours, of course,
since it is a shot sequence, that we are in a single day.
And we absolutely did, we did, first, osea, first of the day
rehearse the part, both with the extras and bar, and with the camera to set the rhythm,
using music, and bar, and bar, and then
that last part of the day for recording.
It was, mother toma, and of course the good one was the last one.
And we loved fair, jornada, when we finished
On the other hand, you see, this forest is the plateau, this is the plateau of the hoi hartzun
sometimes we recorded it on the impossible side, of course, we couldn't in a forest,
in the middle of winter, yes, another half-naked figure was recorded.
And the Basque factor, because of all those challenging factors, right?
Then we did it, it was fine, well, created, the gods did,
create that forest, take you to it, that's where these dolmens are
placing, the earth, well, full of earth and ostos and bar,
and we recorded it there, in a controlled situation.
Yes, between each take, we had to open the bats, and wait a bit,
The space, to ventilate, was filled with smoke, all of yours
we have, ma, that campfire, that you, well, in the scene, he was blowing smoke, kepilla,
and he went to fill it little by little, and, of course, without realizing it,
ba, ba, between toma and toma, What we did was, well, open it.
And with that, well, time is wasted, but, but we finally got it
from these enormous challenges, for me, well, g Gothbb mesh of life
one, for me, is to create a real acalarre?
Bure akelarrees?
so eko, a big fest, where the location is true
it is, and that's where our anger comes out.
We have Ghost, well, here, uh, that blackness is approaching, saspi
the blackness of the horn, as it is written in the stories.
But, well, the inquisitors have always had a say in most cultures of the world
witches are best known for summoning the devil in the form of a snake.
But in our case, in the Basque Country, there is a lack of respect for nature
A powerful, magical deity linked to fertility, and often
which protects the farms, of the farms
which protects animals and nature.
which is linked completely European
other deities, to many nature deities.
The ones with horns, the ones that are also tied to the jargi, absolutely, with the jargi.
Well, the calendar of life, which has been used since ancient times.
And, well, there we have them, many European horned deities, we have pan, kernunos,
then, the horned goddesses associated with horned animals, for example, Diana no.
Well, the gods of babla, if they are for me,
the language of black and white, you language in an abusive language.
And I in this case, I said, yes, yes,
I wanted to be a man, not just a black man.
How is normal represented? but of fertility and sexuality
being that deity, absolutely there are many ancient deities,
even androgynous and armaphrodite, and that was the most logical thing for me, right?
And then, absolutely, that magic of fertility and love,
that god who casts, casts magic, Armaphrodite
and being androgynous, It was the most logical for me.
And, papiskat, he has in other illusions,
creating an elegant figure of that baphomet, no?
No, it can be scary, but in the same way, a pure and beautiful mystery.
And, well, here, how, of freedom, through sexual freedom,
well, even people are hella, no?
Taking away, the inquisitors, well, they created in the iconography of the Akelars, the thing,
to these dead bodies, well, and removed by the dead
create a symbol of freedom, absolutely.
What we see here, well, as an akerbel, there is, as he commented to you before,
Played by Elias Garzia, he was carrying, well, some stilts
he was carrying them, even an animatronic head, as mentioned earlier,
I wanted everything to be physical, and to increase its size, but I
was, on the one hand, well, this hand is digital, right,
but it was for Elias to have it engraved against a chroma, and all the other planes,
well, with katsarin, well, garri garri, and with the net fund, and then,
well, digitally, it got bad there, Elias, enlarged.
Akerbeltza's journey was complete, with chrome, and it was very hard
Eliantza, but of the incredibly famous LAN, and I will always be a thousand times grateful.
Well, inoakagu oculus infamous do, element of the black mustache.
A kind of seal to make a pact with Akelarrea and Akerbelt, no?
And I just, well, I had that, no?
Satanized and desecrated every element in a way, his party
the murder of the beautiful, and to tie it with freedom, absolutely.
And in the responsibility, through the black kiss of the vanola, completely forgive the black ackers
makes through this pact, through making a pact with freedom.
he apologizes in cajalin and insists, absolutely.
Many people here are for me the most beautiful sequence in the movie, both of them are amazing.
It was very difficult for them from Asia because they were full of these sequences
and I had a very history, very thought out, how to be in the best light, delicate
to be, to be beautiful for me and this is what we do when we plan
stop with some intimate supervisors, sex in the basket and the like
When there are sequences, we must be aware of them and I had them very clearly
on the kid sordi dodo can be sexual
I got used to doing that in the best possible way.
And many, many people ask me, but it is haus maritxu or akerbeltza
What a transformed maritxu, or brought back from death, well, that Nina jago
Open mindedness is so beautiful when you completely listen to your answer
We portray ourselves as not being ourselves, but for me it is very beautiful
there is only one level for me that I think but I won't tell you
I prefer everyone to have their own and to the last shot of the movie
where Katsalin kisses the public with strength and power
to fully define the text that you have put here to watch the movie
to support that all these histories were created through lies, not lies
they created violence throughout our history and it is what we do
a tribute to the people who lived in history but also to the situation
We do not make these powerful histories and fictions that have been created since then ours
We join them and their descendants who were in the high places
They were against freedom as well as those who are against it today
Even the early Pentecostals are completely unrhymed and simply Gabe here you have them.
Credits where all the people from the team appear, you can always see the credits there
because that great talent of ours appears but you will be left here to see.
like a little detail here in this mix of all this beautiful smell of the movie
we also hear about the akerakat, the raskoker has that nice thing about the work
I thought that the invocation was going to come with the flame and the infantile enguaza
Apiskatere to play with lies and just Gabe thank you
I hope it was interesting to hear from you
We are in the audio commentary of the next film, a big laugh.
BATZUM BATZUM BATZUM BATZUM