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Wow, I'm Paulo Urquijo, the director of Gaua, the movie you are watching now
Official YIFY movies site: YTS.BZ
himself, and this is The Director's Audio Commentary.
Well, we are in an era in which fewer and fewer DVDs and Blu-rays are sold and I
It's very sad because, the truth is, I am one of those who collects format
physical, as I imagine many of you who have purchased this Blu-ray or
DVD, and for me this type of format is important because, well, on the one hand because
You have the movie at home to watch and that's cool, but then for all the extras
that the film has and for me this type of content has been very important
because I have learned a lot with the special editions in which they came
audio commentaries, extras, making-ofs and more, and I always feel like it a lot...
Well, talk about the movie in this type of audio commentary.
in case there are people who can also learn from it.
And well, Gawa is a film that, As you know and I have said it many times,
It is inspired by Basque mythology in its most nocturnal part, at night.
And well, in this case we start the film with this engraving
in Him you see this duality between day and night.
In Basque mythology it is said that Gaueco, The god of the night, when he kidnaps you, says
the night for those of the night and the day for those of the day.
Well, the other way around, it is day for those of the day and night for those of the night.
And it was in some way to synthesize this concept in this engraving, this type of
engravings from the 16th and 17th centuries, which we can find for example in many treatises
of the Inquisition or in iconographies or visualizations of biblical situations.
And well, since it is an iconography that has in fact represented all that
world of witchcraft that has come to us, of the witchcraft treatises, of the Maleus
Maleficarum, from the book of Pierre Delancre and others,
Well, I really wanted to start with this engraving.
Another thing we tried in the film was to make it as physical as possible.
And to make this engraving, well, I designed the material,
but it was made, it was engraved on wood and then we shot it.
In this Blu-ray itself you will find a short video clip in
which you can see The process, a kind of mini-making.
And the truth is that it looks wonderful.
That's physical.
We could have done it digitally, but the truth is that in wood it is a joy.
So we start here at night.
With, for example, an owl, one of the inhabitants of the night.
A curious thing is that the owl does not make noise when it flies, but... and it was a...
At first the idea was that it would fly like a kind of ghost, but the
The truth is that visually, Audiovisually it is super powerful, right?
That we would listen to that which is not heard.
And in the end, that's what cinema is, right?
It's leading to... it's the magic, right?
Invent that fantastic world.
Here we see that in the middle of the night it appears Cachalin.
This basherry where we filmed is in...
It is Higar Porqueti, which is a basherry winery where Sagardo Sidra was made.
And well, it is an incredible museum that is in Ipuzkoa, which you can visit if you want.
And well, here we enter the world of Cachalin.
One of the things that this movie has, well, it's set in The Century
XVII, right around the time of the... of the...
of the witchcraft hunt, well, there we have a fly agaric,
which is a poisonous mushroom that with which, knowing how to do it, well you can
place, you can even poison someone with brutal poisoning, right?
But quite large quantities are required.
Well, here we see, as I told you, The film is set in The Century
XVII and we see all those... all that
characterization, the type of costumes and so on.
And well, here we see, in addition, it is based on documentation of the costumes of that time.
And also in The art aspect of the film, right?
Here we hear The Whistle, which later can be associated with
the... well, the character who will later be Mateo Chistuno.
Well, here you see The interior of the Vasheri kitchen.
With these two great actors, Yune Nogueiras,
which is Cachalen, and Xavi Jabato, who plays Peyo.
It's a... it's a machine, then you'll see.
Well, the truth is that the two actors had a very hard shoot, because,
Well, they are characters who go through quite powerful physical situations.
And well, both acting and physically, It was a spectacle, one of the titans.
And well, the truth is that it has been wonderful to have them.
This scene that you see, as I told you, It is the kitchen in Igartubeiti.
This Vasheri Lagar.
And well, since it was a museum, they didn't let us light candles.
All the light you see there is artificial light, made with... well, with LEDs or with...
Placed by the electricians under the orders of Gorka Gómez Andréu, The Fantastic
cinematographer of the film and of all the things that I
I do, because he is one of my brothers in the battle of filming.
And the fire you see there is a very controlled fire.
by Drama FX, the special effects company.
And the truth is that we couldn't light any kind of fire because,
Of course, everything The baserri is made of wood and we understand that it is very dangerous,
So with all the security measures we illuminated it so that it had
this atmosphere of that time, so dark, so expressionist.
I always tend to view my films in a way, well,
On that very contrasting point, right? so denied in shadows, because basically
because it's what I like, because it's what I like the most
vibrates with me and the stories I want to tell, right?
I can't think of luminous stories and
soft light, then, well, basically...
Many times they ask me for pictorial references, and there are many,
but mainly it is because of that, it is because aesthetically it is what I love.
So, well, obviously we have authors like Goya, Caravaggio and painters
of that nature, but hey, it's basically because the movie asks me to.
Well, here we see how, well, The character of Xavi, Jabato, Peyo,
whose name I decided from the song Oh, Peyo, Peyo, which Miquel Aboa sings,
because, well, it's a song about a woman who sings to her husband, that she doesn't
let him sleep, he has to always be working, it's
a, let's say, a song about an exploited woman.
And that's why I named Peyo the character of Peyo.
And Cachalin, in this case, is for a character who is Cachalin Belauntzácoa,
that in the 15th century she was tried together with her lover, Marichu Oyarzungua,
for being lovers, right?
And as I imagine you know, Well the movie is about a relationship
love that at that time was not well seen.
From this universe of the Inquisition and witchcraft, and, well, it is a small
tribute to those two historical figures, right?
Cachalin and Marichu.
Here you see El baserri, on the one hand, what we see here on the outside, is also
arrive your beiti, but you see this vegetation that is seen in the foreground and
counterplano, let's say, or El contracampo del Bosque.
Well, the vegetation is put by art, but then the counterfield that we have
seen... There is just the Cross and what we will see later
When Cachalin flees from the baserri, it is in another place.
They are two different spaces.
When we were rolling towards The baserri was about to arrive
tu beiti and towards The other side was Articuza.
Many times you already know that in cinema, well, many times not always everything
It's a lie and we do these kind of Frankenstein tricks to create this story.
A story, well, that tries to be a truth within fiction, right?
Well, here we see Cachalin who, well, she dresses as a man,
Then we'll see why, right?
It is a thing, a seed that will later blossom into what The Screenplay is.
And well, as you see, for example, In this case there are the rooms of the...
of the stay of... well, of the different stays of Cachalin,
of this baserri, are decorated with linen.
That was the work of Izasco, the art director, right?
To give, let's say, character to each space.
Cachalin's baserri, then, has flax and then we will see, for example, that in El de
Marichu, more associated, for example, to the roosters and others, it has corn.
Do you see it?
Look what you've done.
Well, here we see the tortuous relationship that these two young people have, right?
Well, basically, like every other relationship probably of the time,
I mean, it's not strange at all, but it's still a... well, it's a bastard.
No problem.
Coat.
Yes, it is true that we wanted Pello's character to not be simply...
A bad man, right?
It's just that it also had its grays.
Basically, men throughout history, many,
especially in those times, Well, they behaved like that.
Well, they have behaved like this until recently and today
Many people also behave like that, things are the way they are.
But still, we didn't want him to be just a bad guy, right?
But, well, he had his moments when...
Vulnerable ones in which he looks at Cachalin and really loves her, even though...
Although he mistreats her, right?
Here we see El Gusquilorio, right?
What is the carlina flower that protects Basque farmhouses?
from the evil spirits of the night and outside, right?
So here...
Well, this plan is a small tribute to Desert Centaurs, conversely.
We called it that because, well, we have that threshold that separates those two worlds.
In this case, She, even though she is going towards the darkness of the night,
It is in the night where the light is, right?
In this case, we had The baserri that was
dark and the night is illuminated by the moon.
Well, here begins The capitular aspect of the movie.
As we see, the film is composed of
different stories, by different stories.
The first is Gaueco.
The movie has...
Each story is linked to a deity or character
which I have always liked a lot since I was a child, right?
Each one of them.
We have The first is Gaueco, The next would be Mateo Chistu.
Well, Inguma, sorry.
Then Mateo Chistu and then El Aquelarre and The world of Akerbelts and witches.
So we started with Gaueco.
Basically, this story collects in some way
one of the most typical legends of the Basque Country.
And what does he find...
Rhymes in many of their... Well, In many other cultures, right?
Which is basically that of someone who enters
where it should not go, into the night.
Likewise, we have Little Red Riding Hood, right?
They go into The Forest and The Wolf or the Story of the Coconut appears.
And so on.
In this case we have Gaueco.
Gaueco is the nocturnal deity par excellence.
What do you know...
Presents like wind in the middle of the night, right?
If someone goes into the darkness, because as he rightly says, The day is for
those of the day and the night for those of the night.
If you enter the forest, The story says that suddenly you start to
hear a whisper in the wind, right?
Which is what's happening here.
That whisper little by little turns into a phrase.
Gaue, Gaueco in Zat.
And what Gaueco basically says is that, Well, if you're not from the night, no...
Don't enter our world.
And here, suddenly we see a shadow.
Which apparently is...
It's Peyo, right?
But, in some way suggested, what I wanted to give
to understand was that it looks like it's Peyo, but it's not Peyo.
It is really Gaueco taking the form of a shadow, since Gaueco, in addition to wind,
It represents all aspects of the night and the dangers, right?
It represents the cold, represents the darkness,
represents The Wolf, the creatures of the night.
And in this case, Gaueco transforms to...
First he gives you The Night's Warning for those of the night and then he kidnaps you, right?
And you're supposed to disappear into the darkness forever.
In this case, Cachalín's character has just escaped from Zat.
From the darkness of your home, right?
From that horrible situation.
And he goes into the night to try to escape.
Sometimes, in order to be free, we have to
navigate those personal darknesses, right?
And here, somehow, Gaueco, who here too
It is represented as a tree shadow, right?
It represents all the nocturnal flora and nocturnal fauna.
What he has done has been to prevent...
Cachalín to return to the Vasery in some way, right?
The night itself, in this case, is like protecting him or telling him not to come back, right?
Somehow to the Vasery.
It has been interposed when She turns towards the road
where she comes from, Well, so that it doesn't come back.
And here we see how Gaueco little by little is transforming into a kind of giant,
of a nocturnal colossus, whose antlers rhyme with the moon.
I really wanted to show you... I really wanted to show you...
Well, show it like this because...
Because I've always imagined it like that, like a titan, like a night king,
who walks in the darkness of the night watching over his kingdom.
However, it takes many forms and in this case we see how that form of Gaueco
becomes one of the representatives of the
culture of the movie of the night, which is The Wolf, right?
Yeah.
And here we have another giant... This great wolf that devours Cachalín with its jaws.
That entire Gaueco block is created digitally, except The Beginning,
that we had an actor, Elías García, who is the actor
which represents all the creatures in the film.
At first he was dressed in black and we digitally added the branches,
and then, from the moment we see the Gaueco, it's digital.
And here we move on to the world of our wonderful ladies, Iñaki Rastorte,
Elena Irureta and Ana Gavarain, who are mythical,
impressive, unique to the Basque interpretation.
When I wrote The Screenplay I thought of them directly, because The Character of the
characters for me were them directly.
And the truth is that...
Well, I didn't cast them, obviously, but I did test them,
I stayed with the three of them and Yune.
And just to see the chemistry a little bit.
I gave them a rundown, they read it to them...
Well, for example, Elena Irureta arrived without having turned it on and said "It's just that
"This is written wrong, it's just that this Basque is wrong.
And I said, "No, no, it's just that he's the one of the time.
“Oh, okay, okay.”
And I said, "Well, stay 20 minutes, read
The text, which is basically this scene.
And then we do a test.
So I went out there for 20 minutes, I let them review
at four and when I came in they played it.
And the truth is that it was a laugh, I mean, they were very funny, there was a
very nice chemistry, they are very sordinchus, They are very witches.
And the truth is, well, it was immediate.
I told them "Well, you already know the filming dates.
Well, here, as you see, we are in a laundry room, well, here it still doesn't look very
well, in El contraplane de la senora you can see The laundry room in the background with the warm light,
this background of trees, there in the background you see The laundry room, okay?
That laundry is in Letona, in Álava, and The forest that slightly surrounds this
laundry room, these trees that you see behind, all of those are
put in decoration, because there is simply an esplanade.
And this laundry room is a very nice laundry room that is in
Letona, in Álava, very close to Vitoria, 15 minutes away.
Look, in this plane, at the beginning, just before taking action, for that kind
As if from a watering hole, a little mouse passed by, Damn, if we had turned on the engine
A little while before, it already screwed me, because we would have had a little mouse in plain,
another inhabitant of the night that we could have represented, but oh well.
And nothing, here we have our three ladies, right? They are in The Laundry.
Well, for me, The Laundry Room also represents a bit of that space of...
well, historically, for me, and it has been, right?, that space of
congregation and freedom for women, right?
Since they were in charge of washing the clothes, they would gather there and have their
jokes and so on, and somehow always
I imagined it was a moment of freedom.
That's because they get together to tell their stories, to drink their pacharán,
Right? Things that ladies aren't supposed to do.
And well, here we see them with their wonderful hats,
It's a piece of work from Nerea Torrijos, the costume director.
Here, as you see, the hats have different shapes.
These hats are typical and documented from that time in the Basque Country.
And as you see, for example, Graciana, Elena, has two points, Iñaki has one.
That's because it's assumed that if you were married
twice, because you had to carry two tips.
And if you had been married once, one.
And if you don't have any, then you haven't gotten married.
Well, somehow he had his code.
In the case of Beltra, because it is the sorera of the
village priest, then it doesn't have the tip.
And well, we did give it our own interpretation, especially in the face of
to build the characters, because that locker room
It also represents The character of each character.
Elena is a bit of the boss, Iñaki is like the sharpest and
a little more bastard, and Ana is a bit like Maja.
They are a bit like the three Fairies of the Sleeping Beauty.
In fact, it doesn't look very good here, but because
They wear those shawls, but each one is a color.
They are red, blue and green.
And well, the truth is that they are three wonderful characters.
For me they also represent a bit of that Triad, which are represented in the
witchcraft of Hecate, the thrice great, the triple deity of witchcraft.
And well, it's a bit like that, as if they were also the Fates, the Fates,
the sisters of destiny, that will help in some way
to Cachalín to weave his destiny until freedom.
Well, and this laundry room scene, It seems not, but it was one of the scenes
more complicated to roll, because there are three scenes
of the laundry room in the movie and we shot it in two days.
It was crazy.
Well, the movie was shot in five and a half weeks.
I mean, it's crazy.
It's crazy, but hey, you know how the industry works here.
And well, if we want to do it, We have to do it as best we can.
And thanks to that team that gave their all, we were able to pull it off.
This basherry that we see here is a basherry that is in Orozco.
It's very pretty.
It is also one of the oldest in Euskal Herria.
Well, the exterior is that basherry that I tell you about
Orozco, but this interior was filmed in another station.
It is a ranch in Higar Porqueti, of that first basherry that I told you about
where Cider was made, where we have seen the Kachalin cuisine.
Well this is Basherry himself, but in another room.
And these are the argisaiolas.
The argisaiolas are those wooden carvings with a coiled candle that represent The
soul of the dead and which was taken to the church.
Each family had its argisaiola and they took it to church for some
way to guide the spirit of the dead to La Paz or that they were on the other side,
in The other world with peace.
In fact, in the basherrys the dead were formerly buried in El own
basherry and somehow the spirits of the
Ancestors stayed as protectors of the house.
Except if you did something they didn't like, which is what we see happening here.
Here we have Marichu, Anchón, to Eugenio and Mateo.
And here we have poor Marichu, there is something
that is strangling him in some way.
Those grooves that appear on his neck are made
digitally, but we also did it with special effects.
Nacho Díaz worked on a neck based on...
Well, they took a mold from Erika or Laizola and made
a system so that fingers could be marked with pressure.
What we did was shoot it.
First Erika rolled, then she took off Erika, we played The Neck and then
We shot with the same lighting and digitally they then took advantage of the
fingers to digitally insert it onto Her.
Well, here we see The Heart with the Needles.
This is...
Well, the film is a theme of Basque witchcraft and El opo da pa este que canta o que
Sterchi says they are things collected by They will rail.
Barandiarán was an anthropologist priest of the Basque Country, which is very well known,
who is one of the people to whom we owe having so many myths recorded,
because at the beginning of the 20th century he went from town to town collecting all kinds of
stories, mythology, witchcraft and so on.
And well, it has a few more, a more telluric mythology, let's say,
more linked to nature, as well, I already represented in Irati, right?
But here, in this film, you find a lot of phrases, of things that happen
linked to witchcraft, to the witchcraft that Barandiarán collected.
For example, the thing about the heart with the needles, that is recorded, right?
In order to expel demons and witches, The heart of a black rooster was used.
And the opodapamapa is a communication system that they say was one of the
witches, and what they did was, after each syllable, insert a papepipopú, right?
If it's hello, it would be hello, oppo, limpet.
So, well, it would be in Basque, Of course, kaisho, well, kaipa, shopo, right?
And so, that's kind of like the witches' encrypted system of speaking.
Surely, as we all already know, well, especially the majority, in
At first, or all the people who were tried as witches, were not witches.
That's something the inquisitors invented.
It is an excuse that they pulled out of their sleeve to be able to repress
certain areas for political and other economic interests.
Well, surely the people who used that code to speak,
Well, they did it simply to hide information or whatever.
Well, here we meet Marichu and Kachalin, who represent,
In some way, those two women that I mentioned to you
before, that in The century XV were judged, right?
And he says they will go to Bayonne.
Bayona is like...
This would be the Zugarramurdi area, which is the Xareta area.
The Basque language in the film is based on The Basque language there, contrasted
by The Work of the Magnificent Gorka Laskano.
And, well, in principle we talk about Urdax, of Urdazubi, there is talk of Fray León del
Aníbar... There are many winks, although it is not totally evident, there are many winks to
link it to what happened in Zugarramurdi, with everything The issue of the process
from Logroño, which is one of the darkest episodes that...
A very dark episode of the darkest in Logroño,
one of the darkest we have in Euskal Herria.
And here we see Sterchi, the magnificent Elena Uriz, wonderful, I worked with her
in Irati, who played Lusha, and here he plays Sterchi, from that wonderful witch.
And we have seen her limp.
That is also linked to a story.
As you can see, there are ears of corn throughout El baserri.
What I was talking about was linking spaces to different elements.
Also, if you look, in The Interior there are a lot of corncobs and so on.
That was what Izaas Kunurkiho did, Arto's director.
Those grooves on the neck, as I tell you, They are real.
They are made with a physical effect.
Which was then digitally embedded in The Plane.
You... you are guilty.
Here, this was impressive.
Erika made that brutal possession there.
Those veins that come out there are his.
Out!
And the truth is that Erika is a sweetheart, It's super Maja.
And you saw her there possessed.
Out!
Turned into a monster.
He did amazing.
Marichu, it's me!
Out!
You have seen that feathers appeared from the pillow.
That is also linked to a character from Basque mythology who is Gaiskin.
In the film we are talking about Inguma, who is a
demon linked to terrors and nocturnal death.
When you die... When...
When you're in bed, well Inguma has appeared, he is a demon,
an evil, spiteful spirit, that what it does is strangle you and if you
You wake up with a bad throat or die in your sleep, it was Inguma's fault.
But, on the other hand, there are other deities as well.
To Inguma, for example, is represented as
demon, but also sometimes shaped like a rooster.
And there is another deity, which is Gaiskin, that is linked to the... to the disease.
And if there is a person who is sick, one thing
What you have to do is empty the feather pillow.
And if the feathers are shaped like a rooster, it is because it is
Gaiskin, who is a deity linked to illness.
Look, he's giving him a drink from a cowbell.
That's also part of folklore.
It was assumed that, well, since the cowbells were somehow sanctified
way, or they were sanctified, they had to drink from... a cowbell to be cured.
This part, this room, is the upper part of Higar Porqueti.
Although we are in El baserri de Kachali... from Marichu, sorry.
We are in... The filming was in Higar Tengaiti, The winery baserri.
And what you see here is a sawmill.
Super nice, what we found in Guipuzcoa.
Which, well, as you can see, it's already incredible.
It is the magic house of the witch, right?
With his smoking cauldron.
And well, here it is Elena.
I asked you to smoke, right?
And She had smoked...
I hadn't smoked for about 20 years or so.
And well, we made him a nicotine-free cigarette there.
But I really wanted to play this character like that, right?
I think it gave him a very powerful character.
The evil spirit is tormenting your sister, Marichu.
I know.
Elena also did an impressive job here with her voice.
So that Sterchi had that voice so... Ambrota.
Grandfather in Guma.
A year ago.
And your grandfather might be mad at Ella for some reason.
It could be, right?
I could be mad at Ella for something and...
And many times, well, that type of love within the family, well...
They can be terrible and dark, right?
Somehow, in Guma, although mythology represents a simply...
Well, it's simply death that night.
It's a spirit that enters the hamlets, right?
In the houses.
It's a... let's say, in a way, an Aideko.
Those spirits that I told you about the ancestors, right?
Which are also linked to the Arquistaiolas that you see here.
When they stayed in the baserris and protected the baserris, they were Aidekos or Echejaun.
And I've played that a little bit in Guma, in some ways, it is a correct Echejaun.
Look, what he does here with The theme of covering the candle and uncovering it to discover
An evil spirit is another element of folklore that Barandieran collected.
And here, in some way, this guy is giving the instructions.
Throw away the rotten corn, cover and uncover the candle, the heart thing with the needles.
to uncover that evil spirit.
And here it says that after uncovering it you have to sing, let's say, this poem.
Enguma no kirei su, gawa riartendia lagun, seruanize, costanare, laranvelar,
Oyek denak sema torte, zaitese la nigana tager.
What is basically this connection of beings?
evil to the greed that vampires sometimes have.
I also showed it in The Book.
In El reventario, with The theme of chickpeas.
The quintessential character in this sense, in Basque mythology, is Enguma.
He is forced, he is ordered to count the stars of the
sky, the stones of the coast, the herbs of the field...
so that it is entertained until the sun rises and then it dies or disappears.
You tell him not to appear before me until you tell all that.
And here we see that system.
The system that Barandiaran records to discover evil creatures or spirits.
And here is Elijah.
As I mentioned before, Elijah appeared at the beginning of the
Bosque as gabueco, but also played Enguma.
What I wanted was for it to be a kind of
Decrepit rotting old man with Erasmus features.
From the rooster, right?
Of the evil rooster.
And well, there we designed the creature.
Nacho had an incredible job.
The truth is that the sculpture is beautiful.
And it was a bit like linking him to that representation of Enguma as a rooster,
but also somehow linked to Gaiskin as well.
As you said, to another deity of illness.
A very nice detail of this scene with The angel.
One part is that, if you look, Under the bed there is a scythe,
that this was sometimes put as protection against death.
It's paradoxical.
Here we see how Enguma reacts to rotten corn, as he also comments...
we have it in our culture.
And here the song begins.
In order to have Enguma on top of Marichu, we made a system with a bed.
..
we had two systems.
One in Him who had false legs and He
Marichu's body, Erika, was below.
And there was another who had a kind of armor of
metal in His chest so that Elías could...
There's the scythe.
So that Elías could get on top.
Elías always said that it was very important for him to be up there.
And the truth is that the voice that you have seen of Elijah is his voice.
It is distorted by sound.
The film has an incredible sound process.
By Josue González, from Noise Studios.
And in this case we have the voice of Elías a little
distorted, but now Elías has that big voice.
It's a machine.
And here we see a little of that representation that I told you about the feathers, that as they fall
feathers, somehow linked to that disease.
And in the background here, with this Nguma, what I wanted to represent was a little
that inheritance, that rancid thought, traditional.
The weight of the family.
Marichu is a lesbian, or she loves Cachalin.
And let's say that your ancestors, the cavernous darkness of their
ancestors, even dead, harass Marichu.
And here we see how The Sun appears and then catches Nguma burning.
We see there The rainbow with the colors of the collective.
The truth is that it came naturally, so it looks very nice.
AND...
And well, here we have our priest, Mateo, Mateo
Chistu, another great character in Basque mythology.
In this case, played by The Great Manes Fuchs,
Well, it was a surprise and a wonder.
We did a casting, they gave me their tests and well, the look on their face is incredible.
For example, when I was talking to him, we talked about how
He was like some kind of Nazi sergeant general, right?
And the truth is that it has that point, I could perfectly do it.
Then he is wonderful, He is very majestic and he is very good
actor, that's why he can make this character so dark.
This church is...
The Monastery of the Golden Sanctuary, which is near Murguía.
Well, in the Valley of Murguía, close to Gasteiz, and
It is a spectacular place, with a very cool energy.
And the truth is that it is very difficult for them to let us film in churches.
And in this case, The Parish Priest, who was a great expert on Basque mythology,
He was very excited and he understood that in the end what we, by representing
These stories, in which the church often has a lot of presence,
sometimes as The factor that combats Evil,
darkness, the monstrous, and other times vice versa.
Other times it is the reason why the deities
pagan traditions linked to nature disappear.
And in that sense, Carlos, the priest of the monastery, understood it perfectly.
What's more, he has written a book on Basque mythology in the Gorbea area.
And well, I remember that he had read The Script and he told me, Mateo, chistu,
If this story already, I don't know what, we have a version here too and such.
And well, the truth is that it was a pleasure to have him
as a partner and to be able to film in that big church.
So pretty, right?
Here we return to the laundry room.
Already, as I told you, the film was shot in five and a half weeks.
This was a very humid area.
We had problems with the lenses because they got wet and it was
incredibly cold because we shot it at the beginning of the year.
I mean, we shot it in pure winter.
And the truth is that it was very cold.
And here it was... it was very humid.
And we shot that in five and a half weeks.
This scene was shot in two days.
And although it seems like it's nonsense, The Roof and Others is real and it's a bit of a hole.
And putting all the camera machinery and so on there, it was complicated.
But hey, we made it because I have a team
impressive and I had some fabulous actresses.
He was a proud and deeply hypocritical man.
And here we go with Beltra, who begins The Story of Mateo Chistú.
Mateo Chistú is another of the characters of the night or of
the most famous horror stories of Euskal Herria.
Which was this priest obsessed with hunting.
That what history tells you is...
that one day while hunting he found a rabbit, a hare, which was really a
demon or a witch or the devil, right?
And then he became obsessed with that hare that he was unable to hunt until one day
He appeared to him in the middle of mass and then he left the mass
going out after the hare, Leaving the mass halfway, right?
And he came out... he got lost in the forest.
And it is said that...
that if one day you are The forest and you get lost, you hear
sometimes the whistles of the hunter, of the hunting priest.
This is a necropolis that is in Arguiñeta, next to the orrio, in Vizcaya,
very pretty, where do you find those stelae
discoídals so typical of the Basque Country, right?
Those carved stone tombs.
Sometimes they represent crosses, sometimes they represent...
well, symbology...
nature or family names and so on.
In this case, well, in this necropolis there are like four...
Yes, there are those large tombs on the sides, those stone tombs, yes.
that they are, but then the discoid steles that there are are very few and
perhaps with Urquijo art architecture filled the rest of the cemetery.
How expensive omnis, Beniet.
Here we see that when someone died they took animals to the funerals.
That is, there is a person with a chicken and another person
with a ram and it was something very typical of the time.
Another thing that happens a lot in many stories is that moment in which there is like
a boundary in which witches or witches or linked characters, let's say,
At another age, in the other world, they cannot access those places,
in quotes, sacred, which is The case of Esterchi.
Here we see our Mateo...
polishing his shotgun, su valor más preciado.
According to him, Man has received that Gift of God, being able to hunt the rest of the
species or creatures of the world, giving him that superiority.
And there is Mateo's pride.
That dish you see there is a quail with apples and plums.
It is a very typical recipe from the area, very classic, especially from that time.
If you look, there are a lot of candles here, but in El Vasheri we couldn't
putting the candles precisely because... as I told you, it was a museum.
And here we have... again this is the church of...
of the Golden Monastery.
Here you see the lashes that appear.
What is done is...
they apply the lashes with some transfers, that is, the makeup, they put it on.
And then, well, the actor flagellates himself over those wounds and what we do is
digitally delete them at the beginning and have them appear.
It's like a little bit the other way around.
And free me from this unbearable weight with The one who...
Here you see Mateo's hair, that calota or that tonsure that the priests wore,
which later we will also see that in this film women have it.
Well, before we saw that he wore it Marichu.
Well, historically men's hair was shaved.
the women who had not yet married, right?
Well, I know why, like in many other cultures, long hair is temptation.
and so on and so on, then the young women's hair was shaved.
In order to have this effect, both in Mateo as in Marichu, what we did was
like some kind of hats with their own hair.
They already had their hair cut like this, except the shaved crown, and what is
What he did was put on a kind of hat with hair, like a kind of donus that
He had a small skin prosthesis right on the crown of his head.
And the truth is that it is a great job from the impressive hair and makeup team.
The truth is that it was a great job.
Like Paty and Paco, along with Nacho, Well, they worked on it and it turned out incredible.
Well, and here we see how our Mateo, our hunter meets both
Girls, what they simply do is have a good time and be calm about their behavior.
Do you see the light that appears right there behind June's head?
Do you see the sun?
He just appeared when we were going to shoot The Plane.
And the truth is that it was one of those gifts that nature sometimes gives you, right?
Suddenly seeing that The character who is so oppressed in the story of the
movie, right in the scene in which he is happy, The sun appears to him almost as if
was a kind of holy halo, right?
That was a very nice gift.
This location that you see, well, You see the trick there, right?
Marichu's neck with his sideburns.
That type of cut is typical of the time.
Do you see there that he has a shaved head and so on?
Well, the sideburns were his, and The cut, the bangs and so on, were his.
The cachalín too, obviously.
But the above, right?, from Marichu, That was the prosthesis, which He himself had
hair color and so on, which blended together very well.
And well, here, as I told you, this location of pollarded outskirts is...
This is Albertia.
This is in Álava, next to Legutiano.
It is an area full of trenches, because, well, the civil war.
And there are several...
Statues in honor of the republicans.
We will dress up as men.
You grab Pello's clothes and I'll grab them for him.
And this is when he tells them to dress as men, referring to that
moment that we have seen at the beginning, in
that cachalín dresses in Pello's clothes.
And this is where he gets the idea to... To poison Pello.
The film, you see, which is structured as a
Russian doll, where there are stories within stories.
Where the truths, we don't know if they are totally
truths or are part of what someone is telling.
But if we put them at a chronological level, This would be the first scene of all.
At the level of narrative and chronological event, It would be the first scene.
And I really wanted to play with structuring the story with short stories,
disordering it chronologically, a little too
referring to that storytelling tradition.
Sometimes those stories are told around the fire
and other times around the laundry room, which is the case.
That trunk you see behind... with Licken and so on, he was there.
Then they did decorate it with more leaves.
All these little leaves that you see in the foreground and so on are props.
And well, here is the precious moment of the movie.
Where we discover that they are lovers or a couple.
And for me it was very important...
The film is obviously about sexual freedom as well, because the
lies that the inquisitors told related to witchcraft,
covens and so on, were always also linked to sex.
And somehow, apart from demonizing those people, they also demonized sex.
They defiled the sexual act, which is one of the most beautiful things in life.
And I wanted to...
Well, I felt like it.
And one of the things that I was very careful about was that all the
moments that goes into The script could seem sordid.
Many people told me, but how are you going to shoot this?
And this, seriously?
Does it do this?
Such.
They were as delicate and beautiful as possible.
May they be beautiful moments.
Delicate moments.
For paying tribute a little and for giving him that...
Well, that positive and beautiful aspect that He has
sex when it is done freely and in a way...
With love, right?
Let's say in some way.
Here, one thing that, well...
I threw the verticals out of the plane, as you see.
Because right now they are standing, somehow, right?
Here, although they lie down, they are really elevated, they are standing.
Love lifts them up, right?
Somehow.
Another very nice aspect of the film for me is the soundtrack, right?
What did they do to Nani Maite.
In this case we see these beautiful choruses.
Who dialogue with another... On the one hand, There are very romantic moments, very beautiful.
Somehow, with that exaltation of beauty.
But it contrasts with that type of music that is much more nocturnal.
Full of sounds, whispers, of more conceptual things.
So, let's say that the soundtrack... It played between those two worlds.
Well, here we see the hare.
Which, as you see, has The Eye...
A one-eyed like Sterchi.
And to film the hare we had a hare that they brought to us.
We just put her there, so she could be calm.
And the face of that hare was digitally recreated.
The breathing became exaggerated.
We take advantage of that breath so that... So that...
Stop that laugh, right?
And then, obviously, all these plans
where we see the hare, since they are digital.
Because, of course, you can't tell a hare what to do, right?
It's a totally... totally wild animal and...
And then what we do is, well, we have a real basis,
We always take very good care of it, and then digitally...
It gets better.
Or is it given that fantastic point, right?
Or we give it the acting we need.
A curious thing about the hare is that at first it was going to talk.
In the script I had it said dilindalan apaixa kampai arekin LAN, which is it.
..
Kampai garlic is ringing the bell, but it is also masturbating.
So, it was like he was going to speak both in The Forest and in the church.
But... But...
When we shot it, of course, then we had to make the mouth speak and so on,
I made the decision to just make him laugh so it would be much more subtle and
suggestive and even more terrifying, right?
I think that the other way maybe it could have been a little...
We could have skated that way.
So, well, I made the decision to make it a laugh and for that we took advantage of The...
Well, that breath, right?
That he had his own... his own hare.
Sit down.
I have received your request to work some land, an apple orchard...
Well, as you see...
Well, this is a sequence shot, this scene, practically.
Well, at the beginning we saw a shot of Peyo entering the kitchen,
but the conversation between the two of them is now gone
to be developed with a single track movement.
The truth is that these types of approaches...
I always really like it because I think it gives it a certain narrative and dynamism.
If you really get what you want, right?
How the spotlight jumps from one to another, how the light hits it...
Well it depends which character.
Suddenly here Mateo comes into more backlight.
It's almost like it's some kind of evil spirit whispering in your ear, right?
Well, the development of the shot supports the narrative itself.
For me that is one of the greatest things in cinema.
It is a type of exercise that I love, but at the same time
Maybe it also makes you able to fit the plan into times.
Because, as I tell you, we did it in five and a half weeks,
This movie is crazy, with many effects.
It's vintage.
It has a mouth, it has action.
And, well, many times these sequence shots, although it supposes that there are
Teaching a lot also saves you time.
So, well, it's part of the director's job.
Well, the church, here you see the upper part, is digital.
That is, from The First Tejadito upwards it is digital.
The location is Arguiñeta, the cemetery that I told you about before.
And from there up it is digital.
And here we are again in the golden church.
This sermon, well, the one you see here with The mustache is my father and this is my mother.
And that girl is my niece.
This sermon is taken from Ashular.
Ashular was a mythical Basque religious thinker.
And, well, we decided to take The Text, The same text as is, because the
three evils of man, The devil, Sin and the flesh.
The worst of all is the meat, is what Ashular says.
So, we took that sermon and put it
as is, at least in that first part.
Here he speaks, for example, of the abbot of Urdazubi, who was Fray León del Anibar,
who was the person who, in history, in reality, in history,
poured the lie about witches into everything
what is the zone Sugarramurdi, from Sareta.
It is said that there was a woman called María de Similegui, who came from Lapurdi,
from Iparralde, from France and such.
But then, well, if you start connecting the dots, if you start investigating and so on,
It turns out that the Simileguis were linked to the family that, on the part
from Iparralde, I call Pierre de Lancre, He hired him to destroy families
that they were contrary to him, who was The Lord of Urtubia, I think he was.
And that, well, they are basically common interests of people in power who
He uses witchcraft to destroy his enemies, in some way.
And here it is known that Fray de...
Fray León de Araníbar had contacts with The Lord of Urtubia.
But hey, that's history, and what we have in this movie is a...
well, a poetic representation of that whole world
history and all those night legends, right?
In The Story, Mateo leaves the church when
The hare appears and gets lost in the forest.
Here I made the decision that the Door would become
in a kind of nocturnal dimensional portal, right?
Playing here with the light...
And we see how the dog leaves, but Mateo stays,
Let's say, in that kind of nocturnal dimension, right?
That the night traps him forever.
And it disappears.
Here we see The Open Missal.
Another thing that tradition says is that if The missal is
is left open, witches can enter the church, right?
That is, if you don't close it, then witches can access that sacred site.
And this would be, let's say, the final representation of Mateo Chistú, which is that figure
that appears in the night chasing that hare forever and ever, right?
You can hear their jokes, their whistles.
And if you meet him, obviously, Well it's fatal.
No, it's not true.
How do you know that?
You weren't there.
The priest himself told me before he disappeared.
Enough of keeping the forms, that we know everything.
It just can't be.
He swore he would keep me...
And this is when it is revealed that the three ladies, well... really...
No, what?
That they didn't force you?
Did you do it?
They've been asking you, let's say, through...
Using stories as... as a channel, what they wanted
was to know the truth about Sterchi's accusation, right?
Because, as they say, they took her and burned her in Logroño.
Imagine what she had to suffer when they burned her.
I... I didn't know that... Well, This is... it is also a plan...
We made a plan against June, the camera was leaving
getting closer, and, well, June's performance is incredible.
In other words, June's ability to...
of doing one take and another getting into The same level of emotion was incredible.
I mean, I was capable of crying over and over again...
The truth is that June is a great actor.
and I think it will give us a lot of joy.
And here comes The Coven.
Well, all the cartouches you have seen are also carved in wood, eh?
That... that too...
I needed to say it.
And then, well, here begins the story of the coven and the witches, right?
In this story we are going to find a lot
of moments that also appear in others...
in different stories.
Well, here we see that Peyo has not died, because really with the little muscaria hand,
Well, no... it's very difficult to kill you.
It can give you very bad indigestion and you can see things, but... but not kill yourself.
And this moment in He Who the Witches Pull Out His Hair is also based on a
story and a phrase that they have previously said that we are, that we are not, that we are eleven thousand.
That's when you deny a witch.
That happens in a story, right?
There is a girl who denies that there are witches and
suddenly eleven thousand witches appear and tear out his hair.
In Basque mythology, witches have a bit of that duality of otherness.
Well, in many cultures it is like that.
But I've always grown up believing that witches weren't all bad.
In other words, if they were bad, they had a reason,
because of everything they had done to them, right?
And they are people who have been banished, who have mistreated them, who have also
banished, let's say, the beliefs that represent
themselves, that link with nature.
So in some ways, even though they are terrible and can be terrifying,
They also represent Power against a status quo, right?
In this case, well, we see what is, in principle, the most terrifying scene in
the movie, which is the reality behind The World of Witchcraft, right?
Which is basically death and torture.
Well here, well, I wanted to represent that hell, that warm hell in which He
power, in this case, good, religious, although the Inquisition often went
independent of the Church, that is, had power independent of the Church,
What's more, they also burned priests, but it is still also...
that is, it is linked to religion, because they use it as a weapon,
also defiling it, spirituality, right?
And well, using torture to repress these different groups.
Normally they used to be people of power, the people they killed and tortured,
because precisely they wanted to end that position, with that person who had that,
well, then economic capacity, or having influence, right?, in some way
way, about the town, about the people, and
then they ended up with precisely those people.
You are not guilty.
Here he tells you that he is not guilty.
As you have seen, during the movie they tell her a lot, and She listens a lot in Him.
wind, it tells you too Iñaki tells him that too
Marichu, Errudunzu tells him, It's your fault, right? Your guilty.
And here is Esther Chee, precisely, the one that redeems it, because
It's not your fault, She has been forced to affirm.
But the witches say, well, we have to contrast him with The Boss, and that is,
well, in this case it's Aker Beltz, Right? That deity would fit,
mainly male, right?, the goat,
black, who is the one who presides over the covens.
I told you before that the inquisitors were especially cruel to the rich.
Precisely, in the texts of Pierre Delancre, or The Inquisitor Salazar,
who was the one who then went through the towns, a bit collecting everything there was
past, Salazar said that just the people who had gone after them were the,
As I said, something like the best people in Navarra, something like that, right?
And Pierre Delancre also talks about how the rich dance, the nobles dance in The
coven, the majority of which were wealthy people,
They mixed with poor people too.
And here, well, we have this moment in which they give him the
flying ointment, which is quite interesting stuff.
It is something quite classic in different witchcraft mythologies around the world.
This is also a story collected by Brandi Adam, that was that moment in The One
A husband watches his wife use an ointment to
rub and fly off to The Coven, right?
And for this he says the mythical phrase "Sasi gustien ganyetik, laño gustien aspitik",
above all the brambles, below all the clouds.
And the husband says it wrong.
He takes the ointment, spreads it on himself so he can follow behind
witches, but when he recites it he says it backwards.
Then The Husband Ends Up Going Below
of the brambles and above the clouds, right?
Until he arrives at the coven.
And in The Story what the wizards and witches do is laugh at him.
The same thing doesn't happen to Peyo.
But well, I wanted to go one step further, right?
Here we see Xavi López, wild boar.
Another great actor who left his skin.
Everything that happens from here is very physical, right?
As you will see.
What you are going to see now is a mythical Western trick, which is that for a
horse drags a person, now I don't remember how it is
calls, has a specific name, but it is an effect that is that to do
like a horse dragging an actor, right?
The actor is standing here in the foreground, but suddenly he disappears towards
down and we see that The horse is dragging a... a cowboy or whatever.
It happens right now.
Did you say the phrase wrong?
He disappears and the person who has dragged him away is a specialist.
And well, here however we have Jabato being dragged.
The skin was left on and we combined the
Ricardo specialists Cross with our actor.
A specialist actor.
For example, we were talking about music, right?
Sarsarean, that is very Maite, Maite Murcego, one of the two composers.
The soundtrack is mostly created with voices, right?
The voices of the night, the voices of witchcraft.
And here we have The mythical flight, where they all fly towards the quelarre.
In principle it was usually represented with animals, riding on donkeys, cows,
clinging to chickens, but of course, we couldn't do that,
So what I decided was to have them fly on objects.
That slightly more classic vision, which is the one with the broom, which must be
imported, that must be from Europe, from some country in Europe, from the center of
Europe, but in the Basque Country it is not recorded that witches rode on brooms.
They were mounted on animals, in principle.
And this is when Cachalín decides not to forgive him.
And here, well, what we did was put Xavi in The Floor, and then, obviously,
digitally, Xavi is put in The Floor, then a tilt-up is done, the camera towards
up, to have movement, it is reversed, and a
digital doll going down until it joins the tower.
And here we come to the moment of the quellarre.
Well, the most ambitious scene in the movie, right?
As you can see, it is a sequence shot, with 200 or so
extras, with a choreography, a song, right?
First, what we did was compose the choreography, first the song,
then the choreography, with these people who we see in the foreground who are
dancing, which are a little more choreographed, are
a group of dancers, with whom we create the dance.
And then, there in...
during filming, well, I had already thought about what everything was going to be. The camera movement,
also the camera choreography and so on.
And then, there, the dancers taught the rest of the 200-odd
extras what they had to do.
I wanted it to be a kind of dance that started as a kind of
party, but then, little by little, out
becoming something much more tantric, right?
Very repetitive, that The rhythm, that we first started with instruments a little more
festive, but then it ended with a kind of constant percussion and
repetitive, which generates that kind of whirlwind, which
us... that ends in that invocation, right?, in some way.
What you see is a decoration.
In the rest of the movie, the forests are real, but obviously
Well, it was not very feasible to have so many people so light
of clothes and dancing and so on in a real forest, in February.
So what we did was recreate, and Zasko Nurguijo recreated the... this...
This forest clearing, right?, with its gobera and so on.
And... and, well, as you see, It turned out fantastic.
We had a problem with the smoke issue, yes, because every time we made a
here, there were ten takes in total, I mean, we did it in a single day,
Half the day was all rehearsals, and The rest of the day was... in the afternoon,
Well, we did ten takes until it was right,
and the last one was just before the end of the day.
The problem we had was that, with the smoke of the bonfire, he left...
The... the room was filling up.
So, it was getting denser and we had to...
Between takes we had to open the doors to let out the smoke and...
and... and you could breathe.
But, well, imagine that it is a sequence shot
very complicated, with many elements, with...
with... well, with a lot of ambition, then,
Well, the truth is that doing it in ten takes...
It was quite an achievement, honestly, to do it in a single day, because the normal thing is that
have another day to be able to rehearse it in peace, and...
and then, well, another day to be able to shoot it, right?
But... but well, we... we got it, because...
because the extras were titans, and the entire team.
The truth is that it was... it was a joy.
It was very... very nice, The atmosphere was... It was very... very cool, there was a very energy
cool, and... and the truth is that... it was unforgettable.
And here we see Kerbelz, that deity would fit, right?
A black goat that, in principle, for the great
most cultures, It's... it's Satan, it's Lucifer.
In Basque mythology, however, Kerbelz, from before, is already linked to
a deity that is linked to nature, to... to fertility, right?
Like many other horned deities, also, linked to the moon,
to the forest and so on, such as Kerbelz, How can they be nunos, how can they be Pan,
and then, well, all the horned animals, also linked to the mother goddesses,
No?
Like Paredros, where the horns themselves also rhyme with the moon.
The moon is The cycle, too, of... of menstruation, it is The cycle of life, right?
That was the calendar with which it was measured The... The... the... the...
when... when... well, when you plant things in the garden, that's fine, right?
Well, everything... agriculture and so on was linked to the moon, and it was linked
a... what do I know, Diana too, right?
Well, to all these elements linked to witchcraft.
In The Case of Kerbelz, in Basque mythology, it is like that, that is, it is an animal,
That is, he is an anthropomorphic deity who protects animals, protects...
It protects nature and it's not... it's not bad as such, right?
That then... let's say that that story was... created by the inquisitors themselves.
And... and... it is usually male, and I wanted to play that
androgynous representation, which is not new, right?
Because... many gods linked to nature are hermaphrodites, we can
find it in... in many paleolithic and neolithic artistic figures,
and... and I really wanted to... than creating this species like...
to Kerbelz, who is like a baphomet, right?
That represents both sexes and that in some way
It's the logical thing to represent fertility, right?
It has the fertility of both sexes, right?
And... and it was also important to me that he showed himself as an elegant character,
No?
An intoxicating character, who casts that love spell and makes everyone fall in love.
enjoy and love each other in freedom, right?
To the point that... that they rise and fly, right?
While they make love.
Here to shoot it, well, under... from Akerbelz is Elias, The Actor Who...
who also played Inguma and... and Gaueco, and he had some stilts and...
and an animatronic head.
It was quite complicated.
What we did was shoot the scenes without Akerbelz on the one hand, leaving El...
in it...
in the painting that space so that Akerbelz could later insert it, for example here, right?
That is, on the one hand we shoot Akerbelz against Chroma and... and this one on the other hand...
The shot was shot without... without Akerbelz.
And well, here we see how... it had to fit well,
that just The finger fit with... with Cachalin and others.
In this case the hand is digital, because no... we don't have a budget for
make a giant hand, if I hadn't done it.
And here we see how... how beautiful the animatronics are, huh?
How beautiful it is when it is something real and physical.
And this is another of those moments that... that they told me in... that The team told me...
When reading the script he said, But how are we going to do this!
What gives him the ass, right?
That is, here we have The theme of... of the infamous oculus, The... The black kiss,
which is The pact with... with The devil that the... the inquisitors talk about, right?
So, what I wanted was that, by giving him the ass, in a beautiful and
subtle and poetic, suddenly it appears... it seems like Marichu, right?
And that act of... that... Let's say, that pact that
initially it's something horrible, dirty, disgusting, right?
of the black kiss, suddenly became something... something beautiful, something that...
because here in the end what we are talking about is... about... the freedom of...
of these characters, right?
Of... of how Cachalin has fled from Seba Sherry to find her own condition.
And, let's say, on this holiday of freedom, uh... you are given that gift, right?
The... The gift of... of... of being able to be who he is and being able to love, eh...
who he really loves.
Eh... the question is... a lot of people... He... he tells me, but is it Cachalin?
Or is it Ackerbiltz who has become... Cachalin?
Hey?
Or did you bring it from Among the Dead?
Well, that... I... I like that everyone draws their own conclusions.
Because I think that's the beauty... of... of cinema too, right?
Let's leave those... those windows open a little.
And I think that... I think that... the different reactions to this situation,
Which to me personally seems like the most beautiful scene in the movie, I think it's one...
a wonder.
Eh... well, each person's reaction when seeing
This... this scene portrays itself.
It's a bit, for me, the effect that... that generates this...
this scene.
Now, for me... there is only one... option... of what is happening here.
Now, no... I'm not going to tell you.
We showed this scene a lot, so that the... the actresses could be there.
..
eh... at ease, calm down, eh... you already know that... that you are
Scenes always have to be done with The Intimacy Team.
And the truth is that I... that from the beginning, from The story... I know...
I represented it to him, as I wanted to do...
in those dark shadows that... that suggest more than they teach, and so that...
so that this sexual sordidness, alleged sexual sleaze,
was represented in the most... most beautiful way possible.
And here we have, well... this ending.
Where they are already alone.
There's no one else, right?
All the people from the coven have disappeared.
And finally we... we are left with Cachalin...
that sees us
That!
That kiss... to the public.
And... and nothing, eh... well, here is a bit of the... let's say the final reflection.
Yes, I wanted to point out that all those stories that were told about the...
of the witches who generated so much suffering, right?
I wanted to support with that phrase, Saying, eh... that... that they were a lie,
and what we do is pay homage in some way...
somehow that... that lie, we make it ours, we feed it and
We launch against those who used those lies and
They continue to use it today to... to subdue people.
And not... let them be, eh... and love like... as each one... and each one wants.
And that's it.
And here, well, you see all the people's credits.
You have to stay to see the credits.
People, because there are the names of all those responsible for the...
of the movies.
So, well, I think that with this I'm going to tell you
leave with this... with this wonderful soundtrack.
And... and nothing, I hope to see you in... in another movie, in the next movie.
I hope it also comes out physically and that I make the audio commentary for
share all these little secrets with... with you and with you.
Come on.
A hug.
Then...
Oh, look.
I was just going to hit it... I was going to take it away.
What they sing in The Sabbath, as well as... little wink.
Hey...
Eh... It's a tongue twister.
Eh... what is... eh... The... eh... The goat has its... its horns crooked.
No?
It's... It's like the three tis... sad tigers.
And I wanted to... eh... use something so... so... eh...
Innocent...
Eh... to summon...
to Kerbelz.
Hey...
Precisely because of that game of lying, right?
I mean, it seems like a kind of spell.
But it really isn't.
It's... it's... it's just a... it's a...
It's a tongue twister.
So nothing.
Now, I leave you with... the credits.
A hug...
It goes out, it goes out to the zum zum, zum zum, zum zum, zum zum, dinner.
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