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By DP30 david@thehotbuttonl.com

DP/30: The Skin I Live In, actors Antonio Banderas, Elena Anaya

SPOILER WARNING!!! We try not to talk about the surprises in the movie too much… but it’s impossible.

9 Responses to “DP/30: The Skin I Live In, actors Antonio Banderas, Elena Anaya”

  1. jennab says:

    An EXCELLENT DP/30! Banderas is astonishingly thoughtful and articulate, with some sort of multiple for that charming accent. Anaya equally so. Movie sounds creepy as hell, but this interview may have persuaded me to see it. Well done! Did I miss the Almodovar interview, or is it coming?

  2. Bob Giovanelli says:

    I haven’t watched too many of your DP/30s, but if they’re as good as this was, I’ll keep watching. After seeing the film at the NY Film Festival press/industry screening this week, I was curious to see Antonio talk this afternoon at the Apple Store on the upper west side. Glad I watched this on a day I need to take a break from all things film festivals (combining a Hamptons Film Festival visit too this week with working NYFF)…as your interview with he and Elena was probably more entertaining than the crowded Apple Store will no doubt be in a half hour from now.

  3. Driver says:

    Broadway Bob?! Flip the block…

  4. Peter says:

    I don’t understand many critics consider The Skin I Live In as a lesser Pedro movie. If anything, it’s more entertaining and fun than most. It’s completely ludicrous, but so much fun to watch. No one can do melodrama better than Pedro.

  5. David Poland says:

    It’s a great movie. And the people who don’t enjoy it’s pleasures need the stick removed from their collective buttocks.

  6. Breedlove says:

    Almodovar is easily one of the ten best filmmakers in the world. I have a hard time picturing him making a bad movie, or even a mediocre one at this point.

  7. Krillian says:

    Kinda angry that the third act is what it is, because I read about a year ago what I thought was the basic plot; now I see it’s the Big Surprise of 2011.

  8. The Pope says:

    Sorry I’m not cheering from the gallery. I’m a big, big fan of Pedro and agree with Breedlove that he is one the ten best on the planet… but… I wasn’t involved in this one. Then again, he has been on such a searing run for the last 10 years, maybe I’ve become a little spoiled.

    My god, Elena Anaya is stunning, achingly beautiful.

    Great interview David, thanks.

  9. movieman says:

    Does anyone else think that “Skin” is getting the short end of the stick this awards season?
    Almodovar is so dependably great, and so wildly prolific, that people (critics and audiences alike) have begun taking him for granted.
    Call it the “Woody Allen Curse.”

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DP/30

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas