ITV_CLAUDIO

THE INTERVIEW

November, 2024

CLAUDIO CALLAO

DIRECTORS OF LA CASA AZUL

BEST FEATURE

Claudio, tell us a little more about yourself. Where did your desire to be a director come from?

Since I was a child, I was always the “hidden hand” in all the activities at my school. I was the person who “invented” things, and in a way, the organizer of all the activities. That, coupled with an early start in the medium, going through apprenticeships in all areas of production, commercials, made me more open to the desire to tell my own stories. Artistically, in my hometown, Londrina, in Brazil, when I was 11 years old, I was part of a film club, where I was the only child among adults, and thanks to that, I could get in touch with the work of great historical directors of cinema, such as Buñuel, Fellini, Visconti, etc… Since then, cinema and art are part of my life.

What is your background?

Professionally, I had a great career in Latin American dramaturgy, with more than 40 projects directed in countries such as USA, Portugal, Spain, Brazil and Venezuela. I also have a degree in cinema and studied acting direction at the Calouste Gulbenkian Foundation with Suso Cecchi D’Amico, in the 90s.

What were your references for La Casa Azul?

My references are undoubtedly Italian and Brazilian cinema. Films such as Ladron de Bicicleta, Senzo, Cinema Paradiso, Gabriela Cravo and Canela, as well as the so-called Brazilian cinema novo, with the work of directors such as Glauber Rocha and Ruy Guerra.

You won an BEST FEATURE for your film at the RED MOVIE AWARDS what does that symbolize?

The award per se, obviously has a very great value, since a recognition of this kind coming from such an important festival is very good for the film, but what I value most in my award is the quality of the films with which I competed. The work of the finalist directors, among them, No Way Home: Directed by Yousaf Ali Khan, and Third Eye by Tatiana Becquet make the award of La casa Azul, have more value, due to the quality of its competitors. I congratulate them all.

Your film depicts a love story with a 44-year gap, it’s an unusual choice, what questions does it raise and what are the situations that arise from it?

The main approach is to portray the “moral weakness” that reigns in Latin American countries, respect for sexuality, ageism, and human relationships. Mariana does not fall in love with a man 44 years older than her. She falls in love with an artist, with a pure and sensitive soul, age is just a number in this case.

How did you work with your actors?

For me the best performance is the one that doesn’t look like they are acting. The more natural they are on camera, the more we will achieve the desired effect of connection with the audience. I had already worked with most of the actors, so I knew what I could achieve with each one of them, however, I had a very good surprise with the main character, Viridiana Roble, who since her first casting, fulfilled all my expectations as Mariana.

Music plays a key role in your story, can you tell us more about its development and its place
in your story?

La Casa Azul was born from a piece of music I heard in the early 90’s by Aquiles Baez, a Venezuelan musician. I heard this music and immediately began to write what became the first synopsis of the film. That was kept for more than 30 years, until Boris Quintero and Oswaldo Zarate came up with the possibility of producing the film. I looked for Aquiles in 2022 to ask him for authorization for the theme and he conditioned that, in a very friendly way, since we were friends, that he would do all the music for the film. Unfortunately, he could only send us the piano arrangement (the last of his career) of the theme music of the blue house, and he suffered in this same year, a few days after we met to talk about the movie in Madrid, a heart attack. This made us even more motivated to make the film as a tribute to his talent. Happily, Neil Dammy had the courage to take the work and continue the beautiful musical work of La Casa Azul.

What do you think about the place of Mexican cinema on a global level?

Mexican cinema has achieved a significant place on the global stage, distinguished by its rich history and
the quality of its productions. During the Golden Age (1930-1950), Mexico became a reference point for
Hispanic cinematography, influencing the culture of various Spanish-speaking countries and establishing
a model that other Latin American nations would follow. Films like María Candelaria and Los olvidados
were not only acclaimed at international festivals but also contributed to the cultural identity of the region.
In recent decades, directors such as Alfonso Cuarón, Guillermo del Toro, and Alejandro González Iñárritu
have elevated Mexican cinema to new heights, winning Oscars and global recognition with works like Roma
and Pan’s Labyrinth. These filmmakers have been instrumental in consolidating a new wave of cinema that
blends traditional elements with contemporary narratives, expanding the reach of Mexican films in
international festivals and streaming platforms.

What was the biggest challenge for this first film?

One of the biggest hurdles is securing funding. Making a film in Mexico, especially without the backing of a major studio, can be tough. Without sufficient financial resources, it’s hard to bring the filmmaker’s vision to life. Once the film is completed, the next significant challenge is distribution. Getting people to actually see the movie can be tricky. The distribution landscape in Mexico isn’t always straightforward, and many films struggle to find their way into theaters or end up overlooked. Adding to this, there’s fierce competition. Numerous films vie for the audience’s attention, and alongside other Mexican productions, Hollywood blockbusters often dominate the cinema screens, making it difficult for local films to shine. Support from the government can also be lacking. While there are some initiatives in place, they often fall short of providing comprehensive backing for filmmakers. This lack of solid support can leave directors feeling a bit stranded, which impacts projects like La Casa Azul. Finally, keeping up with technology is essential but challenging. The film industry is rapidly evolving with new tools and techniques. Staying updated and learning to use modern technology is crucial for creating a film that resonates with audiences today.

Do you have an anecdote to share with us in particular?

We put the sea, for special effects, in the initial shot of the film, inside the town of El Tuito. What happens is that the nearest beach is almost two hours away from the village. They tell us in town that because of that, some tourists went to the town looking for the beach where we filmed, and that in fact it is almost two hours away. Another anedocte is that in the scene of Martin’s burial, almost 90% of the town’s inhabitants participated as extras.

What is your next project?

In January, we started the production of the film A Star in Hand, also with Boris Quintero as producer and his company Imaginary Spirit Films, which is establishing itself as a great promoter of Jalisco and Mexican cinema. This story is completely different from La Casa Azul, and we hope that the audience, in their infinite wisdom and generosity, receives it as well as they did with La Casa Azul.