Dani de la Orden: “To mature is to try to generate the maximum by working the minimum” | Cinema and Television | EUROtoday

Dani de la Orden doesn't actually just like the rating tradition. “I'm getting more interviews now that the headline is 'House in flamesthe most watched movie that Alcarras' than when we released it in cinemas. What does this mean, that being the most seen deserves it more than before?”, he asks himself while drinking a coffee on a terrace in Sant Antoni, the neighborhood where he lives in Barcelona. He is only 35 years old, but since he was 22, just leaving Chess, he shot the phenomenon Barcelona summer night (“we did everything between colleagues, without getting paid”), he has already directed greater than a dozen movies (Barcelona winter evening, Lithuanian, El take a look at o 42 secondsamongst others), shorts and episodes of tv collection (Elite, North Mouth). “I can't complain concerning the job or the wage. It went effectively for me. endure? Suffer, endure a service. I do hope that each one the individuals who have labored on my productions have additionally been paid effectively and have been effectively”, he reflects.

The son of a civil servant and a tax advisor, raised in La Bonanova, this video game-loving filmmaker was already clear about his destiny since he directed shorts with Frederic Mistral's ESO classmates (“I killed my grandmother a thousand instances with false blood”). He also assures that, despite his experience, he did not expect the success of his latest film: it was released on June 28 and on the weekend of September 7 it brought in another 80,000 euros, to add to an accumulated of 2.4 million euros. With script by Eduard Sola, House in flames is a family drama disguised as a comedy that was conceived in the confinement inspired by the French phenomenon Small unimportant lies. The fiction of the summer has removed the finger from the wound of the indulgent bubble of the Catalan bourgeoisie, leaving in view the wounds of loneliness caused by family selfishness – and a photo-cock that needed a statement to clarify that, although this was stated in the credits, this image was not that of the director's penis.

Ask. Among the romanticism of Barcelona, ​​summer night and the family sadism of House in flames there is an abyss Did I need more bad milk?

Response. Yes, I don't really like the word adult, but this movie has a less naive point. I guess that's what growing up entails. At first I wanted to talk about what I liked, like falling in love. Now I try to make films about what bothers me and makes me uncomfortable. And that's what we don't say to each other, or family relationships that don't work.

P. During the promotion he explained that he was surprised by the audience's identification with the characters. “But they’re sons of bitches”, he said.

R. I think that the people who have been reflected in it have done so with the most basic part. This is a very extreme film, both in the situations and the ending. It is very hyperbolic, it has a very clear metaphor. Things happen that don't happen in real life. I don't think anyone would ever do what the mother in the film (Emma Vilarasau) does, but if anyone feels challenged by it, it's with the loneliness it exudes, with that emotion. I also hope that no one does what Enric Auquer's character does, which is to threaten suicide to make the girl who wants to leave him feel bad. But we've all been victimized at some point because the other person feels bad.

P. Would you have written Auquer's character, the masculinity he exudes, the same way ten years ago?

R. no Ten years ago I didn't know what it was to be toxic, nor did I know when I was receiving toxic behavior from another person. That's growing up, isn't it? Take emotional responsibility.

P. The film is set in Cadaqués. It seems that all the Catalan summer movies with family problems are on the Costa Brava. Why does everything have to happen there?

R. That's how most romantic movies take place in New York, isn't it? The house is actually in Canet de Mar, where it was filmed due to logistics, but it is set there because it is so iconic. I guess the next film that deals with this will be made in the Ebro Delta, because it has never been filmed there and I think it is much more beautiful, but there are many key factors here: tourism, urban plans that degrade the coast and status On the Costa Brava they charge you eight euros for a gin and tonic and you're not surprised by the price. If I say that it is because I know it well, I have spent half of my summers in the family house in Begur.

P. At one point in the plot it is said in Spanish: “Los pojos, ya sabes, mucho patrimonio y luego ni un duro en el banko”. In the film, the rich are not naturalized. It is made known that his life is not the norm, as it seems to happen in other fictions, where those houses and their lives want to seem ordinary.

R. It's like on the floor of Friendsright? Which looks normal when it's actually a penthouse with a terrace. We didn't want that. Our premise was that this had to be a sleazy movie, because the sleazier they were, the more whores they were and we could make it worse for them.

P. Really enjoy this kind of fic, like The White Lotus o Succession?

R. I like them for the characters, I don't care if they are rich. A Successionwhat I'm interested in is that there's a lost bullet brother or a seemingly responsible daughter who, in reality, is the most whore of them all.

P. But they wouldn't be like that without money.

R. Yes, of course, but it is the portrayal of this power in fiction that interests me. I like to see how it works in politics and how powerful people have gotten there. Now, with the project I'm in, a film adaptation ofThe directorthe book by David Jiménez (former director ofThe World), I'm interested in all of this: seeing the gears of journalism and power.

P. Will it be a thriller or a comedy?

R. Comedy sure not. The book has humor, irony and sarcasm. I would like to make a very agile film, like the one of Vice by Adam McKay, because this is a portrait of Spain, where we are all a little bit shabby and a little bit creepy.

P. Now, directors seem to want to move away from the isolated author label that imposes their vision and way of working on the rest. Does it happen to you too?

R. I guess there are still some of these left, but I don't feel like it, nor do I want to be treated like that. I wouldn't know how to do it. I'm a person who doesn't like to get up early. If we can have two meetings instead of five, even better. Maturing is trying to generate the maximum, but working the minimum.

P. It's still in the movies, though House in flames it will have a new life and will be commented again when it hits platforms. What do you think of this new paradigm?

R. It has a whole lot of optimistic issues, however I'm sorry, as a result of we're shedding what we demand within the format. Just as operating on a treadmill isn’t the identical as going out for a run at Montseny, watching a movie at house isn’t the identical as on the cinema. The cinema, for me, is a collective expertise, and a comedy in a theater has a really totally different feeling. It is produced now greater than ever, however consumed within the worst attainable methods.