This November 24th it premieres Andrea’s lovethe director’s new film Manuel Martin Cuenca which comes backed by its recent awards as best director and best script at the Tallinn Film Festival.
It tells the story of Andrea and her brothers who They long for the love of a father who disappeared from their lives when their parents divorced. They are the collateral damage of a family war.
They give them life debuting actors that the director spent a year searching and that they faced this filming without any type of prior script, they were discovering it little by little.
Once again, the director has resorted to Old Morlaas already happened with The daughter, to set music to the film. They have been in charge of all the music for the film, including the central theme that they perform with Valeria Castro.
We have spoken with the band to find out the details of a project that fulfills them and that comes when they are about to end their long tour of the last two years.
Is repeating with Manuel Martín Cuenca a sign that you work very well together or that he is a big fan of the band?
Juan Manuel Latorre: I think more the first because, in fact, in Andrea’s loveGood in The daughter, also told us that he sincerely called us because he saw a certain capacity in us as musicians, not so much because of Vetusta’s songs as such. We have found a very fluid way of understanding with him and working that is born from mutual admiration. We love the way he approaches cinema so artisanally, so professionally, so sincerely and dedicatedly. And we empathize with him because we try to do it that way with our music as well. The meeting has been more about having a common understanding when it comes to focusing on the creative process, more than because stylistically, Manolo is a fan of the band.
After My daughter You already had some baggage, has it been different this time?
Juan Manuel Latorre: Very different. The movies are very different. The daughter It is a very dark psychological thriller, with even murky moments, and Andrea’s Love is a drama with a social part and, above all, with a very bright part apart from the more dramatic plot. Besides, Andrea’s love It is narrated from the rawest point, as devoid of artifice as possible, and the music was also a very different process.
You signed Valeria Castro for the central theme, is it necessary with a female protagonist in the movie?
David Garcia: Indeed. When the song arose, what the lyrics talk about is a bit of a continuation of what could be a continuation of the story and how they could continue and taking into account that the music that has been composed for the soundtrack is framed in the passages and the moments that have more to do with her and her relationship with Abel, the young boy with whom she begins to have a strong friendship and that the protagonist of the film is a teenager, since we saw it necessary for a female voice to start to sing in that song and then accompany himself with Pucho and make that duality a little like what is in the film. Valeria is a colleague that we have known for a long time, some have already worked with her, they have done something. Manuel Martín Cuenca also had it as a reference for those music that served as inspiration for the music that plays in some scenes of the film. She was already a little present around there and we spoke with her and her collaboration came up very easily, she said yes, and the result is very good.
Andrea is a 15-year-old girl who is looking for the love of a father. Is it easy to put yourself in the shoes of a teenager to understand her and accompany her?
Guillermo Galvan: We have done almost acting work. We have had to put ourselves in a skin that is not ours and from there, pinch ourselves. In the end, making songs has a little to do with that, you build worlds or places or situations of people who could be you, but in many cases they are people you have met who, even if you put it in the first person, it is still a construction. . It has been relatively easy to put ourselves in Andrea’s shoes after having seen the film or having read the script because it is true that we have had many months to understand her drama and her situation. It’s a real case, a case that happened a few years ago that we were talking about before reading the script when Manuel told us about it. Sometimes you’re wrong, but there was also a place where you said, what would happen to me if I had lived Andrea’s life or been in that situation? There is a point in it that puts us in the place of pseudo scriptwriters because the song also provides another layer at the level of information about the character and a possible story. The ending triggers you and takes you to what could become of Andrea’s life after the decision she makes to denounce her family so she can see her father and mother in the same way.
They already say that the song has been nominated for the Goya Awards, what would it mean for you?
Juan Manuel Latorre: An honor, right? An immense joy. We have always tried not to think about those things because, furthermore, it is not an automatism of false modesty. We have survived in music thanks to considering the very fact of making music as our reward and being our end in itself. Nine years of silent failure endorse us at the beginning of our career so you can see that it is not a pose. We have felt that doing things is reward enough, but it is true that it would be an enormous honor and joy if a nomination for the Goya Awards falls.
Are you one of those who still go to the movies or have the platforms also put an end to that habit in your case?
Juan Manuel Latarre: I try to continue going to the movies. Yes, it is true that you also jump on platforms because it is comfortable, you are at home and life is busy, but just as watching a concert is an irreplaceable experience, I think watching a movie in the cinema is too.