Laura Muñoz Liaño

Check out the full interview with Laura below...

Every musical starts around a table where the creative team discusses the approach to the libretto, the style the choreography will follow, the lighting and stage design, or the musical arrangements. It is a process of incalculable creative value and also in terms of the production of the show. That’s why we thought it would be interesting to show the whole creative process in this documentary.
This documentary is based on a creative experience prior to the musical film ‘Jesucristo flamenco’.

I grew up watching classic films. I will never forget the first film I saw in the cinema, Bernardo Bertolucci’s The Last Emperor. From then on I loved cinema above all things.

I’ve always loved French cinema, Eric Rhomer, Agnés Varda, Chabrol. Varda has always inspired me. Sorrentino and Lanthimos seem unique to me. And of the Latin American films, I love Lucrecia Martel.  

Among my favourite films is Paris, Texas (Win Wenders).

When I was a child I used to write short stories and one day a teacher explained to me that what I was writing was not a novel but a script, a film script. My generation grew up with TV, so we are more visual than literary.

The challenge was not to interrupt rehearsals. To capture the creative process of all the artists without being seen or given instructions or orders to “action! or cut! They were free to create, perform and improvise. They call me the invisible director.

We have one of the best flamenco casts in the world. Carmen Linares is the history of flamenco and cinema. Arcángel is an international flamenco figure. David Palomar and Carmen have been an artistic discovery, but the most difficult thing was to transform singers into performers. Because they were not actors or actresses. They are singers. We had to look for their looks in the interpretation, the flamenco singer usually closes his eyes to sing but in film you have to sing to the other performer, it’s a dialogue, a flamenco opera.

The audience is thrilled with the performances because they are full of passion. They are also curious about a process that they normally can’t see when the film is finished. We show the process, how a flamenco opera is made.

You have to know the classical styles, learn them, study them to be able to deconstruct and modify, transform. But it is essential to know the classic creators.

Festivals are essential in cultural dissemination. Film is culture and festivals bring films from all over the world. Every festival is important, even if it is small. You have to take them all into account. They do a great job.

I am currently working on several fiction projects. I will direct the feature film “Lost Universe” which belongs to the experimental film genre with a script by Enric Rufas. I am also working with the same scriptwriter on the feature film “Los débiles”, a Spanish-Portuguese production, and Esperanza, a musical film. In all of them, as well as director, I worked as a producer with Producciones 24Violets SLU.

Thank you for this inspiring interview and for taking the time to honestly answer all the questions. The BIA team wishes you great success with your next projects!