«You Don’t Know Who You’re Talking To» - Pure Delusions

Demián Rugna presents today his feature film in Argentine Competition

 

«This guy looks like someone in a movie» Thus, from anecdotes and characteristics of his own group of friends, Demián Rugna displays a movie of antiheroes with quite questionable ambitions. In an absurd tone, he displays a range of incredible characters and situations that trigger a raid that can only lead to roar with laughter. Humor and irony explode on the screen, with a striking technical value, providing the Competition with this movie of humor Argentine cinema has been long waiting for.


How does the idea of You Don’t Know Who You’re Talking To originate?

Do you see when you say "This guy looks like someone in a movie”? I have a group of friends, total losers all of us, and each of them triggered ideas upon which I could base these characters. I even have a very friend I love so much and the main character is based on him, all his forages in the streets and his fanaticism for cars. I believe that the point was to combine two very different universes: fantasy film and the life of an immature young of "low-high” class in a neighborhood in the metropolitan area.

It’s incredible the work of characters delineation, this everyday antiheroes, with quite questionable ambitions. How was the work from the script and then in the direction of actors?

From the script, it was very visceral and intuitive. I knew the essence of each character because each one reminded me of my friends and each one has something of me. That’s why they have something genuine. And at the time of directing, I was clear from the first moment: "Let’s rehearse as much as we could, because during the shooting I won’t have time to give you instructions”. The really strong work was to search the proper actor for each role.


It’s very difficult to find in You Don’t Know Who You’re Talking To influences from national cinema. Is there any? Is there any influence from foreign films?

It’s a bit difficult for me to find the truth there, I believe there’s a little bit of the Cohens, especially with The Big Lebowsky, a bit of Snatch… Tarantino? Mmm nah, I think I’m talking nonsense!

What were the challenges at the time of the shooting?

In my previous films the challenges consisted of doing monsters and special effects worked well, that the shots were well. In this one, I had it very clear that my main challenge was to make a good shot of cars duel with only two days for shooting. When I met Javier Díaz, the producer, he didn’t believe this shot was important, because he saw a lot of very complex shots in the script and very little time for shooting. He said to me: "There are lots of complex situations, don’t tell me about cars only, tell me how you will manage to do the rest!” I answered: "I’ll do it, don’t worry, but please bring me a tow”. Fabián Forte, who assisted me in the direction told me: "Well, ok, the shot with cars you want takes five days of shooting, but in the film it lasts just five minutes, tell me how we will do to shoot the other 85 minutes in four weeks”. The challenge then was to adapt and make the film the best as possible in the conditions and time I had.

How was the writing process and how much was improvisation during the filming?

It’s crazy because the writing process was just in Mar del Plata. There, by the Alfar, lying on the sun upside down, writing in a notebook –it’s the second film I’ve written lying in this place-. Then I arrived home, transcribed it to the computer and closed it. There weren’t much versions, I think there are just two little corrections. Two producers read the script and they couldn’t care less about it, then I abandoned the project until Díaz, the brave producer, appeared years later. Regarding improvisation, there was little; as a director I like rehearsing with actors and I understand that this is the moment for experimentation. There were lots of rehearsals in which lots of ideas grew. I like going to film having everything under control, especially because my films give no respite. Without planning, I wouldn’t be able to do what I do.

Agustina Salvador

 

Screenings:
Sat 19 nov - 6.50 pm - ALD 5
Sun 20 nov - 4.00 pm - ALD 5


 

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