How Sebastián Lelio reimagined his own film | GLORIA BELL | TIFF 2019

Hi, I’m Sebastián Lelio and this is how to remake your own film. [Upbeat jingle] Why can’t cinema be like theatre or music, where you have the chance
to revisit your melodies or your place and to re-signify
them, and to adapt to them, or actualize them in different contexts? It’s almost like a cover
of a melody that existed, played again by a new band in a new era in a new context. [Singing along to Spanish music] ♪ ‘Cause it gets me
nowhere to tell you no ♪ After Gloria, the first Gloria,
I was preparing two films: A Fantastic Woman and Disobedience, which was my first film in English. Both of them were here [at TIFF] last year. I knew that Julianne Moore
had seen Gloria and loved it, and she wanted for us to meet. Suddenly we started talking
about why not reimagining it? Why not remaking it? And that unleashed a
process of thinking a lot about the idea of remaking,
revisiting your own materials. “You come here a lot?” “Yes. No, not a lot. I mean, sometimes.” “What’s your name?” “Gloria.” [Lelio] The story requires a
certain type of spaces. And then, when you get to those spaces, and you’re the same filmmaker, why would you put the
camera somewhere else? And I stopped fighting
trying to differentiate the new version from the first version. I was just going to go with the flow, and whenever things needed to be different, I was going to do them differently. “I love you, you understand?” “Get away from the car.” “Please! Gloria!” [Lelio] It wasn’t about me showing to the world that I could do this differently. It was about me disappearing, for the characters to merge and to pop up and to be alive and vibrant. “Ow! Ow!” “You want more off the sides?” “A little bit more than that, actually.” [Lelio] With each film, you have the chance to improve your searches. You can sophisticate the
things that you’re doing. And I think — after A Fantastic Woman, which is a more stylized
film than the first Gloria, and Disobedience, which is a
very performance-centred film — I think those two elements somehow convert in the new Gloria, you know? It is still a very
performance-centred film, but I think it has some elements
of the stylistic searches that A Fantastic Woman had. I would say that, if you
do the exercise of seeing the first Gloria, and A Fantastic
Woman, Disobedience, and you do the math,
you get to Gloria Bell in a very organic way,
in terms of styling. [Upbeat instrumental music]


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