What compelled you about the script to finally accept to direct the movie?
Above all, that the story was based on true facts. This is always a very interesting premise
because it forces you to be much more rigorous with the material.
On the other hand, during the years the film is set, I used to travel a lot to Euskadi (the Basque Country)
and thought that including some of my personal feelings and experiences could enrich the story:
my father is a French, my mother comes from Spain, and part of my family lives in Euskadi;
therefore, I feel very much connected with these three cultures.
Weren’t you scared of facing such a controversial subject matter as ETA’s armed struggle?
Not at all, because this is a film that is basically historical, not ideological.
Although it could be a controversial movie, the script is quite balanced.
Did you do some kind of research about ETA before the production started?
Yes, I always do some research when I am preparing a film, and it was also very convenient that the
producers at Mundo Ficción had a very completed archive about this subject matter.
It really helped me a lot.
Were you influenced by other films when choosing the look for Lobo?
Costa Gravras, Jim Sheridan’s "In the name of the father" and also Alan Parker’s "Mississippi burning".
How was the casting process and why you finally chose Eduardo Noriega for the role of Lobo?
I barely knew Spanish actors so I did quite an eclectic casting, trying to meet actors from different backgrounds.
Eduardo is also known in France and I was looking forward to work with him. I thought Lobo could be the
change I was looking for to do so, among other things because he coincidentally has the same age as the character.
I suggested the idea of having Eduardo in the film and everybody was very enthusiastic about it.
How was working with the cast, Spanish and French?
It’s the first time in many years I work with actors and actresses I hadn’t previously worked with.
Patrick Bruel is a good friend of mine since twenty years ago, but we never had the change of working
together before. Now I know why he is such a celebrity in France; besides his looks and charismatic personality,
Patrick is one of the best actors I had the honour of working with through my entire career.
José Coronado has been the biggest surprise of the film for me as I didn’t know him. It’s a very subtle and
intelligent actor, providing strength and authenticity to his role.
To work with him has been an immense pleasure.
About Mélanie Doutey, it really impressed me her focus and commitment. She’s learnt a lot of Spanish, to play
guitar and to sing. Anaya’s character wouldn’t have been that interesting without Mélanie.
Eduardo Noriega is an actor with a great capacity to focus on the material, and also a
hard worker, and a very charming human being I must say.
I think he provides Lobo with all the strength and ambiguity the character needs.
Due to Eduardo I have been able to do the film I always had in mind.
What’s been the most interesting experience of shooting Lobo? And the most complicated?
The most interesting has also been the most complicated; to achieve a balance between the concept and the look.
To be able to do a film that is at the same time entertaining and well-paced, but also leaves some room to the
audience to reflect on the political and historical background of the story.
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