Alone with Fede Álvarez, a Uruguayan loose in Hollywood



After surprise fans of horror with a new version of Evil Dead, and paralyze the hearts of the spectators with Do not breathe, The Fede Álvarez direct The girl on the webcam, a film that brings back to the screen to the Lisbeth Salander hacker. In Montevideo, his native land, the director told details about this expected sequel.

-What was the time you called to direct the movie, you read the book, you knew the saga?

– Yes, I had read the books. Having seen the movies was part of the reason why he wanted to do one's own. When there is something that copies you and there is a world, in this case the character of Lisbeth Salander, was something that I loved and fascinated the idea of ​​making a movie about it.

– We will briefly argue the argument and on this turn that has to focus on the female character

-This is what the movie did in particular compared to the others, the first time it is 100% of its history. And she, as many people know, is a hacker and makes security work. A mysterious character is in charge of a job to steal a very important technology tool in the United States. Like all the good stories, that is just the tip of the iceberg of what goes below. She decides to take that job by placing a barbarian mess. It is a good thriller where the characters make a decision that they should not have taken and avoided the consequences throughout the movie.

-What was the work with Claire Foy?

-Genial. He is one of the best actresses working today and for me, the privilege of working with someone like this is invaluable because he learns a lot. She, with this movie, did something that he had never done before the level of the thriller and the action, which was something I had done. At the same time we were doing a much deeper drama as opposed to the other films, something that she had already done many times then it was a good collaboration to learn from each other.

-In regard to the choice of the locations, which were in Stockholm, Berlin, was there another look of what Europe is looking for?

-If, of course, it is not the ancient and classical Europe that one sees in films like The Da Vinci Code. It is darker and cold, more fascinating for me.

-What does the growth that you are having at the Hollywood level personally mean?

-This is a challenge, one has a very big responsibility. I think that any of us wants to do the best possible with the opportunities presented. As time passes, each movie is a brutal opportunity to do its job well. That's what it means most to me. Undertake the role of filming, telling history. You learn a lot with just working there, in the mecca of cinema. An inheritance of 100 years of cinema. For me, that is the best thing I rescued: learning to work in this industry.


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