Interview
Lorenzo Ayuso

1. Can you tell us about your journey into filmmaking, from graduating in Audiovisual Communication to directing your debut film "Evaluación Final"?

 

Well, it has been quite a journey! I can't remember a moment in my life when I didn't want to be a filmmaker. I guess watching the Pilot from 'Twin Peaks' when I was 4 years old could only lead to that! The neighbour girl who used to babysit me was watching it on TV, I was pretty shocked when they revealed the plastic covering Laura Palmer's face. That got me hooked on movies, so studying Audiovisual Communication was pretty much the only choice for me. Before graduating, I started preparing my first short film, 'Evaluación final', trying to apply what I was learning to the craft and saving money to finance it. That experience was a real eye-opener: I thought I was ready and knew everything from the books... And little did I know! Nothing prepares you more than being on a set as a director for the first time, having to make other people understand you, watching your dailies and editing the film, being involved in the distribution... As bittersweet as the process was - the short was not very successful, to say the least - it was necessary for me to grow as an adult and a would-be filmmaker. Not that my career was any easier after that, but I couldn't have done anything if I hadn't started that way. I think the best way to learn to make movies is by trying to make them by yourself.

 

2. Your film "Extreme Gravity" blends dark humor with horror elements. What inspired you to explore this genre, and how do you approach combining different tones in your storytelling?

 

That's a great question! I've always been really into horror films, so working in the genre was a good way for me to explore my interests. At the same time, I try not to limit myself to the conventions of the genre, or at the very least, I try to subvert them. I've always been a big fan of Sam Raimi and Wes Craven, and they both brought a sense of irony to their stories. I mean, an extreme situation like in 'Last House on the Left' or in 'Evil Dead', with their young, healthy and naive protagonists being slaughtered and destroyed, can show the inherent absurdity or even futility of life itself, of growing up in a society that hides all kinds of horrors. I try to work from a distant perspective that allows the viewer to decide how they want to feel about what's happening on the screen. I like to make them feel unsettled, mixing in some comedic elements at the most inappropriate moment, and perhaps shifting their perspective. It's a fine line to walk, and it's quite difficult to achieve that ambiguity, but I suppose that's how I see life myself.

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3. "Extreme Gravity" marks a new stage in your filmography. Can you discuss how your approach to filmmaking has evolved over the years?

 

I think I've gradually let myself out, in the sense that I'm less interested in emulating or referencing shots or ways of staging, and trying to make the story as autonomous as possible. With 'Evaluación Final', my first short film, I tried to put a kind of Raimi-esque energy into a really mundane plot, and I imitated some shots in the hope that it would show the influence he had on me as a cinephile. Now I just think about what's good for the story, not what looks cool: what's the right aspect ratio to frame this situation? How do I want it to look? For example, I wanted 'Extreme Gravity' to look awkward, like an underground tape, but I also wanted it to feel like a real vlog, with its common traits: most likely someone who is recording at home doesn't have a proper set of lights or even know how to properly compose a shot. And it's precisely this that gives you a lot of opportunities to tell the story and to do something different.

 

4. As a filmmaker who has worked on both short films and music videos, how do you adapt your storytelling techniques to different mediums?

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In terms of technique, the main difference is in rhythms and editing. With music videos, it's all about associating images, which leads to a more abstract approach to the craft. I wouldn't say it's necessarily a less narrative way of working, but it's definitely looser. Having said that, the main thing for me when working with bands is to encapsulate the vibes of the song and the feelings of the musicians, and be in sync with them. It's a more collective approach and a great way to humble yourself.

5. Your director statement mentions using Brechtian stage spaces and a glitched look to convey a sense of surrealism. Can you elaborate on your creative choices in crafting the visual style of "Extreme Gravity"?

 

Like I said, I wanted it to feel like a real video, uploaded to the internet by an individual, perhaps a shady individual. And as real as we think a vlog can be, there's always a certain amount of staging when you're posing in front of a camera, even when you're pretending you're not acting. You want to look a certain way, give off a certain vibe, something that you think defines you... But maybe it's not who you really are or what your intentions are. So it's nothing but a masquerade. The look of the film pretends to convey that glitch in reality, and to express that something isn't right and our perception is compromised.

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6. How do you see the role of comedy in addressing various themes in your films, and what impact do you hope "Extreme Gravity" will have on audiences?

 

Believe it or not, one of the movies that I had as a reference was... 'The Naked Gun'! In fact, if you remember, there's one particular scene in that film that occurs on a ledge... Like I said earlier, I like to subvert expectations through irony and comedy, and unsettle the viewer: "Should we laugh at this? Is this correct?". I love it when films put me in that situation. I know a lot of people will find 'Extreme Gravity' disturbing or messed up for making a light of suicide, but maybe it's a good way to deal with certain themes that could be considered taboo, as it's the case.

 

7. Can you share any insights into your experience working with the cast and crew of "Extreme Gravity"?

 

Well, it wasn't an easy production at all, and the pandemic made it even harder, but in terms of the crew, it was a joy! I can't say enough about Álvaro [Márquez], our star. This was my first experience of working with him. I admired his timing and his spontaneity, and I knew he could do the comedy, but it was important for him to nail the more dramatic part so that people could emphasise with him and go along with it. It was a blast to watch him give his all in every single take, adding subtle comedic touches. As a director, I love working with the same people over and over again. We're such a tight group of collaborators, both in front of and behind the camera. We know our strengths and what we are capable of. From David Blanka, who had to create a character mainly through his voice, to Fred [Segado, DP], Azahara [Gómez, editor and VFX] and Pepe [Rodríguez, sound design and music], they're all indispensable for me. I'm grateful for the opportunity to add great people like Álvaro to the mix.

 

8. Beyond filmmaking, you also work as a film and TV critic. How does your experience as a critic influence your approach to filmmaking?

 

Most importantly, it allows me to stay in touch with the medium and follow its evolution and trends in real time. Extreme Gravity' couldn't have been made without this contact with these new forms of production and communication. Being a journalist allows me to be open to everything that ends up on the screen. For me, writing about films is not only complementary to making films, it is just as important.

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9. What advice would you give to aspiring filmmakers who want to explore complex themes in their work, as you have done with "Extreme Gravity"?

 

I would suggest not letting the themes speak for you. The film should work on its own, not because the subject it deals with is important or necessary. No matter how complex the subject may be, the viewer is as smart as we, the directors, or even smarter! It's not necessary, nor should it be, to lecture anyone. So let them have the space to chew on it and come to their own conclusions about it.

 

10. Can you discuss any upcoming projects you're working on or themes you're interested in exploring in your future filmmaking endeavors?

I have a number of projects in various stages of development that are progressing little by little, although my main focus in the near future is the release of my first book, which is an essay dedicated entirely to Jean-Claude Van Damme as a hero of the action genre. Hopefully it will be out in November. Meanwhile, there are a couple of new music videos on the way. One of them will be out pretty soon: it's a new video for the Spanish rock band Dardem, which will precede their fourth album. It's a very special video, with a dreamy aura, and another turnaround in style and tone from previous efforts.

 

11. How do you approach finding the balance between entertainment and deeper themes in your films, such as the dark humor explored in "Extreme Gravity"?

The approach is simpler than it might seem. I've always been more interested in films that were in the middle of nowhere, B-movies that dealt with the necessities of being profitable, but directed by auteurs with a clear vision, people who knew how to make things more interesting, more layered. I'm talking about people like Carpenter, Romero, Gordon or McNaughton... They deal with serious things, but it's up to us to decide how deep we want to go when we watch their films. I try to follow their example: I want people to be moved and shaken at first sight, but I also want to present stories that can be revisited, that leave the door open to go a little further each time. I hope I have achieved that with "Extreme Gravity".