Javier Ambrossi & Javier Calvo por La Mesías

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00:00 In this episode of Originos for the 2024 edition of Serimania,

00:04 we are with Javier Calbo and Javier Ambrosi,

00:07 who we can know under the nickname of Los Ravis in Spanish,

00:10 who have just presented La Mesquite, present in the international panorama.

00:13 - Hello! - Hello! How are you?

00:15 - Hello! - Very well!

00:17 Perfect!

00:19 So you have been both the 8th creative couple in Spain for a few years now,

00:26 but the French people maybe don't know you that well.

00:29 So I was wondering, if you could recommend a project to know you better,

00:34 which one would it be?

00:36 I think they could start with Veneno,

00:40 because it's a very international story,

00:46 although it's very local.

00:48 I think the LGBT community and the audience in general,

00:52 they're going to connect with that story.

00:56 And then they can go to La Mesías,

00:58 which is our last show,

01:01 and it's a big journey, an intense journey.

01:08 You are a full 360 artist,

01:13 actors, producers, directors, writers, blah, blah, blah.

01:17 So which hat do you prefer,

01:22 and is it everything or nothing for you?

01:24 I'm not an actor anymore, I quit.

01:27 I was a teenage actor on a show,

01:32 that actually I think it aired in France.

01:35 It was very popular.

01:37 It was called Physique Chimie.

01:40 But I'm not an actor anymore.

01:46 I'm a writer, and because I'm a writer, I'm a director,

01:51 because I only write, writing is hell,

01:55 so I write to direct, and I produce to be free.

02:00 So yes, it's all or nothing,

02:02 which writing, directing and producing.

02:04 Yeah.

02:06 Like directing something that you didn't write

02:11 should be something very hard, in my opinion.

02:16 To me, our stories are so personal,

02:19 and comes from a very natural and personal place.

02:24 So directing is like a second part of writing,

02:28 and producing is the same, it's like the same journey.

02:32 So yeah, I guess it's all or nothing.

02:36 So let's talk about La Messias,

02:38 which is in the competition this year,

02:41 Panorama International.

02:42 So what is the pitch?

02:44 Can you explain the show to us?

02:45 Wow, it's a complicated pitch,

02:47 because it's like a very authorship show.

02:50 So it would be, oh, I will have to do some spoilers to pitch it,

02:56 but it's this story about a family during decades,

03:02 about trauma that puts the family together and apart.

03:05 And at the end of the day, it's a story,

03:08 a drama family with some thriller and some sci-fi,

03:14 some musical and some religion about a family

03:21 that grew up trapped in a house, a part of the world,

03:25 and how they became viral doing a Christian music band.

03:32 Complicated pitch.

03:34 It's probably your most serious project so far.

03:40 So is it like a step up from your previous project,

03:43 as in you did a musical, you did some comedies,

03:46 and now it's, okay, you have some elements of everything,

03:50 but it's serious.

03:52 When you grow up creating and you want to dive in

03:58 into what creation is, at least for us,

04:02 you understand you shouldn't trick the audience.

04:07 You should go in as real as possible

04:13 without lying and without things

04:18 that make you want to manipulate the viewer.

04:25 So I guess that's what maturity and seriousness means here.

04:31 It's naked of, oh, this is dramatic,

04:35 so I'm going to jolly in or I'm going to play this music.

04:39 No, it's hard.

04:41 It's raw and you feel you're inside those situations

04:49 because this movie, this show talks about child abuse,

04:55 talks about traumatic childhood, and talks about fanaticism.

05:01 So those are really serious subjects.

05:06 And we didn't want to--

05:08 Yeah, we wanted to be as distant

05:13 and not manipulating as possible

05:18 because I think that's how you treat seriously serious subjects.

05:24 I guess that when we were growing as an artist

05:29 and at the beginning of our career,

05:31 our projects said, "Love me" all the time.

05:36 "Love me, like me, see me, watch me, be with me."

05:41 And La Mesías is rower.

05:44 It is what it is.

05:46 Do you like it?

05:49 Okay, do you not like it?

05:50 Okay, it is very honest in this way.

05:53 It's not pretending to be like, "Oh, like me."

05:57 It's not tricking anyone.

05:59 It's a very raw and complex author drama

06:04 about the complexities of growing up in religious fanaticism.

06:10 But it was very well received in Spain.

06:13 Well, that was surprising

06:15 because when you risk as an author, you are always afraid.

06:20 You're like, "Okay, people will like it or not."

06:24 And people loved it.

06:27 And I guess that's because audiences nowadays, they know a lot

06:31 and they are sick and tired of the algorithm.

06:34 I guess audiences, they don't want anymore to be like,

06:38 "Oh, I know when the end of the show is coming.

06:40 "I know the plot line.

06:42 "I know that the McGuffin, the Gunda, whatever."

06:44 They know everything.

06:46 So they are eager.

06:48 They are willing to find shows that are new and different

06:52 and that comes for a place of truth, I guess.

06:58 Yeah, we need to take the audience seriously

07:03 because I think if you look at them over the shoulder,

07:08 you always lose.

07:11 I think audience are mature enough and compelling enough

07:17 to see things that are original, different,

07:22 and creating something new.

07:25 I think we have to make the algorithm.

07:28 We shouldn't let the algorithm shape us.

07:33 Yeah, it's like now there's a lot of ideas about

07:38 the pilot should be that way and the second episode that way.

07:42 And at the 15 minute, you have to do this and this and this.

07:46 There's a lot of rules that really put us aside of art.

07:50 And art is before the rules.

07:53 And I think that's something we don't have to forget

07:56 when we are writing.

07:56 Maybe the pilot could be the way you want to be.

08:01 It's not like a pilot is not supposed to hook people.

08:10 It's supposed to show a part of the story.

08:14 And maybe it's a weird part.

08:15 And maybe it's a new part.

08:17 I don't think we have to write in a specific way.

08:24 I get hooked when I'm surprised.

08:28 When I'm moved.

08:32 And when I see truth.

08:36 So the show stars Macarena Garcia.

08:41 It's my sister.

08:42 I know that's what I'm going to say.

08:43 So since she's your sister, did you have her in mind

08:46 when you wrote Irene?

08:48 We usually write for specific actors.

08:51 And we wrote this main role for my sister.

08:55 Because she's the best.

08:58 She's one of the best actress in Spain.

09:00 And she's my sister.

09:01 And the story is about being related.

09:07 It's about siblings.

09:08 It's about how we relate with our own family.

09:11 So it was very, very magic to work with my sister

09:15 in a show about brotherhood.

09:18 So directing my own sister, it was magic.

09:22 And it also healed me in a way.

09:25 Because we could put in the show our own experiences

09:30 and family traumas.

09:32 So religion is very, very anchored in Spain.

09:35 I was wondering, how do you balance being religious

09:39 and being part of the queer community?

09:41 We are not religious.

09:43 Yeah, I don't even have a religious background.

09:47 But I think on one side, it's about beliefs.

09:50 And on the other hand, it's about manipulation.

09:54 So I write about beliefs because I need--

09:56 now we fight a lot to be alive as a queer community.

10:05 And I feel now I need that spirituality that I don't have.

10:09 So I think when we grow up and we grow old,

10:12 we're going to say, well, what do we believe now?

10:16 How are we going to save ourselves?

10:20 How are we going to face emptiness?

10:24 So I guess I write about spirituality because of that.

10:30 Because I don't have it.

10:31 But I also find interesting how manipulative religion could be.

10:38 I think Monse, the mother, represents that.

10:41 Like the use of beliefs in order to manipulate and say,

10:45 you are not-- you're not good.

10:49 You're evil.

10:50 You shouldn't-- you don't deserve to be part of the community.

10:55 You don't deserve-- you're not good.

10:58 And also, being trapped-- like the children,

11:07 they grew up trapped outside of society.

11:10 And it reflects us on being queer.

11:13 Like when I grew up, I felt trapped in the town.

11:17 There wasn't anything for me because I felt so different from everyone.

11:24 And watching movies and watching shows, it opened a window for me.

11:30 And I could see there was world bigger.

11:34 And there might be a place for me.

11:37 So yeah, so--

11:40 And about the power of movies to save you.

11:42 What's the process between you two as a couple?

11:45 I mean, when does the work stop?

11:48 Or are you always talking about work?

11:50 We work all the time.

11:52 So-- or maybe we don't work.

11:56 We leave.

11:58 We don't have a personal and a professional life.

12:03 We share life and friends and work and writing and directing and producing.

12:07 We do it all the time at the same time together.

12:10 So it's like we are one.

12:13 So we are very used to because we didn't do it separately, never.

12:19 So it's our way to do it.

12:22 It's very natural.

12:23 It's how we would do it.

12:24 It's like we share the stories and we debate ideas.

12:29 And we talk with the actors together.

12:32 So we do it all the time together because we have a deep connection, I guess.

12:37 Yeah, and that search for spirituality, I think I find it in creation.

12:42 I think that's where I find-- I kind of find a sense of meaning in life.

12:49 We're watching-- right now we're watching a Spanish show called "Nos Vemos en Otra Vida."

12:55 It's good.

12:57 It's about the terrorist attack on Madrid on 11 of March of--

13:06 Well, thank you very much.

13:07 And we hope to see La Messia soon in France.

13:10 Thank you.

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