Fernando Trueba and Javier Mariscal: “No matter who rules, we will not allow them to institutionalize censorship”

Why did you decide that animated film was the best format to tell the story of Tenório Júnior?

Javier Mariscal (JM) Even though he is retired and old enough to walk with a cane, Fernando still has a relentless curiosity. And he became obsessed with the story of Tenório Júnior; He was beating me a lot about this. And when it came time to design it, we realized that ‘They Shot the Pianist’ had a similar aesthetic to ‘Chico and Rita’, that it had a gorgeous tone but also included real characters in its story. Moreover, the interesting thing about this film is that it revives Tenório Júnior, showing him meeting his wife, dancing with her, and falling in love. This would be impossible with an ordinary documentary. On the other hand, if Fernando had decided to make a live-action fiction film featuring Javier Bardem instead of Tenório, the public would have been more aware of Bardem than Tenório.

To what extent does the film also prove the authenticity of bossa nova, an often misunderstood musical genre that is much richer than one might think?

J.M. That’s right, bossa nova is much more than ‘The Girl from Ipanema’ and elevator music.

Fernando Trueba (FT) I was interested in recreating the golden age of music, a very special atmosphere that I thought was equivalent to the birth of the surrealist movement in Paris. Musicians like Tenório Júnior created new sounds and harmonies by putting elements from Brazilian popular music, European impressionist music, and American jazz into a shaker. All American musicians of the period, from Ella Fitzgerald to Sinatra, were influenced by bossanova. It was a world revolution.

Mr. Trueba, can it be said that in ‘Tirad al pianista’ you use the figure of Tenório Júnior as a vehicle for an almost autobiographical tour of both the music and cinema he loved and his political ideals?

F.T. I have no interest in talking about myself, I try to avoid it at all costs but I guess I just can’t. Every artist, no matter who he talks about, always ends up talking about himself. In one way or another, all my films are connected to things that bring me joy, which I think makes them autobiographical.

The film uses the disappearance of Tenório Júnior as a metaphor for the pressure that politicians with certain ideologies try to exert on art. There have been many cases of artistic censorship in Spain recently. Do you think censorship could be extended depending on who runs the country next?

F.T. I believe that no matter what the next government is, society will not accept this kind of censorship. There are lots of stupid people, lots of stupid people, and lots of idiots out there, and incidents like those of recent months may continue to occur. But I don’t think any of those idiots can institutionalize censorship, we won’t allow it. However, this is not enough, we must be very careful to avoid the occasional censorship.

What do you think about the controversy created by the inclusion of the documentary ‘No me lama Ternera’ in the program of this festival?

FT: Frankly, it’s hard for me to talk about a movie I haven’t seen.

Talking before watching the movie, that’s exactly what the discussion starters did…

J.M. I would never sign something like this. I am against censorship of any cultural or ideological expression. For example, it feels good to me that we have access to ‘My Struggle’ and can know what was in Hitler’s mind.

One of the arguments supporting the film’s screening at the festival is that even the most monstrous people can be newsworthy.

F.T. I don’t agree with this. I can understand anyone wanting to interview Hitler, but one of my quirks is that, as a rule, I only spend time with people I find interesting.