Paco Plaza: “If there is one thing that pushes me to make films, it is to be able to premiere these films in Sitges.”

When and why did you decide to give the character ‘Veronica’ a movie?

It was quite a natural thing. The character of Brother Death was my favorite character in the previous movie. And yet we have only shown the tip of the iceberg. While talking one day [el coguionista] We started talking about story possibilities and eventually launched,” Jorge Guerricaechevarría said.

What did you think of Aria Bedmar, who plays a young Narcissa in this kind of origin story?

It was all casting. We started watching Andalusian actresses because we liked the idea of ​​keeping the accent of the character despite Consuelo Trujillo. [la Narcisa de ‘Verónica’] from Cádiz and Aria Bedmar from Almería. Getting it to the point where he retained his Cádiz accent was more complicated. As soon as I saw Aria, I thought she was born to be a nun; She has almost girlish features. And, she’s an amazing actress. I can’t imagine anyone else in this role anymore.

According to Bedmar, you gave him a signal: “Your character doesn’t know he’s in a horror movie.”

If there’s one thing that’s annoying in a horror movie, it’s the characters acting as if they know they’re in a movie. This can happen in comedies too: The actors act like everything is funny for some reason. What’s scary or funny should be the context and what’s happening to the characters, but they shouldn’t be aware of it. So, if a glass falls to the floor, in principle this should be due to gravity.

Is it because of Narcisa, Powell and Pressburger’s classic ‘Black Narcissus’ about a nun with human weaknesses?

No, no actually this is a tribute to Narciso Ibáñez Serrador. It’s been like this since ‘Verónica’.

Speaking of Chicho, ‘Who can kill a child?’ in ‘Verónica’. The question is referred to and it seems to be a clear reference to the same movie ‘Death of a Brother’. That terror under the sun…

Sun and also whitewashed walls. An iconography that belongs to us, especially from the Mediterranean. I love that I made a horror movie that takes place in full sunlight and not in the shadows. When I saw ‘Who would kill a child?’ I said, ‘Damn, this is real.’ We have no Victorian Gothic. We have the sun and whitewashed walls.

On a tonal level, ‘Hermana Muerte’ seems to me almost like a synthesis of his career, from the ‘flashy’ impulses of ‘Grandma’ to more traditional touches of humor and some party access. This last one was meant as a compliment.

Eventually you can’t stop yourself from seeing the world a certain way. To me, humor is inherent in observing the world. It all seems so funny to me. These sparks of humor make the stories more natural, especially when talking about stories set in Spain. This is a country where we laugh at everything. When I watch movies where the tone is overly serious, I always think: “Let’s see, this is not Denmark.” From our political life to sports information, there is nothing left to see. Everything is colored by the cult of surrealism and absurdity.

There is a scene that will definitely be remembered during the festival days and, most importantly, a line from the script. “Special foods are eaten in pairs!” I want to say.

I love that moment. And it would be nice if this phrase actually became trendy at the festival. I’ve been coming here as a spectator for thirty-odd years. The most beautiful place in the world for me. These are the ten days when horror movies became the center of the universe. For a fan like me, this is incredible. If there’s one thing that drives me to make films, it’s being able to put them in Sitges. It is a festival where people go to enjoy the cinema. They won’t do anything but have a good time, they won’t examine, they won’t judge. This makes it a unique place. From the festivals I know, I see that people feel most at home.

Netflix is ​​already talking about ‘Verónica World’ and I don’t know if we’re actually at the beginning of your second series or if it’s just too early to talk about it.

In reality, there is no intention to continue this universe. But when ‘Veronica’ came out, I wasn’t planning on making a prequel. And I didn’t think we’d make four[REC]’ and there they are. In the end you never know. Of course, ‘Verónica’ is a universe that gives me great happiness and in which I feel very comfortable. Time will show us.

Didn’t rule out a ‘reboot’ in May last year[REC]’ for 2027, which will be two decades since the premiere of the first episode. How are the talks with Balagueró going?

They don’t exist. See you in Sitges and comment again. But I think it’s a very good thing the way it is. I won’t hide that this will be funny to me, but I’ll have to come up with a really special idea. There is no point in stretching the gum just to make it longer.