# Óperas primas que no parecen primas. Segunda parte.

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 20 May 2024, 44 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/60089224/lloviendo_operas_primas_2.mp3

En el programa de hoy de Lloviendo cine cerramos el especial que hemos dedicado a las óperas primas que no parecen ser óperas primas más importantes de la historia del cine. Continuamos con el repaso de las primeras películas de grandes directores, en concreto las que se realizaron desde la aparición de los representantes de la generación que cambió Hollywood hasta las óperas primas más destacadas de los últimos años y que tampoco parecen ser óperas primas. Las músicas del podcast proceden de: Musopen, Attribution, via Wikimedia Commons Pyotr Ilyich Tchaikovsky, CC0, via Wikimedia Commons https://musopen.org/music/2567-symphony-no-5-in-c-minor-op-67/

## Transcript

[0:27] Let' s not, because here begins one more show of your favorite podcast
[0:32] I watching ending, which you are all pertinent and conveniently invited. You don
[0:37] ' t need any kind of entry, you don' t need any permission.
[0:42] The doors are wide open one more show of iovindo cinema in what is
[1:03] going to be the second part of our special. Premium operas that don'
[1:10] t seem to be special Pria operas that we started last week and that we
[1:18] ' re going to finish this. Let' s talk about those films that
[1:22] made a long bet of a certain director, of a great director in the
[1:27] world of cinema, those raw operas of those great directors, with enough quality
[1:34] to think that in reality it was the work of an accomplished expert in the
[1:41] seventh art prima operas that represented that brilliant beginning of a brilliant career. Well,
[1:49] here we go with the second part, the second part of this special
[1:57] in which we will continue to talk about pris operas more than they do not
[2:00] seem to be prima operas, but in this case already more recent times,
[2:07] because we had stayed last week in the previous program, with the consequences that
[2:12] the appearance of the Nobel Back had produced voluntarily or involuntarily in the different cinematographies
[2:21] of the world. For today we are going to the other side of the
[2:30] puddle program and screenplayed by our shadow collaborator, Don Juan. Only, yes,
[2:53] now it is time to go to the other side of the chaco,
[2:59] where in the United States emerged a new generation of filmmakers that will provoke in
[3:07] the late sixties and early seventies, another enormous revolution that will put Hollywood pastas
[3:15] up this unrepeatable generation of young directors, which will create a new way of
[3:22] making films and not only making them, but also seeing them and distributing them.
[3:29] It is what is known as the neo Hollywood, or also as the
[3:32] bearded club, because most of its members looked populated beards at the wedding of
[3:39] the time. It is the Copola, Lucas de Palma, Scorsese and Sviller,
[3:46] who at first lacked it, had no beard, but who will leave
[3:52] it later perhaps or who was a little envious of them. They are the
[3:58] directors, in short, who changed the American cinema forever leaving behind the most
[4:04] classic Hollywood, although in reality many of them were later based on classic Hollywood
[4:12] when making their films, and these directors already let their debut glimpse what they
[4:18] are going to be after man. We' ve already seen that Peter bow
[4:27] Danowich didn' t exactly have a great first dazzling movie, but it does
[4:33] draw attention. Steven Spielberg' s first film, by the way, that
[4:38] reaches film management after taking over some chapters, among other television series Colop.
[4:46] Actually, his first feature film is also made for television, but its impact
[4:54] will be such that it will eventually be released on the big screen. We
[5:00] are talking about duel or how the devil became known here on wheels year one
[5:08] thousand nine hundred and seventy- one. In it, the future King Idas
[5:12] of Hollywood plays with the idea of creating suspense through an enemy we never see,
[5:17] but which is revealed as a constant threat, as will happen in his
[5:24] first great film, Shark of the year nineteen hundred and seventy- five.
[5:31] The presentation as director of Martínez Corsés, who, after several short films,
[5:38] rolls in the year sixty- seven, is already nuanced. Who knocks at
[5:43] my door, but who' s knocking at the door is a future film
[5:48] master, George Lucas. For her part, she debuts with THX one hundred
[5:56] and thirty- eight year also a thousand nine hundred and seventy- one,
[6:03] curiously framed in the genre of science fiction, but from another roll that would
[6:09] give her fame in the few years beyond all galaxies and the one that has
[6:14] never worn a beard, but also begins to direct films at that time.
[6:18] It is Budiyalen who comes from the world of stand up comedy New York and
[6:25] who has stood out in the previous years in the script and in the creation
[6:30] of humorous monologues. His first feature film has an impact on that line.
[6:36] He takes the money and runs from the year sixty- eight, filmed under
[6:42] the guise of a false documentary and that goes through the life of a petty
[6:46] robber and criminal who is given life by Bueno himself. We' ve actually
[6:53] made a little bit of a trap, because the first time that Buddy Allen
[6:59] appeared in the titles of credit edito as director, it had been three years
[7:05] before The movie lilirat Ingresa, the director Neoyorkino starts from an old Japanese tape
[7:13] of spies that doubles with new dialogues totally different from the original. The result
[7:17] is a wonderful absurd comedy for both of us, among which we included a
[7:24] real nonsense and of which Allen himself refused, since the producers brought me additional
[7:30] on his own without his previous consent. He was also of that generation and
[7:40] also had a beard, even if he made a cinema of another roll as
[7:45] well. Bofos, the director of Cabaret, who had debuted in the direction
[7:50] a few years earlier, in nineteen hundred and sixty- nine, with the
[7:56] film Nights in the City, a film in key music that starred Sirry Mcleine
[8:01] and that was nothing but a covert and free version of Cabria' s nights
[8:07] by Don Federico Felin that, by the way, little spoused that you are
[8:13] in the filmography Bo Fover, that you believed that old dt jas begins the
[8:18] show. It was the first adaptation that Bob Fous had made of a film
[8:26] by Federico Ofel, the famous eight- and- a- half, because
[8:31] he did it already with his debut with his prima opera nights in the city.
[8:35] But we have also said Francis Forcopola and we do not forget about the
[8:43] cinema until American what were the beginnings of Don Francis forco Polla, because some
[8:48] precisely at nothing. Le Willis made his debut in the cameras with a comedy
[8:52] without foot or head of the year nine hundred and sixty- two entitled to
[8:58] Night Fox. So hidden. The film that is almost unfindable, not for
[9:05] the server who saw it and already forgot it, fortunately, the filmography and
[9:13] how Don Francis Ford managed. And within the new airs that American cinema takes
[9:20] in the early 1970s, let us also highlight the figure of a filmmaker like
[9:24] Terres Malik, director as interesting as not prolific, since from one thousand nine
[9:33] hundred and seventy- three to the year two thousand and five appear only four
[9:39] films in soft. After that, it looks like he' s taken it
[9:43] just to directing and space less the premiere of them. Well, Terres Malik
[9:48] ' s debut opera is the most interesting Malas Tierras of the year nineteen hundred
[9:54] and seventy- three, in which we can already observe some pauses of what
[10:01] will be his peculiar cinematic style, that with a great poetic sense. And
[10:07] it is curious because in that same thousand nine hundred and seventy- three,
[10:11] in Spain, another filmmaker debuts in the direction that has also been made to
[10:18] beg when it comes to premiere films and that as well as Malick, stands
[10:22] out for the poetic breath that always prints his stories. This director is Victor
[10:28] Erice and his first film one of the great masterpieces of Spanish cinema, The
[10:33] Spirit of the Hive, with which, so first he wins the San Sebastián
[10:39] Film Festival and becomes ipso facto a cult filmmaker. Herice gave us last year,
[10:46] in two thousand twenty- three her last film, Close her eyes,
[10:52] with which at eighty- three years old never better said closed the circle opened
[10:58] fifty years earlier with her opera and from here a memory for Roger Corman,
[11:09] recently deceased, director, producer and patron of noble directors, among them men
[11:16] were not her primal operas. People like Peter Bogdanovicz or Martinez Corses were found.
[11:24] A memory for Don Roger And we cannot forget the film debut of one
[11:41] of our Oscar Prize winners, Don José Luis Garzy, who in the year
[11:46] nineteen hundred and seventy- seven began in this cinema sitting on the director'
[11:52] s day, with the nostalgic pending subject that was part of that of or,
[11:58] a kind of trilogy of the transition that would continue with solos in the
[12:03] early morning and that would be completed with the green meadows. How could we
[12:09] not remember you, Don José Luis, by the way, or another director
[12:15] of those who started in those years with Barba. And we' re talking
[12:20] about directors who started their careers in those seventies and many of them continue to
[12:26] hear active. We were talking about Spilberg, Scorsese, Malik. Well,
[12:33] we' re also talking about Ridley Scott, who is still quite, but
[12:39] quite inactive, who seems to have entered into his years a particular dance of
[12:45] cinematographic scope. Well, by Rigley scottcrueda today the sequel unless Gladiator and last
[12:50] year surprised us with a great superproduction Napoleon pres the beginning of the, on
[13:01] the other hand, irregular career of Scott full of tall and of Netherlands was
[13:05] produced with a film that took place in the time of the Napoleonic Wars.
[13:13] Duelists, adaptation of a novel by Joseph Conrat with Harby Keitel and Keth Carradine
[13:18] as main protagonists. A thousand nine hundred and seventy- seven was also the
[13:26] year of one of the brightest and most disconcerting debuts in film history, where
[13:31] David Lynch, a former painter and graphic artist, shot his first film,
[13:39] the unclassifiable draft head, in which many saw the imprint of Buñon' s
[13:46] surrealism. But when Lynch was asked about Don Luis and the Andalusian dogs in
[13:52] the promotional interviews of his cousin opera, Kenanay said that he did not know
[13:58] that man at all. In short where David, from the viewing of cinema,
[14:07] let us doubt him and also curious the debut in the cinema of a
[14:11] British filmmaker, unfortunately already deceased, as was Alan Parker, who in the
[14:18] year nineteen hundred and seventy- six made a very curious version of the cinema
[14:26] of Gánsters called Baxi Malón, also shot in musical code and starred exclusively and
[14:33] exclusively by children, among them a young young girl post taxi driver and Jodie
[14:39] Foster. We have to applaud the fact that these debuts brought with them their
[14:46] risk component on the part of all those directors and we changed for a decade.
[14:50] We put on the table a first name, that of Lawrence Casdam,
[14:54] that in the year nineteen hundred and eighty- one would amaze with a magnif
[15:01] first film entitled Fire in the Body, which also supposed the debut in the
[15:07] cinema of its female protagonist Catalin Terner, as well as the birth of a
[15:13] new erotic myth. It was the first Fire movie in the body of both
[15:18] Ricardan and The Castling Tenner. It doesn' t look like it. The
[15:22] film was a remake in confession of Billybiller' s classic doom. That'
[15:30] s a little higher than tom' s censorship. He always played against the
[15:35] Austrian director. Casually, in the year nineteen hundred and eighty- one,
[15:41] Billy Biller shot his last film Here a friend with his friends val to redundancy,
[15:50] Walter Matou and right now. In nineteen hundred and eighty- three he
[15:54] begins his career in cinema. A man who' s on fair and current
[15:58] Kikus Man radio. A little late his recognition, because already in that year,
[16:03] in a thousand nine hundred and eighty- three, forty years before Folly
[16:08] Lips, the good Cauris Macie made his film debut with a fairly free version
[16:14] of the classic Dostoieski, grinning and punishment. By the way, you never
[16:21] know when he started kikaury Matt and what movie, or if he ever started,
[16:27] it seems like he was always here even before he even started. Now
[16:33] let' s talk about one of Billy Builder' s great admirers, someone
[16:37] who didn' t believe in God, but he did believe in the director
[16:41] of the apartment or in his already crazy skirts. We speak clearly of Don
[16:45] Fernando Trueba, who chose to debut in the cinema a prima opera, called
[16:49] precisely prima opera, playing with the condition of first film of his career and
[16:56] with the kinship of the two protagonists who were cousins, Don Fernando begins his
[17:02] filmography with a film with a certain aroma not to Hollywood, but to France
[17:07] and to his nouel goes not to the comedies of Billy Biller, but rather
[17:12] to those of Rick Romer. Others who choose, like Larry Carstar had done,
[17:17] the thriller and the matter of crimes of passion to debut in the cinema
[17:22] are the brothers Ithan and Joe the Con and they did it with easy blood
[17:27] that comes signed only by Joel, as well as the first titles of the
[17:34] couple, until in the year two thousand four, with Lady Killers, the
[17:38] name of director already includes both. But we all know that behind a film
[17:45] by the Coen brothers are always the Cohens two of the greats of independent American
[17:51] cinema of the last decades. Another of those names, the Steven Soderberg,
[17:57] who in nineteen hundred and eighty- nine amazes everyone with sex, lies and
[18:03] videotapes with which he conquers nothing less than the golden palm of car. Since
[18:11] then, Soderberg has revealed himself as the antithesis of Malik or Eriche, in
[18:17] the sense that he is such a prolific director that we have already lost count
[18:22] of the films that populate his filmography, in which there is also room for
[18:26] the most commercial cinema as for the most Martian experiment that can lead you to
[18:33] the face. And we come to the nineties where we find another of those
[18:38] names that define contemporary cinema, Don Quentin Tarantino, who debuted in nine hundred
[18:44] and ninety- two with another of those films that mark a time and that
[18:49] disconcert everyone, reser or Ardox, which confirms him as the new terrible anfan
[18:55] of the cinema of the United States, where he begins to give clues of
[19:02] what will be his definitive style with that mixture of genres and codes so characteristic.
[19:10] But we' ve actually made another little trap again, as Tarantino has
[19:15] a previous film, my best friend' s birthday, one thousand nine hundred
[19:19] and eighty- seven, a film about which there is a certain legend.
[19:25] Apparently, much of the original negatives of it were burned in a fire.
[19:32] Only thirty- five minutes of film were retained that Tarantino decided to ride for
[19:37] a half- length film. With those fragments. Subsequently, the script of
[19:44] this first film was the basis for the script that in nineteen hundred and ninety
[19:49] - three take place for the film don tony Scott movie Amor a quermarrop We
[19:56] return to Tarantino. When he premiered his second iconic Pull Fiction film, he
[20:02] had to do with the Oscars, with Robert Mx' s final winner Forrestgum
[20:07] and another notable prima opera, considered today one of the great films of the
[20:14] decade and an instant classic of contemporary cinema. Life sentence, directed by Frank
[20:23] Dramon and based on a novel by Stephen King. Less fantastic and clear as
[20:30] that Oscar night was all divided between Tarantino and CMX, the film starring Team
[20:36] Robins and Morgan Freemann unfairly took over the steel locker in that edition. Of
[20:45] course, that would not have happened if there had been a category in the
[20:53] Oscars to reward the best prima opera. Gentlemen of the modern academy, you
[20:59] a little bit that the thing is not just for Ryan Gosli to sing Barbie
[21:04] ' s so- called song in the middle of the ceremony, something that
[21:10] does happen, for example, at the Goya Awards, where there is a
[21:15] Nobel Award for Best Leadership and in a thousand nine hundred and ninety- six,
[21:19] that Jalardon fell to a young man of twenty- three years with a
[21:26] film that also won the main prize for the best film. This young man
[21:27] was called Alejandro Amenavar and the movie Thesis Buen año para la cine español,
[21:34] because he also debuted as director in the cinema Fernando León de Aranova. With
[21:40] his film Familia arrived a necessary relay for the cinema Spain. And if we
[22:04] have named the prima operas of three winning directors of an Oscar for Spain,
[22:11] by ci we also have Pepilucibón and other girls of the Montón debut in the
[22:17] direction of Don Pedro Almodóvar, year already distant of one thousand nine hundred eighty.
[22:22] Certainly it has rained since then, Certainly that there has been evolution more
[22:27] than in the forms in the background of the films of Pedro Almodovar and in
[22:33] that thousand nine hundred and ninety- six of which we spoke, another historical
[22:38] event took place in the odcards. Toy Story, the first great film produced
[22:44] by the animation studios Pixar got three nominations for the golden statuettes. All this
[22:52] combined with the fact that a few years earlier, the Bella and the Beast
[22:59] had managed to sneak into the finals for a better film. Let us remember
[23:03] that at that time there were only five finalists in this category. In addition
[23:10] to a few more candidacies, it caused the beginning of talking about the possible
[23:17] creation of a new prize destined to recognize the best animation tape, fact that
[23:22] was consumed in the year two thousand two, to seem that the category of
[23:26] best animation film existed long before. What happens is that, like everything in
[23:36] this life, it has its explanation. Perhaps we were confused with the fact
[23:40] that, if from time immemorial an oscar was given to the best short animated
[23:47] film, specifically since the year one thousand nine hundred thirty- two. But
[23:52] that' s only for the best animated short film. The fever that the
[23:59] different studies, outside of Pixar or outside Disney, were decided to produce animation
[24:03] in two or three of quality is rather recent. By the way, the
[24:15] first film to win the best animated feature film award was Snrick, who looked
[24:23] like Srick had never won an Oscar award, as things of selective memory and
[24:30] cinéfila. First Oscar- winning film for the best animated film, which did
[24:38] not get Pixar, but dream Works. But we resumed toy Story, which
[24:45] was also the prima opera of the founder of Pixar, John Lasseter, and
[24:52] the first delivery of a tetralogy around the adventures of cowboy Buddy and astronaut Bas
[24:59] Flayer and companionship, and we stood at the gates of the 21st century with
[25:06] the brilliant debuts of some directors who at that time were only young promises and
[25:12] who are now more than prominent figures in the world of seventh art. In
[25:21] nineteen hundred and ninety- nine takes place the debut as a filmmaker in Spike
[25:26] Jones' cinema with the film as Ser John Malcovich. It would seem that
[25:32] this film was not a primal opera, but it was also the debut in
[25:37] the cinema of his screenwriter, Charlie Colman without a pair. That same year,
[25:45] nine hundred and ninety- nine, the best film of the year for
[25:49] the gentlemen of the Academy was a prima opera American Beuty of the British San
[25:59] mendes curious again American Buty is a prima opera, prima opera by Sam Méndez,
[26:06] to which it will seem so little that and the first oscar delivered in
[26:11] the two thousand years. To the last of those who have been delivered in
[26:14] this century to Christopher Noblan, who also had a beginning in nineteen ninety-
[26:21] eight in his native land in England, and with Followin a low- budget
[26:26] suspense drama in which the filmmaker also gave some clue as to where his career
[26:32] would go from North. And not two carsinos are those of Mexican Alejandro González
[26:37] Iñaretu, whose first film" Amores Perros del año 2000", filmed in
[26:45] his native country, also put him in Hollywood' s sights. Another director
[26:52] who draws attention to the originality of his proposals at the beginning of the 21st
[26:57] century. It is the Italian Paolo Sorrentino, who debuted in the direction along
[27:03] with his great fetish actor, the great ton Y Servillo, and did so
[27:07] with the film of the year two thousand one, the man of most curious
[27:12] film that we claim and that we recommend from there in today' s show
[27:19] of Ovindocin and you will say if you have named Christopher Nolan, why you
[27:26] do not do it with David Fincher. What was Dady Fincher' s cousin
[27:29] opera, which seemed to have fallen a little behind Mr Nolan, with which
[27:36] the throne of the present- day filmmaker of this twenty- first century seemed
[27:42] to be disputed. Well, then, David Fincher debuted in the year nineteen
[27:48] hundred and ninety- two with a film that many will not imagine that David
[27:55] Fincher will direct, because Fincher debuted in the cinema with the third film of
[28:00] Alien' s saga, yes that of Sigurney Weaver, in this case Alien
[28:07] three, to that it seems not only that David Fincher had not directed any
[28:12] Alien film, but that he had debuted in the cinema with another film.
[28:17] Well, no, after Rilly Scott and after James Cameron, Mr David Ficher
[28:23] came. By the way, yes, James Cameron also had his beginnings in
[28:30] the cinema, in this case with the second of the Piranha saga year one
[28:37] thousand nine hundred and eighty- one. Those three years later he vetoed him
[28:41] by the hand of Don Arnold Schwarzenegger with Terminator and in Spain, in the
[28:47] year two thousand six he debuted in the cinema Daniel Sánchez Areval with a promising
[28:55] dark blue almost black, a Mr Daniel, to which we would have to
[29:02] take much more into account and we just cited some of the most outstanding filmmakers
[29:07] of the current scene, names most consecrated of the cinema today. But if
[29:12] we are talking about young directors who have become part of this select group in
[29:18] the 21st century, we will have to talk about other names, some of
[29:23] which have already ceased to be promises to become realities. All of them are
[29:32] joined by the remarkable debut in the direction of a first film that had placed
[29:37] all kinds of hope in them. These are the cases of Alex Garland,
[29:45] who has just premiered in film his latest film, sibil Ward, and who
[29:49] debuted in this film in two thousand fourteen with the surprising former machina names like
[29:56] Robert Eggers and his remarkable opera cousin the Witch of the year two thousand sixteen,
[30:02] or Jordan Pill who debuted as director the following year with Let Me Go
[30:07] Out or Sea Web, known lately for his foray into Marvel cinema and the
[30:14] spider Man films, but who started in this film with one of the best
[30:18] romantic comedies of what we' ve had in the 21st century, the wonderful
[30:25] five hundred days together of the year two thousand nine or Charrot Wells, which
[30:29] a couple of years ago rolled for Jovin do cinema the best movie of the
[30:33] year. His prima opera and unforgettable Afterson, and in Spain we have the
[30:38] case of Rodrigo sorogoyen his opera cousin is To Holt year two thousand thirteen,
[30:45] title that, by the way, does not seem anything, has nothing to
[30:49] do with what will be his later, that we can be somewhat skeptical about
[30:56] the future of cinema, but today, in men like these, like that
[31:00] gives us some hope, but they do not leave here yet a Hay more
[31:04] that said that in this review to these first- time directors that make their
[31:11] entry more or less big in the world of the feature film, you have
[31:17] missed one as many names already spoken at some time in raining cinema of the
[31:22] actors that, at a given moment of their careers, decided to prove fortune
[31:26] in the direction. Well, we' re going to dedicate the last part
[31:33] of our program to them, because there are actors who debut behind the House,
[31:40] truly to the great actors who show that they' re even better at
[31:45] directing than playing. For example, we have Clianistbood, who decided to direct
[31:52] his first film when he was already an icon of the Spaguetti and west thanks
[31:59] to the films of this Sergio Leone, and also began to be an icon
[32:02] of the action cinema thanks to the films of Don sig Clinnistwood sat for the
[32:08] first time in the director' s chair to take over play mysti form or,
[32:14] as it was called here. In the evening he scoured a film of
[32:17] nine hundred seventy and one that he himself took charge of starring, in which
[32:22] he gave life to a radio announcer who was harassed by one of his fans.
[32:29] The original title play mysty Formea is due to the fact that this bully
[32:35] Dora did nothing but ask her on the phone to put on her radio show
[32:40] the jazz standard composed by mistake Garner mysty Play mystif for M marked the beginning
[32:49] of a great career as a filmmaker of Clinwood, full of great films and
[32:54] even some other work. Master and two oscars to the best direction those obtained
[33:01] for without forgiveness and for billion Bay dollar that sometimes we forget the data.
[33:07] And someone who is also accused, like Clenistbood, of being a rather limited
[33:12] actor of everything has to be in this vineyard, but who has proven to
[33:16] be an excellent director, is Ben Affleck. His prima opera dates from the
[33:22] year two thousand and seven. Good- bye, little girl An excellent thriller
[33:29] based on a Denis Lean novel. One of Mr Afleck' s later titles.
[33:35] Argo came to win the Oscar for the best film of the year two
[33:37] thousand thirteen, although surprisingly, the director was not nominated in the category of
[33:44] best direction. And it' s the path that people like Dennis Hopper also
[34:02] followed, whose director' s debut is in a thousand nine hundred sixty-
[34:07] nine with the iconic And if I ever made it look like, by the
[34:14] way Cacy Rider wasn' t a film directed by Dennis Hope, as it
[34:19] was or the case of Team Robins, who in a thousand nine hundred ninety
[34:25] - two made the false citizen documentary Bob Rothers, a film that we will
[34:34] always claim and that we will recommend in the show of Lovin Dozi, and
[34:37] did so just before directing death penalty or to the pacine. Another of those
[34:39] actors who have alternated their film debut as a filmmaker. With his facet as
[34:45] an actor to the Pacino he directed in the year nineteen hundred and ninety-
[34:51] six the Pyrian x and very stimulating documentary Luking for Richard. And if we
[34:57] ' re talking about Alpacy, we don' t have to name Robert de
[35:00] Nero, too. They' re always holding hands. In the year nineteen
[35:04] hundred and ninety- three, Robert de Nero' s good man directed a
[35:10] superb prima opera, a story of the Bronx and Polneyman. He debuted behind
[35:15] the scenes directing his wife Joan Bouodward, in the film Raquel Raquel of the
[35:21] year sixty- eight. And curious is the case of John Casabetes, one
[35:25] of the parents of independent American cinema and one of Jovin Dothin' s convicted
[35:34] and confessed weaknesses. John Casabetes directed his first film Shadows in a thousand nine
[35:40] hundred and fifty- nine and from then on he would resume his career as
[35:46] an actor in commercial cinema only and exclusively in order to finance his films as
[35:52] a director. And it' s just that the movies directed by John Cassabetes
[36:00] of commercials had little or nothing. And among the actors who decide to try
[36:06] in the direction of feature films we have really exceptional cases. Exceptional is the
[36:13] fact that a premium opera gets the Oscar for best film. We have already
[36:17] seen that Delbrman got it with Martin, but that two actors got it with
[36:24] their first management work. That' s old words already. It happened in
[36:30] the last quarter of the last century. We' re talking about Robert Reford
[36:36] and Kevin Cornet. The first achieved it in nineteen hundred and eighty thanks to
[36:40] his first film people, ordinary People, and the second, ten years later,
[36:49] with his Western Bailando, with what and many have questioned the achievement of
[36:54] these two oysters arranged Ford, because that year, among the finalists to the
[37:00] statue was already Toro savage de Martin Scorses. For many, one of the
[37:08] best films in film history. But it is that ten years later, with
[37:14] Kevin Cosner, the play was again repeated, as one of the great rivals
[37:19] of Dancing with Lobos was one of ours whose Martin Escorses. It would seem
[37:28] that the Academy had a tingle for those years to the good Don Martín,
[37:35] but at the same time there are other actors who debuted in the direction and
[37:40] who have taken so much of the worm that they have practically abandoned their acting
[37:50] career to focus exclusively on making and directing films. An example Sophia Copola,
[37:53] the daughter of Don Francis Ford, who started in this film thing as an
[37:58] actress, but, as the reviews were not very favorable to her, the
[38:05] girl decided to start directing and looking. We all won with the change his
[38:09] letter of introduction for our collaborator in the shadow, Don Juan, only notable
[38:15] the suicide virgins of the year ninety- nine. Not so remarkable for server.
[38:21] Another woman who started as an actress but later changed course. Greta Germit
[38:28] who, before becoming mega- known with Barbie, directed the latest version of
[38:32] little women in two thousand nineteen, or the film with which she debuted in
[38:37] the direction Lady Vert of the year two thousand seventeen and in Spain we can
[38:45] cite in this category of actors who have practically left the performance to dedicate to
[38:51] the direction to Heromañes, who debuted in the cinema as a child actor and
[38:55] that in the year two thousand was put for the first time behind the camera
[39:00] with his following nothing less than the goya to the best movie with the extraordinary
[39:06] ball. Since then, Bueno de Hachero has only released films as a screenwriter
[39:13] and as a filmmaker. Today Cíar Boyain, who in the year ninety-
[39:16] five debuted as director with the film Hello. You' re alone. In
[39:22] your case, we have to say that clearly the best would come after and
[39:28] in the year two thousand sixteen we talked before Daniel Sanchez Arévalo? Another Arévalo,
[39:34] but this so- called Raúl Raúl Arevalu and fetish actor of Daniel Sánchez
[39:40] Arévalo begins his career as a filmmaker with the late thriller for the anger he
[39:45] took away. By the way, then the best movie. We don'
[39:52] t have that much in mind either. The clear fact that more drastic is
[39:54] the case of those actors who decide to lead, do it once and no
[39:59] longer want to know about the subject. This is the case of Marlon Brandon,
[40:02] who in one thousand nine hundred and sixty- one signed the western The
[40:08] Impenetrable Face, a film that seems destined to be directed by this Kublick law.
[40:15] We do not know if, because of his special character the masters or
[40:20] because he was discouraged by the problems and misfortunes that occurred during the filming Marlon
[40:27] Brando was never absent again in the chair of film director. The impenetrable face,
[40:34] exceptional in any case. But the typical example to which the case of
[40:38] a director who debuts and closes his career with a masterpiece is often referred is
[40:45] that of an actor. This is the famous rhyme of the only film directed
[40:49] by Sir Charles Lapton. The night of the hunter year nine hundred and fifty
[40:57] - five, glorious, uniquely magical and insupposed the night of the corpse,
[41:05] nothing more and nothing less. And so far there has come one more program
[41:35] of your podcast rite I came cinema, in which we have given a folder
[41:39] to this special of two programs that we have dedicated to those prima operas that
[41:45] do not seem to be prima operas, great first films of great first directors
[41:52] that on many occasions we have already seen that we have to look twice to
[41:59] make sure that it is a priority film, given the quality of it or
[42:06] the exceptionalness of its circumstances. Premium operas that we have already seen at the
[42:09] beginning of a great film career or those that are to come, because there
[42:16] will always be a time for a prima opera to exist, hoping that the
[42:23] program has been of your total pleasure. We do not fire you until next
[42:28] week to which we will talk, as it always is, about a topic
[42:30] that we come up with in the next few days. Until then we can
[42:35] only thank you very much for your attention, much more your patience and make
[42:40] you the final culinary recommendation of all the raining cinema eat a lot of banana,
[42:46] which is very healthy. There was a first time to eat a banana
[42:52] and there will be two and there will be more than three and above all,
[42:55] when you will see the sky, you know what you have to do.
[42:58] Find your cloud. We all have one and when you have entered into
[43:02] trust and conversation with her, you have to tell her well, before it
[43:08] is clear that it rains cinema par ten

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