The Oscars matter. They always did, but now more than ever, and - what sets this apart from any other moment in the history of cinema - in a truly global way. With 25% of voters residing in Europe, the tours of aspiring filmmakers are reaching further. From the very planet Arrakis to Madrid, the Spanish Film Academy hosted a meeting on Monday between Denis Villeneuve (Trois-Rivières, Quebec, 1967) and Javier Bardem with Juan Antonio Bayona as the master of ceremonies. A day later, the Canadian director responsible for the undeniable diptych between fantasy and science fiction Dune reflected on the year in which he saw his childhood dream come true of bringing Frank Herbert's novel to the screen. The Oscars await him. The ones that matter here and in the sandworm plains.
Question. How have the two films that have taken up so much of your time changed your view of cinema and how have they changed the very idea of popular cinema up to now?
Answer. I don't have to answer the second part of the question. Let the critics do it. As for the first part, my great satisfaction is having achieved that a film that, in part, I conceived almost as an experiment has reached the audience. Throughout the production process of the two films, I allowed myself to flirt with experimentation constantly in the way of approaching action scenes, in the editing, in the framing... The fact that they allowed me to do all that in a film of this size I consider it an achievement. And seeing the audience's reaction, everything has been very rewarding.
Q. A blockbuster in the hands of an auteur filmmaker...
A. Yes, that was always the goal: to achieve a balance, to approach that cinema not long ago where it was possible to talk about an auteur cinema that also enjoyed success. And everything goes through the emotional journey of the characters being able to reach the audience.
Q. There was a generation that grew up with Star Wars as something more than a simple cultural reference, and to this another followed perhaps that did the same with The Lord of the Rings. Will Dune be able to do the same?
A. It would be very pretentious of me to try to compare myself to those two cultural icons. The potential lies in the novel itself. It is a mythological story that has been extended over countless novels. In fact, I would dare to say that Star Wars is nothing more than an interesting adaptation of Dune. I think George Lucas should admit it.
Q. The two film sagas I mentioned became strong and grew hand in hand with aggressive merchandising. It is striking that Dune has renounced it...
A. Yes, the little toys were renounced because the studio's and my own intention from the beginning was for Dune to be perceived as an exclusively artistic effort, not commercial.
Q.Dune speaks of a universe in the hands of corporations that greedily exploit limited natural resources, it speaks of the consequences of this and of the climate change that desertifies entire planets. It would seem to speak of us here and now. I think of what just happened in Spain, in Valencia... Can cinema change something?
A. Science fiction films essentially speak of our dreams; they are projections of ourselves into the future. Perhaps a book or a film alone can hardly do anything. But if you think, for example, of the number of works that predicted the threat of Artificial Intelligence, you realize the role that imagination and art play. They are warnings, representations of our fears and anxieties. Yes, definitely, art, cinema, science fiction have a role to play.
Q. At the same time, we see that, and not only in the United States, the deniers of change are the ones who win elections completely oblivious to what the future projections they speak of...
A. The truth is that what is happening right now says nothing positive about humanity. One of the themes of Dune is that survival is intimately linked to our ability to adapt. Those who understand the context, analyze it, and based on that, change their behavior survive. If you cling to the past, you are doomed. And, no matter how you look at it, people who do not believe in climate change are doomed. It is a matter of survival. It is that sad.
Q. Dune also speaks of how to manipulate people, how to manage information, the function of lies... All very current.
A. My impression is that the more time passes, the more relevant Herbert's book becomes. Reality is approaching the books. It is regrettable, but it is so. It's as if we're not making progress. The author was concerned about the impact of colonialism, the exploitation of natural resources, the danger of mixing religion and political power... Instead of diminishing, all these issues have been exacerbated.
Q. At this rate, the third part, Dune: Messiah, will end up being a documentary of the present...
From the beginning, in my mind, the two films to date were a finished object. The original book is already on the screen. Paul Atreidis [Timothée Chalamet] takes power and, from that, the events degenerate into the beginning of something indeterminate, a kind of holy war... I feel that the two films form a diptych and one film looks at the other. What happens is that the way to end the second installment with that abyss that opens between the two main characters [along with Paul, Chani (Zendaya)] somehow demands a third episode. I noticed it in the audience's reaction. In fact, I got a little scared. "My God, I've created a monster," I said to myself. What I am clear about is that it will not be and cannot be a traditional trilogy. I resist falling into dogmas. I don't want to fall into the trap of so many sequels where you see that everything happens mechanically: now a big explosion, then an incredible battle, next a fight with lightsabers...
Q. Let's say it's about avoiding the algorithm...
A. Exactly, put it in my mouth. The enemy right now is cinema made with an algorithm.
Q. Right now, if I'm not mistaken, your name is being mentioned for two colossal projects. The adaptation of Rendezvous with Rama, the novel by Arthur C. Clarke, and a new Cleopatra...
A. You are not mistaken, but I don't like to talk about projects when they are nothing more than that, projects. They are still in the womb and are extremely vulnerable. For me, a film starts the day I look through the camera lens to take the first shot. I look around and say to myself, "Yes, I'm making a movie."
Q. Is it worth so much effort and travel to achieve an Oscar?
A. I made peace with my ego a long time ago and I don't need a piece of gold to feel important. If your only intention in life is to get an Oscar, I guarantee you will spend a good part of your existence sad and disappointed. I love making movies and that's what I do. But I don't hide that I would love for the film to be nominated and appreciated by professionals, for me and for the whole team.
Q. Josh Brolin recently said that if you didn't win the Oscar, he would quit the acting profession. Even just for that, you should strive to win it...
A. If I get nominated, the first thing I'll do is hire him for whatever. I love him. He's very funny.